As I was at home indulging in a wonderful (and necessary) facial, a luminous glow in the sky caught my eye. Holy bat guano, Bat Munch! It was the "Lizard Signal"! Super Lizard Diva was off in a rhinestone be-speckled whirlwind. The signal was hailing from the Carondelet Neighborhood. As I flew south over Steak n' Shake a craving for a peanut butter cup shake overcame me. With great will-power, I stayed the course. "In the name of all that is theatre...I go to save the show!"
The bold signal in the Midwest sky lead me to the unfinished Ivory Theatre. Scott Miller of New Line Theatre was distraught. No bathrooms were installed yet and his lead female had to pee!
Can Super Lizard Diva save the day????
To be continued....
Later losers......
Can't Blow My Mind
"Ain't Got No Grass" from HAIR with New Line.
Friday, September 21, 2007
Tuesday, July 17, 2007
Sex, Drugs And Rock & Roll. Oh My!
Well Skanks and Losers, it's time for yet another show with New Line. The Lizard couldn't be happier about it! I LOVE New Line with all of it's drama and weirdness. What a great theatre company.
Scene:
Scotty (the big boss Director) pounded on my front door and begged me on bended knee with tear in eye, to choreograph the phone sex number for "Sex, Drugs and Rock & Roll". I immediately said, "Um, Gosh, I don't know. I'll have to think about it." As I started to close the door, he tore it off the hinges, grabbed my leg and said "Please! Please! Please! Oh god please....We simply won't sell any tickets without your supreme choreographic knowledge." Then he completely broke down, started to hyperventilate. I kicked him two or three times in the ribs to regulate his breathing. At this point, he begged for mercy and my expertise of course. I said, "How pathetic. If you stop sniveling I may consider." Another fast kick to the abs. After Scotty crawled to the doorstep and gave several offers to wash my car (with his tongue), I whispered in his ear "okay, B-hotch".
So, sue me. My dream has always been to write Soap Operas. Geez. Erica Kane rocks!!!
Reality:
Scotty has always been a gentlemen to me. Thanks Scott. You know I'm always ready and willing to choreograph for New Line!
So now I have to research phone sex...bummer...
Scene:
Scotty (the big boss Director) pounded on my front door and begged me on bended knee with tear in eye, to choreograph the phone sex number for "Sex, Drugs and Rock & Roll". I immediately said, "Um, Gosh, I don't know. I'll have to think about it." As I started to close the door, he tore it off the hinges, grabbed my leg and said "Please! Please! Please! Oh god please....We simply won't sell any tickets without your supreme choreographic knowledge." Then he completely broke down, started to hyperventilate. I kicked him two or three times in the ribs to regulate his breathing. At this point, he begged for mercy and my expertise of course. I said, "How pathetic. If you stop sniveling I may consider." Another fast kick to the abs. After Scotty crawled to the doorstep and gave several offers to wash my car (with his tongue), I whispered in his ear "okay, B-hotch".
So, sue me. My dream has always been to write Soap Operas. Geez. Erica Kane rocks!!!
Reality:
Scotty has always been a gentlemen to me. Thanks Scott. You know I'm always ready and willing to choreograph for New Line!
So now I have to research phone sex...bummer...
Thursday, May 3, 2007
Cut the Crap
Urinetown is my kind of town! Once again, I am blessed with a wonderful cast. Everyone moves very well. Rehearsals have been running very smoothly and pain-free. Nothing more painful than a rehearsal filled with repetition because the cast members have two left feet or can't remember the material from rehearsal to rehearsal.
Unrelated to the cast of Urinetown....
okay...people here's the poop scoop.
Adults in STL have this notion that it is enough to just muddle their way through a dance audition. HMMMMM. Interesting. Don't you want to be good at everything?
I have one thing to say: Cut the crap!
There are several great classes out there for ADULTS to learn the basics of dance needed for Musical Theatre. In fact, I can think of one phenomenal place that puts Adults with Adults. The biggest concern that I hear is "will I be in a class with teenagers?". Well, here's how it works.... If all adults have that fear and don't sign up for classes. Yes, you will be in class with teenagers, because they signed up, they come to class, and they stick with it for more than three lessons.
