Tickets to the New York production of Twyla Tharp’s new dance musical, Come Fly With Me, are now on sale. The story follows four couples as they fall in and out of love. It’s set to Sinatra (music will have recordings of his original voice backed by live accompaniment), so I have high hopes. Here’s a Times review from the show’s Atlanta opening in September. NY previews begin March 1.
DANNY TIDWELL RECORDING WITH "MEMPHIS" CAST
Photo of our Danny Tidwell (in back middle, obviously) recording the Memphis soundtrack, with the Broadway cast. Photo by Jenny Anderson, from Broadway.com.
"MEMPHIS" OPENS ON BROADWAY
“‘Memphis’ is not a comedy but it’s still a cartoon,” says Charles Isherwood.
I went on Friday night and I don’t disagree but I still liked it a lot. Excellent dancing, singing and acting — excellent performers and very good choreography (by Sergio Trujillo — who did chor for “Jersey Boys” as well). I found the basic story a bit facile and, unfortunately Danny Tidwell (my main reason for going) is not in it very much — he’s a dancer but has no speaking part — but still, it’s definitely worth seeing, especially if you like good singing, fun dance numbers that make you want to get up out of your seat, and a story that’s feel-good in a “Dirty Dancing” kind of way.
I’m out the door (Cedar Lake opens at Joyce tonight) but my review is coming soon — along with more pictures!
In the meantime, watch a good audio / slide show at the above NY Times link.
Above photos by Joan Marcus.
BILLY ELLIOT’S STEPHEN HANNA RETURNS TO NEW YORK CITY BALLET
Stephen Hanna is returning to NYCB this winter season. Apparently he’s going to be listed as a guest for the upcoming season, but he’s resuming his principal rank. He leaves the Billy Elliot Broadway cast at the end of this month.
I’ll be excited to see him on the NYCB stage again, especially since the Billy Elliot production, ridiculously, didn’t give him enough to do.
His Billy Elliot replacement hasn’t yet been determined.
SO YOU THINK YOU CAN DANCE SEASON FIVE FINALE
I know this will come as a surprise to everyone (not!), but I really agree with Mary when she commended Evan for having introduced young audiences to a dance style that was in danger of dying: good old fashion Broadway / classic MGM — Fred Astaire, Gene Kelly and all that. To me that has been the highlight of the season. To me, none of the dancers really had the sort of overall star power that Danny Tidwell, for example, had a couple of seasons ago, but Evan shone for what he excelled at. And I really believe audiences went for that — not for his cute face, as Nigel put it, or his good guy-ness, but for the way he brought that classic Broadway / Hollywood style of the ’40s and ’50s charmingly to life with character and intelligence — and with very good technique.
I don’t understand why all the judges kept harping on him. I actually thought he outshone Brandon in the Laurieann Gibson routine (at the beginning, they both jumped and his was sky high, with better lines than Brandon’s). I thought both he and Brandon did well at the more hip hop-y parts, but Evan outshone Brandon with the jumps and turns. But people will probably disagree with me on that…
And I thought he was technically better than Kayla in Tony and Melanie’s Jive. I thought her arms were way too busy. In jive your arms aren’t supposed to be swinging about wildly; your legs and mid-section are supposed to be doing the work. I feel that if you use your arms too much, it’s like your center and legs are weak — it’s like using your arms to haul your body up during sit ups or something. Outwardly you’re doing the movement pattern, but you’re not using the proper muscles. Anyway, I thought his legs were fantastic — those jive kicks had so much strength. And the lifts were spectacular — I love how they slowed them down mid-air to keep in time with the music. They almost looked like they were in slow motion. Difficult! I honestly thought that jive — and Evan’s performance in particular — was one of the best I’ve seen on the show. And how much do I love the audience chanting for him when the judges were being harsh 😀
I do think overall, though, my favorite dance of the night was Jeanine and Brandon’s Paso Doble. What a triumph for Louis van Amstel — holy cow! Normally I don’t like non-traditional Paso music, but this (from The Matrix) worked well — can you say intense?! Great razor sharp movement for both of them, he had some gorgeous turning jumps, and what a beautiful jete into an assisted slide for her. I totally agree with Adam Shankman’s comment that the reason this worked so well is because they focused on the transitions — the movement between the tricks — and not only the flashy things. As my former teacher, Luis, always used to say to me, the actual dancing takes place between the tricks. Nowhere was that better demonstrated than with this Paso. Kudos to everyone involved.
