One of the most popular musicals in history, The Lion King, will play at Sydney’s Capitol Theatre from December 2013.

The Lion King is a worldwide phenomenon. Since its Broadway premiere on November 13, 1997, 19 productions around the globe have been seen by more than 63 million people and grossed more than $4.7 billion. (See Dance Informa’s review of the Las Vegas production here).

In its 15^th year, The Lion King continues to reign as a cultural phenomenon and one of the most popular stage musicals in the world.  The Lion King is the seventh longest-running musical in Broadway history and one of only six productions in theatre history to play for ten years or more both on Broadway and in the West End.  The Lion King won six 1998 Tony Awards®:  Best Musical, Best Scenic Design (Richard Hudson), Best Costume Design (Julie Taymor), Best Lighting Design (Donald Holder), Best Choreography (Garth Fagan) and Best Direction of a Musical, making Director Julie Taymor the first woman in theatrical history bestowed with the honour.  The Lion King has also earned more than 70 major arts awards including a Grammy® for Best Musical Show Album and Laurence Olivier Awards for Best Choreography and Best Costume Design.

'Lionesses Dance' in The Lion King, Las Vegas. ©2009, Disney. Photos by Joan Marcus

On stage, Taymor’s creative vision blends elements of African art and Broadway artisanship to depict anthropomorphic animal characters.  The Broadway score features Elton John and Tim Rice’s music from The Lion King animated film along with many new numbers. The resulting sound of The Lion King is a fusion of Western popular music and the distinctive sounds and rhythms of Africa.

Thomas Schumacher, Producer and President of Disney Theatrical Productions said, “Australia has embraced our Disney stage musicals as warmly as audiences anywhere in the world and we are thrilled that The Lion King is being invited back. We look forward to re-introducing Sydney to Julie Taymor’s singular, captivating vision.”

The Lion King is an established tourism magnet for Sydney.  The last season ran for almost two years and played to 1.35 million people.  NSW Minister for Tourism, Major Events and the Arts, George Souris said “We wanted to ensure that Sydney would host one of the world’s most enduring musical events.” The 2013 production is expected to attract 50,000 visitors from interstate and overseas generating $36 million in new money for NSW.

Top photo: The opening number ‘The Circle of Life’ from The Lion King, Las Vegas.  ©2009, Disney.  Photo by Joan Marcus.

Published by Dance Informa dance magazine – everything dance in Australia – dance news, dance auditions & dance events.

How much do you know about jazz dance icon Bob Fosse?

By Rain Francis.

1. Which of the following characters would you NOT find in Chicago?

a) Mary Sunshine
b) Roxy Hart
c) Lilli Vanessi
d) Billy Flynn

2. In the 1972 film Cabaret, Sally Bowles is a performer at what club?

a) The Kitten Klub
b) The Kit Kat Klub
c) The Top Kat Klub
d) Top Hats ‘n’ Kats

3. The 1953 film Kiss Me Kate was inspired by which Shakespeare play?

a) Romeo and Juliet
b) The Taming of the Shrew
c) Much Ado About Nothing
d) Othello

4. The video for Beyonce’s Single Ladies was inspired by what Bob Fosse number?

a) All That Jazz
b) I Gotcha
c) Mexican Breakfast
d) Bye Bye Blackbird

5. Rich Man’s Frug is a number from which Fosse film and stage show?

a) Sweet Charity
b) Pippin
c) The Pajama Game
d) Damn Yankees

6. In the semi-autobiographical All That Jazz, who plays the elder “Joe Gideon”, the character based on Bob Fosse?

a) William Shatner
b) Michael York
c) David Hasselhoff
d) Roy Scheider

7. As a Choreographer and Director, Fosse won nine Tony Awards and one Academy Award. What film was the Oscar for?

a) Cabaret
b) The Little Prince
c) Lenny
d) Kiss Me Kate

8. In the 1969 film Sweet Charity, who played Charity Hope Valentine?

a) Gwen Verdon
b) Shirley MacLaine
c) Liza Minnelli
d) Ann Reinking

9. Which of the following is NOT a number in The Pajama Game?

a) Steam Heat
b) Hernando’s Hideaway
c) Shoeless Joe from Hannibal, Mo
d) Small Talk