The tuition is needed from the teenagers to pay the teacher. If enough Adults sign-up, then they can have a class all to themselves away from the dreaded teenager....(they are actually truly great people. Remember, we were all teenagers once...)
ADULTS: If you want Adult dance classes get out there and sign up (at Leaping Lizards of course). -AND- Get your friends to sign up. - AND- Be committed. Know that three lessons does not make a great dancer. If the class dwindles down to nothing than the class goes bye-bye.
In a couple of months you will know enough to be comfortable at that next audition. You will also relieve everyone from the pain of having to watch you freak out. Oh yeah, its good for ya too. Dancing is a great way to work out.
Who knows? In a couple years you might look like Jeff Pruett on stage.
If you don't know Jeff, just picture a beautiful man who moves like buttah!
Check out our classes. The link is on the right.
Unrelated to the cast of Urinetown....
okay...people here's the poop scoop.
Adults in STL have this notion that it is enough to just muddle their way through a dance audition. HMMMMM. Interesting. Don't you want to be good at everything?
I have one thing to say: Cut the crap!
There are several great classes out there for ADULTS to learn the basics of dance needed for Musical Theatre. In fact, I can think of one phenomenal place that puts Adults with Adults. The biggest concern that I hear is "will I be in a class with teenagers?". Well, here's how it works.... If all adults have that fear and don't sign up for classes. Yes, you will be in class with teenagers, because they signed up, they come to class, and they stick with it for more than three lessons.
The tuition is needed from the teenagers to pay the teacher. If enough Adults sign-up, then they can have a class all to themselves away from the dreaded teenager....(they are actually truly great people. Remember, we were all teenagers once...)
ADULTS: If you want Adult dance classes get out there and sign up (at Leaping Lizards of course). -AND- Get your friends to sign up. - AND- Be committed. Know that three lessons does not make a great dancer. If the class dwindles down to nothing than the class goes bye-bye.
In a couple of months you will know enough to be comfortable at that next audition. You will also relieve everyone from the pain of having to watch you freak out. Oh yeah, its good for ya too. Dancing is a great way to work out.
Who knows? In a couple years you might look like Jeff Pruett on stage.
If you don't know Jeff, just picture a beautiful man who moves like buttah!
Check out our classes. The link is on the right.
Friday, April 13, 2007
eter i er icked a eck of ickled e ers....
(I noticed that almost everyone had "Pee" in thier headline, so I resisted the urge.)
Another show. Cool! I am so thrilled to be choreographing two shows for New Line this season. Usually I do my standard one show a season. I am so NOT bitching, just merely stating how thankful I am to be spending twice as much time working with top-notch, awesome, talented peeps & coming up with *&%@ed up moves. (I can't curse in this blog because some of my 13 year old students want to start reading my blog. Once a role model, always a role model!)
I am also psyched because Urinetown lends for the off-the wall type of movement I love to do.
Okay, I am very sleep deprived and there is a batch of chocolate chip cookies waiting...I'll get all choroegraphically philosophical on your arses later.
Stanks.
Later losers,
The Lizard
Next blog: choreographic stuff boowah!
Another show. Cool! I am so thrilled to be choreographing two shows for New Line this season. Usually I do my standard one show a season. I am so NOT bitching, just merely stating how thankful I am to be spending twice as much time working with top-notch, awesome, talented peeps & coming up with *&%@ed up moves. (I can't curse in this blog because some of my 13 year old students want to start reading my blog. Once a role model, always a role model!)
I am also psyched because Urinetown lends for the off-the wall type of movement I love to do.
Okay, I am very sleep deprived and there is a batch of chocolate chip cookies waiting...I'll get all choroegraphically philosophical on your arses later.
Stanks.
Later losers,
The Lizard
Next blog: choreographic stuff boowah!
Thursday, March 22, 2007
Night of 100 Stars (1985)-
THIS is Dancin' with the stars. Goes to prove that once the rhythm is in your blood it never goes away!
May we all know this kind of joy...
Wednesday, March 21, 2007
Boys vs. Girls
My poor neglected blog!
So, it has been awhile my friends of dance. But I am back to continue on with my choreographic philosophies...