My other favorite moment of the night was Jeanine’s solo — by far the best of the night, I thought. That modern-y tango was so original — part Latin, part American Modern with the staccato, angular movement, the sharp stops, the isolations. And, contrary to Adam, I loved the rose stem held between her teeth. I thought it gave the dance character, and was a bit humorous to boot. And those pirouettes — totally agree with Adam there — WTF! Those were incredible! She began with a group of fouettes to give herself speed, then wound down into a combination of pirouettes that she somehow slowed to a perfect stop at the end, holding her balance after the last one ended, in perfect form. Astonishing — that was like something you’d see from Gillian Murphy and it made me think she’s been holding back all season…
But then … when she danced the Mia Michaels routine side-by-side with Kayla, I thought Kayla outshone her. I thought Kayla had greater height on her kicks and jumps, and overall more precision in her body. I think Kayla has the best modern dance technique of anyone on the show, and it really shows in the way she is able to dance with so much expansiveness, so much breadth, yet still keep such a tight form. In the group routine I found her to be the most expressive, to have the greatest range of movement in her head, neck and torso. And she’s got such stunning leg extensions. That Tyce DiOrio routine she did with Brandon — she really blew me away when she swung her right leg up, held it nearly to her ear, and then he threw her over his head in a split.
I wasn’t as in love with Brandon’s solo this week as I was last (and as the judges were), but I did love how he ended in that sudden straddle split. That is kind of his thing — making these sudden and intense lines. And his solo last week was to die for — so he’s definitely had his moments on the show.
Again, I have no idea who will win tonight. I feel that everyone has something: Kayla’s a great mover, Brandon has strength and intensity and can really blow you away at times, Jeanine excels with original solos and really brought it on this week and did something astounding, and Evan I love for bringing back Gene Kelly. Maybe Evan’s popularity on the show will lead to increased appreciation of Jerome Robbins?… Okay, I can dream 🙂
DANNY TIDWELL IN MEMPHIS CAST
It’s official, according to Playbill, that Danny Tidwell will be in the cast of Memphis when it hits Broadway in late September. Memphis, set in the 50s, is the story of a young white DJ who introduces his radio audiences to “black music” and falls in love with a black diva. Previews begin September 23 and it officially opens October 19th.
Via Rickey.
DANNY TIDWELL UPDATE
You guys! I missed So You Think You Can Dance again last night! I thought it was on on Thursdays (wasn’t it on Thursday last week?) and was all set to tape tonight when commenter Jonathan sent me an email asking me what I thought of the second week of auditions. Argh. Trying to find somewhere online to watch re-runs…
Can’t they wait till ballet season is over?! Seriously, it wasn’t on this early last year right? I don’t remember it conflicting with Blackpool, ABT, and NYCB like this.
Anyway, in lieu of a post on this week’s show, I thought I’d just link to this Rickey post (which is where I got the pic above from), which commenter Jonathan sent me. Thank you, Jonathan!
Apparently, Danny Tidwell will be in the Broadway cast of Memphis, which is scheduled to open in the Fall, and will be in Fire Island over the summer for the Fire Island Dance Festival.
It’s always interesting to keep up with the SYTYCD dancers and see what becomes of their careers, if and how the show has helped them. So far we have Danny and Neil Haskell on Broadway, Sabra in a very cool NY-based contemporary ballet company, Chelsie Hightower and Dmitry Chaplin on Dancing With the Stars… I wish Danny would come back to ABT but I know that’s not going to happen. But it’s okay — there are plenty of fabulous dancers there to keep me in a pretty constant state of awe 🙂
For others who missed last night’s show, I find Ballroom Dance Channel does a good job of straight-forward reviews.