10. What moniker is given to Amos Hart in Chicago?

a) Fred Casely
b) Mister Cellophane
c) Pal Joey
d) Mr. Applegate

Answers:
1 – c; 2 – b; 3 – b; 4 – c; 5 – a; 6 – d; 7 – a 8 – b; 9 – c; 10 – b

Top photo: The Female Ensemble in Australia’s Chicago. Photo by Jeff Busby, 2009.

Published by Dance Informa dance magazine – everything dance in Australia – dance auditions, dance news, dance events and resources for dance teachers.

By Rebecca Martin.
Photos and video by Ashley Weidner.

The day before A Chorus Line’s Melbourne premiere, Dance Informa caught up with performers Joshua Horner and Samantha Dodemaide, having previously featured them in the November 2011 issue just as rehearsals were commencing.  Since November, Josh and Sam have completed the show’s Adelaide season and spent a rare day off at the beach on Australia Day.  Cast as ballet dancer ‘Lois’ in the production, Samantha is also understudy for ‘Cassie’, one of the biggest roles in the show, in addition to covering for the role of ‘Moralez’.  Joshua has put in strong performances as the teacher ‘Zac’, receiving rave reviews from both critics and audiences.

Dressed in the iconic gold sequined costumes from the show’s finale, Sam and Josh were energized and enthusiastic about their time on “the line”.  Their roles provided challenges, however, with Sam needing to hone her ballet technique to sufficiently convince audiences that she was a penultimate bun head when playing the role of ‘Lois’.  A graduate of Patrick Studios in Melbourne, Sam’s strengths are in musical theatre, yet she impressed the casting panel enough to give her the role of a ballet dancer.  When off stage, Sam utilizes her strong vocals to provide support to the dancers singing on stage.  Josh’s strengths, on the other hand, are in dancing but he has had to learn to hold a tune in order to belt out One Singular Sensation at the show’s conclusion.

The dancers underwent training specific to the style of dance required in the show and were also challenged by the exacting choreography which allowed little room for error or personal interpretation.  While some days their bodies’ ache, the experience of being on stage in one of the most famous dance shows of all time makes up for any physical pain.  For both Sam and Josh, performing in A Chorus Line has been personally and creatively enriching, and they are hopeful that the production will tour to more Australian cities and be presented overseas.

Watch Josh Horner talk about life behind the curtain:

Tickets to the Melbourne season of A Chorus Line are still available, with the show closing on March 11. A Chorus Line will then travel to Sydney’s Capitol Theatre for 21 performances from July 20.

Published by Dance Informa dance magazine – everything dance in Australia – dance news, dance auditions & dance events.

West Side Story with the Sydney Symphony Orchestra

Sydney Opera House
27 January 2012
As part of Sydney Festival

By Elizabeth Ashley.

The iconic film West Side Story, with its musical interpretation of Shakespeare’s Romeo and Juliet, is seen as one of the greatest film musicals, winning an unsurpassed 10 Academy awards in 1961.  Central to the film’s success is the interplay of Leonard Bernstein’s music and the brilliance of Jerome Robbins’ choreography.

In an attempt to highlight these two elements, West Side Story was screened to the live music of the Sydney Symphony Orchestra this Sydney Festival. It was a collaboration which drew attention to the film’s musical vibrancy and conveyed an immediacy that can seem lacking in the film.

Part of the collaborative process required the original film to undergo technological surgery, digitally deleting the musical score whilst retaining the singing and speaking voices. Ensuring success would demand perfect synchronisation of the present music and past film. The Sydney Symphony Orchestra, led by Hollywood’s David Newman, achieved this feat whilst interpreting the music.  Newman recognised the risks involved, “You feel like you are on a tightrope going step by step from A to B to C to D.”

