A musical theater dance class used to be very easily defined. The style of movement incorporated specific nuances like outstretched fingers, isolations, and clean, long lines. Combinations often emulated the work of Bob Fosse or Jerome Robbins, or were always danced to the same rotation of well-known golden-age songs.
But the landscape of movement on Broadway is now shifting, and choreographers from different genres of dance are bringing their unique styles to musicals and plays. Camille A. Brown’s blend of 1990s street cyphers and modern dance in Hell’s Kitchen, Andy Blankenbuehler’s intricate gestural work in Hamilton, and Casey Nicholaw’s flashy production numbers in Aladdin may all look vastly different from each other, but they’re all successful because they’re rooted in storytelling. The choreography is intrinsic to the production because it connects directly to the broader narrative plot.
For dance teachers preparing students to enter the theater industry, this requires a new approach to educating them about what makes a piece of dance theatrical. Instead of emphasizing the re-creation of specific body positions and steps, start by building an understanding of the story being told and how, while working within any style of movement. The choreography can deepen that narrative and propel the ideas forward.
Set Up the Story
To effectively teach theater dance, the first step is to define the outside context that will surround a piece of movement. Even if you’re working with a singular song, start by deciding what time period and location the dance takes place in, then begin to develop who the characters are, where they come from, how they interact with each other, and what their motivation for performing this specific choreography is.
Emmy-winning choreographer and dance educator Al Blackstone always emphasizes having a clear point of view in the movement. To him, theater choreography should be approached by a dancer as lines would be approached by an actor—a student must learn to step out of themselves, while still maintaining authenticity, and step into a role. “Someone may be doing the same movement as the dancer next to them,” says Blackstone, “but they’re doing it as their specific character, never just as Dancer #1.” Encourage each of your students to think of their character’s name, age, costume, and the story of how they got to this moment. Create a safe space that invites your dancers to try becoming someone else through the movement.
Broadway shows also don’t only consist of a series of big dance breaks—there are smaller scenes that might contain gestural movement or stylized character work. The ability to effectively communicate during those simpler moments is an equally necessary skill for any dancer wanting to work professionally.
Blackstone suggests incorporating exercises into your class that can help build comfort with these smaller storytelling techniques. Discuss how to be “active in the background without drawing attention,” he says. “And come up with some musicalized acting exercises to take across the floor. For instance, you’ve arrived at a party and you are crossing the ballroom looking for a friend. What are some things that could happen as you cross?”
Layer In the World
It’s also important to remember that in musical theater, performers are required to do much more than just execute dance steps. They have to use facial expressions to convey emotion, move set pieces, work with props, and possibly speak lines and sing—all while upholding the integrity of the choreography, no matter how athletic or complex it may be.
Empower your students by seeing how many of these things you can layer into your class. Add a cup of coffee or a newspaper, use a table and chairs, teach them a few lines of the song—anything that can help bulk up the surrounding world.
Your dancers may feel like they’re diving into unfamiliar territory, but sprinkling in these other skill sets will only strengthen their craft and help them stand out in an audition. Adding context for acting and singing will enhance the dance training, not detract from it. Each skill plays into the others.
Tanya Birl-Torres trained in modern dance before booking The Lion King at age 18. She’s had a long and successful career as a Broadway performer, and she’ll soon make her Broadway lead choreographic debut with the upcoming Midnight in the Garden of Good and Evil. She credits her longevity in the industry to her versatility. “I found that singing made me a better dancer, and the ability to understudy roles made me a better choreographer,” says Birl-Torres. “It’s all a collaborative collective that helps convey something so much greater than one part could do on its own.”
To get inspiration for your class, use the resources around you and immerse yourself in all types of theatrical productions. Andrew Turteltaub, whose background is in contemporary dance but has recently worked as a choreographer and an associate on a number of theater projects, has found his unique style by blending storytelling techniques from all different movement genres. “See everything you can and learn from it, whether that be a big, flashy Broadway show or the most obscure piece of dance you can find,” he says. “To me, dance is an evolutionary art form, but the core of theater must always be based in storytelling. Follow the narrative, and your students will flourish.”