BILLY ELLIOT — WHERE WAS STEPHEN HANNA!!!
I finally got around to seeing Billy Elliot on Broadway. I’d resisted for a while since I’m not a fan of musical theater — at all — but my friend Mika had an extra ticket and talked me into going with her (by telling me there was a lot of dancing) 🙂 And she was right — there was. Unbelievably, I actually liked it!
It follows the movie pretty closely, is the story of a boy from a working-class town in Northeast England who, amidst a miners strike his father and older brother are involved in, falls in love with ballet after mistakenly happening in on a dance class — he’s only supposed to be returning some boxing mitts to their proper place but the teacher sees him and asks him to join class, which he does begrudgingly. Once he realizes he’s pretty good at the turns, etc., he’s a goner. Of course his father believes that ballet is for pansies and, besides, the family doesn’t have the money for expensive lessons and admission to the Royal Ballet Academy and all that, but of course it all works itself out throughout the course of the play.
There was a lot of dancing — not only in obvious places like the dance classes and audition, but in the scenes between the striking miners and their clashes with police — in full riot gear, present to protect Scabs — and the ballet students, and Billy. It was really well orchestrated. Go here to see some great performance photos.
I also loved the actor who played Billy’s father, Gregory Jbara. He’s of course the most dynamic character in the whole thing since he’s got a lot of gender prejudices and class issues to overcome, and when he does finally begin to change, to support his son, he really makes you want to cry.
There are three Billy’s — the one on my night was Trent Kowalik, who was pretty good as well. As a dancer he excels at turns. But of course what I was waiting for the whole time was Stephen Hanna, (former) New York City Ballet principal dancer, who plays the older Billy. I was a bit disappointed in the way they used him though. The film ends with the grown-up Billy doing a portion of Matthew Bourne’s Swan Lake, so I was expecting that. But they completely cut it! And I was so upset! I waited all night to see Stephen Hanna do that! Instead they had this rather corny scene in the middle (pictured above) where the little Billy is having a dream and he dances with the image of who he will become — Stephen Hanna. At first it’s nice — they both do some turns and jumps in tandem, and eventually some partnering with Stephen lifting Kowalik into some lovely little fish dives. But then Hanna straps Kowalik into a harness and for about the final third of the piece, the damn harness carries Kowalik all around stage — it’s like circus tricks, not dance!
After that I kept waiting and waiting for more Stephen, but the only other time we see him is in a non-dance scene with the father. It’s actually a pretty funny scene and Hanna’s able to utilize his acting skills — and he’s pretty good, except that he falls back into an American accent at the end of his last line 🙂 . It’s at the Royal Ballet Academy where Billy is about to try out. Billy’s gone back to change and the father’s left in the hallway alone — still trying to get over his homophobia / fear of male ballet dancers, when along comes Hanna (and then you knew why they needed such a big, muscly dancer), for a smoke. Hanna’s dressed in a blousy 18th Century-style top and tights, so when he takes out a smoke and strikes a nonchalant pose it’s rather funny. Then he starts doing some developpes (slow lift of one leg, with bent knee, into full extension of that leg), lifting his leg right in Jbara’s direction, exposing his crotch. Jbara looks like he’s going to have a heart attack and the audience is cracking up. It ends with Hanna warning Jbara to support his son lest he may lose him to his dream, and the father listens.
But no dancing in that scene. So, I was waiting and waiting until the end, and then, curtain call after curtain call, and dance-within-curtain-call after dance-within-curtain-call and it just never happened. Hanna also plays one of the regular strikers and so is dressed for the final dance scene in his construction boots and all, so I’m thinking maybe he just didn’t have time to do a costume change. But then just have another actor / dancer do those scenes — you certainly don’t need a NYCB principal-caliber dancer for that! — and leave Hanna to the ballet! Argh! I realize Hanna took the role knowing what it would entail, but they really could have used him to much better effect, showing audiences what male ballet dancers are really capable of, and what the future Billy will be like.
Anyway, overall I did enjoy it — for those very well choreographed dance scenes I mentioned above and for the actors, particularly Jbara. It’s worth seeing if you get the chance.