Emerging in the Sydney Opera House Concert hall was the vividness of the score and an appreciation of the musicians’ performances as one could hear and see them toiling onstage to give life to the musical.  A disconcerting aspect was the feeling that the orchestra could reach across time and space to cue the actors to their present performance.

But while we can say that Bernstein’s score benefited from this deconstruction and reconstruction how did Robbins’ choreography fare?

Remastering the score drew our attention to Jerome Robbins’ continuing relevance to a new generation of dancers and audience. Robbins’ capacity to convey an emerging urban energy through combining the discipline of ballet with the social and racial tensions of a modern city underlines the film’s iconic dance scenes.  There is no mistaking Robbins’ influence in such movies as The Warriors and the music video of Michael Jackson’s Beat it which strongly quote Robbins’ vision of urban America.

West Side Story also highlights Robbins’ ability to bring a classical ballet sensibility to the production, freeing it from the usual confines of stage and studio and allowing it to explode and expand onto the streets of New York – a city that he loved.  While other choreographers may be content to convey the city on a stage, Robbins’ determination to place dance squarely in the cityscape resulted in a transformation of the balletic body as it interacts and attempts to circumvent the concrete and steel environment of NYC.

This vision of the street may seem quaint and somewhat at odds with our contemporary sensibility, but with West Side Story we have the opportunity to experience one of the earlier versions of street dance.  Dances such as Cool are capable of capturing all the tension of territorial urban posturing and yet remain unencumbered by the earthbound, technologically distracted manner of much contemporary dance.  The raw energy of the urban street conveyed in Robbins’ choreography is in many ways purer in its roots to classical dance and also much more innocent in its vision.

The film’s costumes and general aesthetic is saturated with the American pop culture that reflected the country’s post-war prosperity of the 1950’s. It suggests a time when the dance world was more integrated and reflective of the wider cultural atmosphere. West Side Story was an opportunity for Robbins to comment on the very real inter-racial gang wars that were ravaging NYC at this time.

From a 21^st century perspective that has been saturated with American urban culture in its music, dance and fashion, the movie’s innocence can seem out of touch and jarring to younger generations. Particularly the almost all white “Caribbean” cast with their fake tans.  One also gets the impression that Robbins’ interpretation of Puerto Rican street dance is closer to a Spanish interpretation of the ballet Carmen rather than Afro-Latin folkloric forms that rule the streets.

Nevertheless this retrospective exercise, with its combination of resonating energy and synchronisation, allowed the audience to suspend disbelief and be transported back in time to experience Bernstein and Robbins afresh. The synergy of past and present masters enthralled and inspired.

Photo source: www.moviesoddity.com/20-best-new-york-movies/

By Laura Di Orio.

Dance and Broadway fans have a lot to look forward to this year with the new musical drama, Smash. With an all-star cast, exciting choreography and Steven Spielberg behind it all, this newest show to hit the dance television craze is sure to be a … well, smash.

Smash, which premieres in February on Foxtels’ W channel, tells the story of producing a Broadway musical – the ups and downs, the casting issues and real-life drama that threatens to hinder its progress. Debra Messing and Christian Borle play Julia and Tom, a successful songwriting duo, who hope to freshen up the Broadway scene and create a new musical based on Marilyn Monroe. Angelica Huston plays the musical’s producer, and other big stars like Uma Thurman and Bernadette Peters will make appearances throughout the series.

As if the theatre drama wasn’t enough for the characters, issues in life outside – an adoption and a potential divorce, just to name a few – make things even more difficult. But, like in life, the show must go on, and Smash’s Monroe musical must fight its way through opening night, when it’s up to the audience to determine its success.

Cast of Smash in rehearsal. Photo by Will Hart/NBC

The team behind Smash is a strong one – many with a Broadway past – and everyone is attached to the idea of making the show as realistic as possible. Spielberg will team with Craig Zadan and Neil Meron, both adept in Broadway shows and musical-inspired movies (they produced Chicago and Hairspray), as Smash’s executive producers. Marc Shaiman and Scott Wittman, songwriters from Hairspray, will write Smash’s catchy tunes.

Josh Bergasse, a NYC-based choreographer and faculty member at Broadway Dance Center, is the show’s lead choreographer for season one. Bergasse himself has danced on Broadway in Hairspray and The Life, and also on tour in Movin’ Out and West Side Story. With Bergasse in reign of the moves, Smash’s numbers will be exciting and athletic.

Already there is a strong online community for Smash’s fans, who have begun to proclaim themselves as ‘Team Ivy’ or ‘Team Karen’ and many of Smash’s songs will be available for sale on iTunes each week.

When the show starts airing this month, tell us what you think by posting your comments below.

Top photo: Megan Hilty as ‘Ivy Lynn’ in Smash. Photo by Will Hart/NBC

Adelaide Festival Centre will bring some of the world’s best ballet companies and musicals to Adelaide through new Musicals on Film and Dance on Film programs, commencing on February 8 in the Dunstan Playhouse, with screenings throughout the year.

The inaugural Dance on Film series in 2012 will bring some of the biggest companies and most beautiful ballets to the screen. The series begins with the Royal Ballet performing the much loved classic Sleeping Beauty on Friday February 10 at 6.30pm. Be enthralled as Aurora is cursed by the wicked fairy Carabosse, in one of the most famous ballets in storybook classical repertoire.

The internationally acclaimed Paris Opera Ballet performs Swan Lake on April 16 at 11am and Profokiev’s Cinderella on October 19 at 6.30pm. Revel in the strains of Tchaikovsky’s composition as Odette and Prince Seigfried’s doomed love unfolds in Swan Lake, or take in the choreography of legendary dancer Rudolf Nureyev in Cinderella.

The multi-award winning film Life In Movement comes to the Festival Centre on August 2. Life In Movement tells the story of renowned choreographer Tania Liedtke, depicting the rising star and the tragic loss felt by the arts community with her passing. Created by South Australian company Closer Productions, the film is an unforgettable look at creativity and mortality. Prior to the screening, the short film To My Suite will premiere.

Musicals On Film is also a new program for 2012, launching in grand style at 10am on Wednesday February 8 with one of the most popular and awarded musical films of all time, My Fair Lady. The film won eight Academy Awards® and is a verbal, visual and musical feast, starring a suave Rex Harrison and the gorgeous Audrey Hepburn showing off Cecil Beaton’s exquisite costumes.

The second showing in the Musicals on Film program, screened in November, is the classic American musical Show Boat, starring talented soprano Kathryn Grayson, the beautiful Ava Gardner and a charismatic Howard Keel. This cinematic classic from the ‘golden age’ of movie musicals is sure to delight audiences.

The Musicals On Film matinee season will be hosted by ABC 891 presenter, film buff and raconteur Peter Goers and will include gossip about the glamorous, with prizes for lucky attendees.

Adelaide Festival Centre CEO and Artistic Director Douglas Gautier says, “I am delighted to introduce a film component into Adelaide Festival Centre’s program for 2012. The Musicals on Film and Dance on Film series will bring some of the world’s best actors, dancers, and companies to life on the big screen right here in Adelaide. It’s a great opportunity to experience some of the very best performances from the comfort of the Dunstan Playhouse, adding to the live feeling.”

For further information visit www.adelaidefestivalcentre.com.au

Adelaide Festival Centre, Festival Theatre
January 2012 

By Joanne McDonald.

If you grew up in the eighties, and you were dance mad, then the 1985 movie version of A Chorus Line may well have been one of your favourite movies and the inspiration for dreams of a dancers’ life.  Certainly that’s the case for me.  The original production of A Chorus Line premiered in 1975 and became, at the time, the longest running musical on Broadway, winning not only a string of Tony Awards, but also prestigious awards for drama.  A Chorus Line was a new breed of musical with a back story that could stand alone – not merely a prop for the musical numbers – though these are outstanding also.

Any new production of this landmark musical has a lot to live up to, but also much material for the foundation of a great piece of theatre.  The new production at the Adelaide Festival Centre produced by Tim Lawson and TML Enterprises certainly delivered.

As the lights went up and the show began, the scripted dialogue and American accents gave me concern that this would be a mere imitation.  But once my ear adjusted to the accents, I realised the performance by most of the cast had real depth, and at times, a quirky humour. Some of the characters were particularly likeable – particularly Debora Krizak as Sheila, Ashley McKenzie as Bobby, Hayley Winch as Val and Rohan Browne as Greg.   ‘At The Ballet’ sung by the characters of Sheila, Bebe and Maggie was incredibly moving.  Karlee Misipeka’s interpretation of ‘Nothing’ by Diana, epitomised the character’s frustration and feelings of isolation, while also entertaining us with hilarious anecdotes and an inspirational determination to succeed.  But the best thing about ‘Nothing’ was Misipeka’s vocals.  ‘Stunning’ is the word I think best describes her voice, or perhaps ‘angelic’.  In fact, it is the singing in this production of A Chorus Line that is the show’s greatest strength, particularly the voices of Misipeka, Krizak, Monique Sallé (Bebe) and Stephanie Grigg (Maggie).

There were a couple of scenes that were a little disappointing.  Euan Doidge’s performance of Paul San Marco, revealing painful experiences from his youth, did not move me as it should have. And the potentially exuberant number ‘I Can Do That’ by Mike (performed by James Maxfield) did not quite hit the mark, although this is more due to the choreography than the performance.  At the end of the number we had a glimpse of Maxfield’s acrobatic ability, but it would have been great to see more spectacular tricks throughout the piece.

The staging was done well.  For example, the contrast between the bright lights when the dancers were standing on the line and the tableaus of dancers during the montages was very effective.  Unfortunately, the costuming was somewhat disappointing.  It was appropriate, yet not flattering – which is at odds with the idea of dancers trying to look their best for an audition in order to get the part.

It would also have been wonderful to see the potential of the dancers more in the choreography.  For example, ‘The Music and the Mirror’, performed by Anita Louise Combe as Cassie, gave the dancer very little opportunity to sparkle.  For most of the number I thought perhaps Combe was more a singer than a dancer, but when she got to the end and started to move, it was clear she was absolutely a dancer.  But still, she looked restrained, as if the choreography didn’t provide the opportunity for her to fully extend herself.

The bottom line … should you see this production of A Chorus Line?  Absolutely!  It is a classic, a landmark musical, and worth seeing. It is well produced and well performed.  Entertaining.  Engaging.   Moving.  Inspirational.

Merry Christmas Dance Informa readers!
We have some wonderful Christmas presents for 4 lucky readers:

Win a Beautiful Dance Print
or Tickets to A Chorus Line!

WIN this unique canvas art-print by Dwyer Design Co!

This artwork will add a splash of elegance and artistic-fun on your wall. The bold brushstrokes provoke a sense of movement in the painting and help the viewer experience the energy of the dancer.

The canvas measures 30cm (h) x 30cm (w) x 3cm (d) and has a satin textured finish.

This artwork is part of a series called “The Art of Dance” by Dwyer Design Co. which combines two amazing expressions of artistry: dance and art.  To see the full “The Art of Dance” series see www.dwyerdesignco.com

To Enter
Email Dance Informa at
info@danceinforma.com with
Your Name, Date of Birth, Full Address, Phone Number and ‘Your Christmas Wish’.
Good luck!

WIN a Double Pass to A Chorus Line at Adelaide Festival Centre!

Direct from Broadway and a U.S Tour, an all-new Australian production of one the most successful American Broadway musicals of all time, A Chorus Line is coming to Adelaide Festival Centre’for a limited season beginning December 31.

A Chorus Line tells the tale of 17 dancers desperately auditioning for eight stage roles in a musical. For more information visit www.adelaidefestivalcentre.com.au

Win 1 of 3 Double Passes to the New Year’s Day matinee performance, January 1^st at 3pm.

To Enter
Email Dance Informa at info@danceinforma.com with
Your Name, Date of Birth, Full Address, Phone Number and ‘Your Christmas Wish’.
Good luck!

Competition opens on Dec 5 2011. Competition closes on Dec 18 2011. Winners will be selected at random on Dec 18 at 5:00pm EST and notified by email and/or phone. All entrants must provide an email address, a postal address, full name, phone number and date of birth. All entrants who are not a subscriber to Dance Informa will be given a free subscription. All subscribers can unsubscribe at any time by visiting danceinforma.com/unsubscribe. Minimum entry age is 13 years of age. Prizes will be drawn in Highbury SA. Winners will be published at www.danceinforma.com after they are announced. If not all prizes are claimed, a Second Chance Draw will be held. This competition is held by Dance Informa Pty Ltd of SA. Phone 1300 783 120.

Joshua Horner and Samantha Dodemaide, stars of A Chorus Line.

By Rebecca Martin.

Direct from Broadway and a U.S. Tour, an all-new Australian production of one of the most successful American Broadway musicals of all time, A Chorus Line, is coming to Adelaide and Melbourne. A notoriously difficult musical for a performer, A Chorus Line demands high energy and everyone must be able to sing, dance and act.  It’s the best of the best in one show.  Audiences are set to be blown away by the talent of the Australian cast. 

Hailing from Wyong in New South Wales, Joshua Horner has made the leap from The Australian Ballet to the glitz and glamour of Broadway and television.  Since making the transition into musical theatre, audiences have seen Josh as a judge on Dancing With The Stars, and in productions including Billy Elliot, Dirty Dancing, Tivoli, Movin’ Out, and Guys and Dolls.  With a career that has so far seen him perform on Broadway, in London’s West End, and as a choreographer in Los Angeles, it is with great pleasure that we welcome Josh back home to play the role of Zach in A Chorus Line.

Joining Josh on stage is Samantha Dodemaide, an up-and-coming performer from Melbourne.  At the young age of 22, Sam has already appeared on stage in productions around the world.  From Melbourne, Sam trained at The Children’s Performing Company of Australia, and after graduating from High School, joined Patrick Studios Australia’s (PSA) full time course.  Sam will be featured in the role of Lois.

During breaks in their hectic schedules, Sam and Josh found time to answer questions for Dance Informa readers…

Samantha Dodemaide

Tell us about your background and training Sam.
When I started I wasn’t much of a dancer (I would say more of a skilled mover), until I met the director of PSA, Todd Patrick! This man was determined to make me the best possible dancer I could be. He yelled, pushed, chased me down the room screaming, told me I could jump higher, turn faster or sing better, and I am thankful every day for his unfailing belief, support and encouragement.  After completing 3 years of the course, I landed my first professional job as a part of the ensemble in WICKED at Universal Studios Japan, where I spent 13 wonderful months. This year I decided to develop my skills some more, and returned back to train full time at Patrick Studios Australia’s new Musical Theatre Course, focusing on becoming the most refined and polished performer I can be.

Sam, landing the role of ‘Lois’ in A Chorus Line must have felt like a dream come true. Has the reality sunk in yet?
A dream come true? Well that’s an understatement! I am still so thrilled and overwhelmed and feel very privileged to be given the honour to perform in one of the most classic and momentous shows. Although I really don’t think it will all sink in until we are standing up in that chorus line on stage in front of an audience! That’s when I will have to pinch myself to see if I am dreaming!

Josh, you’ve been performing overseas for some time now.  Is it exciting to be able to come home and perform in Australia?
I’ve had so much awesome feedback from friends and fans of my work saying how excited they are that I’m back performing.  I’m really not out to prove anything to anyone though.  I’m Josh Horner.  I’ve been a consistent worker in the dance industry my whole life, I love this business and I’m passionate about growing and getting better. I encourage anyone to chase their wildest dreams.  That’s all I did, I had dreams and I chased them.  If I can share my passion for performing with Aussie audiences again then it’s a win-win for all.  I appreciate the opportunity to dance again in Australia, especially with a great cast.

Josh Horner. Photo by Damian Tierney

Josh, are you looking forward to returning to the stage after a stint behind the desk on Dancing With The Stars in addition to time spent as a choreographer?
Absolutely.  Well, it is a little daunting.  I made a decision 3 years ago to be done with shows and focus on my own creative ventures, but when I was asked to audition for the show, the inner dancer inside of me was busting to get back to the stage.  It’s also very warming to know I will gain another new musical family. When you do a show you instantly feel a great sense of security and family.  I have missed that feeling.

Where do you call home these days Josh? 
Crazy question.  I just turned 32 and I’m still living like a gypsy.  I have a bed in NY, a car in LA, a car in Wyong and boxes of clothes and belongings everywhere.  I think I still have some in London (laughs).  Home is between LA and Australia at the moment.  I have my Green Card so I divide my time and commitments between both countries.

Sam, your bio for A Chorus Line says that you’ve only ever wanted to dance and sing. If you had to give it all away, what other career path would you follow?
I have been asked this question quite a lot, because people are always surprised when I tell them I’ve only ever wanted to be a performer. It wasn’t always musical theatre that I wanted to do. I originally wanted to be an actress in television, movies, and serious theatre. But then one day at a family function someone gave me a microphone…let’s just say it turned out to be a very long night for everyone! So I never really had to think about it, it was set in stone from a very young age. I wanted to spend the rest of my life on the stage, singing dancing and acting! However, if I really had to give it all away, I would love to be involved in casting. I think being a casting agent would be amazing – discovering talent, and helping make peoples’ dreams come true.

You’ve no doubt done your fair share of auditions over the years Josh, how does it feel to be bringing that experience to audiences with A Chorus Line?
A Chorus Line is a must see show.  The show is all about an audition.  You get to meet all the different characters and I think any dancer or non-dancer can identify with every single one of them. I know many choreographers that I’ve auditioned for across the world have held my career in their hands and its exhilarating putting your talent on the line to see if you’re worthy enough for a place in the show.  It’s a great journey for the audience. 

Sam, what is it about A Chorus Line that you love the most?
What I love most about the show is that it is the story of my life! It tells the audience the story of every performer’s life! This is what we go through, for that thing we love most in our lives.  A Chorus Line lets us share this love and our story with the audience. Some of the characters in A Chorus Line have very deep and complex lives, but the one thing that keeps them going and keeps them together is their passion for performing. Such inspirational stories are told in the show, not only through words but also song and dance! That’s something special!

As a performer you sacrifice a lot. Has it been worth it Josh?
I’ve sacrificed so many aspects of what people call “normal life” to chase my career – birthdays, weddings, relationships.  You sacrifice a lot as a dancer,  and we spend more time preparing for a performance than actually being in the performance, but it’s something about that moment when you are dancing that is complete magic.  If you ask, “Was it worth it?” Absolutely!

Sam, what has been the most challenging aspect of your career thus far?
There are many challenges choosing theatre as your career path. It is sometimes a hard and tiring life for a performer. When we are not performing, we are usually working long and late hours doing other forms of work which are not very enjoyable. Staying motivated after audition knock backs is a huge challenge.  Sometimes it feels like all you are hearing is “no”, and it becomes difficult to pick yourself back up and remind yourself that at the end of all those “no’s” is a big rewarding “YES!” Impatience is also another challenge. I believe that everything happens for a reason, so when there is a show that’s right for me, it will happen, but it’s hard to remain patient while waiting for that right show to come along.

Josh, what has been the highlight of your career thus far? 
To be really honest, I find it really hard to pick one thing.  I look back at my career so far and love it all.  I’ve danced on Broadway and the West End, worked with wonderful creative people, whack in being a judge on a TV dance show and at the same time choreographed a Disneyland parade.  I’d like to think that A Chorus Line will be my new highlight… in fact it probably will be.

Direct from Broadway and a U.S Tour, an all-new Australian production of one the most successful American Broadway musicals of all time, A Chorus Line is coming to Adelaide and Melbourne.

Adelaide’s Debora Krizak will play the sexy, full of attitude character of Sheila Bryant in the stunning Pulitzer Prize and Tony Award winning musical, opening at Adelaide’s Festival Theatre on December 31.

Debora originates from Adelaide where she obtained a Bachelor Of Arts Degree in Performing Arts. Moving to Sydney in 2001, Debora made her music theatre debut in GFO’s The Producers in which she understudied and performed the role of Swedish secretary ‘Ulla’.

Performer Debora Krizak

“I am very excited about performing as Sheila in A Chorus Line and audiences can expect to witness a bird’s eye view into the grueling audition process that is a part of any music theatre performer’s life! It’s high energy, inspiring and full of emotion. Everyone in this show has to dance, sing and act. There’s no hiding. Not to mention the amazing score and iconic Michael Bennett choreography. I’m so thrilled Adelaide is getting a music theatre premiere,” Debora said.

“There are some strong characters in A Chorus Line which tells the stories of the dreams and aspirations of 17 dancers auditioning for eight stage roles in a musical. Sheila is certainly one of those strong characters who as part of her audition tells the story of her difficult childhood, with a mother who lived her life through Sheila and an unfaithful father,” Debora shared.

Sheila is Debora’s dream role. She first saw the film “A Chorus Line” with her Mum in 1985 and has always remembered Sheila who struck a chord with her and her song “At The Ballet” which is such a poignant part in the show.

Debora has also appeared in Calendar Girls, Respect The Musical, played Shania in Karaoke The Musical for Guy Noble and the role of Madame Aubert in Titanic a New Musical. She recently performed as Gina in Stalker Theatre’s physical theatre piece Shanghai Lady Killer. 

Other stage credits of Debora’s include lead vocalist for some of Australia’s most successful corporate touring acts as well as featuring as a solo performer for Tennis Australia, the Australian Grand Prix and the opening ceremony of the Paralympic Games to name a few. Debora has established a successful television career having hosted Network Ten’s The  Music Shop and has featured in many TV commercials, corporate videos and Australian films.

This new contemporary production comes direct from Broadway, directed and re-staged by Baayork Lee, with Musical Supervisor Peter Casey, produced by Tim Lawson and TML Enterprises. Producer Tim Lawson says “Audiences will be blown away by the talent of the cast we have auditioned.”

A Chorus Line

The cast will also include Josh Horner (Billy Elliot on Broadway, Tivoli, Dirty Dancing, Dancing With the Stars) who will play formidable Broadway director, Zach. Josh says “This role of Zach really speaks to me. You see people giving their heart and soul and you are in control of their dreams. I’ve been on both sides of that role so A Chorus Line mirrors perfectly my life as a dancer.”

A Chorus Line was originally conceived, choreographed and directed by Michael Bennett with music by Marvin Hamlisch and lyrics by Edward Kleban.  Director Baayork Lee has been involved in A Chorus Line since 1975, first as a dancer in the original Broadway cast creating the role of Connie, through to directing the show in the U.S. and now in Australia. 

Adelaide Festival Centre CEO and Artistic Director Douglas Gautier says “It’s the musical for anyone who has ever had a dream and put everything on the line to achieve it. Dance is so popular at the moment and we hope all those who love watching dance on television or the stage, together with the many who participate in dance classes will come out for what will be a thoroughly enjoyable night out.”

The original production of A Chorus Line opened in 1975. It won the Pulitzer Prize for Drama, nine Tony Awards, including Best Musical, Score and Book, and the New York Drama Critics’ Circle Award.  It ran for nearly 15 years, closing in 1990 after 6,137 performances, and was revived on Broadway in 2006.

A Chorus Line will run in Adelaide from December 31, before opening in Melbourne on February 4 at Her Majesty’s Theatre.

For more information and tickets visit www.achorusline.com.au