Boys vs. Girls.
Ah yes, that age old battle between the sexes. This, however, is not about who the alpha is but a battle of styles. Just as no two dance pieces are never exactly alike, neither are the stylistic movements of men and women. Men and women naturally move different from one another. NEWS FLASH!!!
What looks great being performed by a woman will not necessarily look appropriate for a man. And visa versa. Leave the hip swivels, ankle pivots and flared hands for the girls and "Guuuurls" of the theatrical world.
Why would any choreographer have the male ingenue present himself exactly in the same manner of the showgirls sharing the stage with him? Now it goes without saying that shows such as "La Cage Aux Folles" are fair game. Anything goes for the big Guuuurls!
There are many music pieces that are not gender specific. With these pieces, the movement should be geared toward the ensemble as a whole. Once again, understanding the material is where it's at!
So, it has been awhile my friends of dance. But I am back to continue on with my choreographic philosophies...
Boys vs. Girls.
Ah yes, that age old battle between the sexes. This, however, is not about who the alpha is but a battle of styles. Just as no two dance pieces are never exactly alike, neither are the stylistic movements of men and women. Men and women naturally move different from one another. NEWS FLASH!!!
What looks great being performed by a woman will not necessarily look appropriate for a man. And visa versa. Leave the hip swivels, ankle pivots and flared hands for the girls and "Guuuurls" of the theatrical world.
Why would any choreographer have the male ingenue present himself exactly in the same manner of the showgirls sharing the stage with him? Now it goes without saying that shows such as "La Cage Aux Folles" are fair game. Anything goes for the big Guuuurls!
There are many music pieces that are not gender specific. With these pieces, the movement should be geared toward the ensemble as a whole. Once again, understanding the material is where it's at!
Tuesday, March 20, 2007
Tap dance Van Porter and Ted Levy
Totally groovy, Baby!!!!
Enjoy the "flash steps" of these two tap greats!
Put it on your calendar: National Tap Dance Day is May 25th!
Wednesday, February 28, 2007
Every Number is Special...
How true.
Once the choreographer has researched and has a feel for the style, then each number must be analyzed separately. For the audience member there are two types of dance numbers:
1. Audience invitation. Does this piece make the audience feel as if they are invited? The audience should feel as if they are "in" the room with the characters. At the dance. Invited to the party. ie: the beginning of the "Hand Jive" prom scene in Grease. The front proscenium should become less important. The actors' focus should not be just straight forward (downstage). Movements are less presentational. Everything should seem spontaneous. The movements need to be identifiable by the audience. Movements that they can relate to or feel that that they could do themselves.
Your goals is to make the audience member:
a- feel that they would be welcome to jump up and join the cast
b -if they did go crazy and joined the cast, they could do all of the same steps.
c- excited and tired (in a good way) at the end of the number as if they REALLY were in the number.
You can tell by the applause if you achieved the desired effect. The audience will cheer as if they were on the dance floor of a great concert. They feel a part of the music and movement.
2. Spectator. The audience is on the outside watching. ie: "Greased Lightning" or "We Go Together". The audience is there to merely witness the craziness.
With this type of number the proscenium matters more. Now the audience is beyond the "fourth wall" merely catching a glimpse of a private moment. A fly on the wall. Now the movements and stray a little from familiarity. This is a time to "Wow" the audience by showcasing the talents of the performers.
The prom scene in Grease really calls for both, invitation and spectator. The audience is a part of the action until Danny and Cha Cha are left dancing in the contest. Then, both audience and performer are watching the fun.
Next blog: Boys vs. Girls!
Once the choreographer has researched and has a feel for the style, then each number must be analyzed separately. For the audience member there are two types of dance numbers:
1. Audience invitation. Does this piece make the audience feel as if they are invited? The audience should feel as if they are "in" the room with the characters. At the dance. Invited to the party. ie: the beginning of the "Hand Jive" prom scene in Grease. The front proscenium should become less important. The actors' focus should not be just straight forward (downstage). Movements are less presentational. Everything should seem spontaneous. The movements need to be identifiable by the audience. Movements that they can relate to or feel that that they could do themselves.
Your goals is to make the audience member:
a- feel that they would be welcome to jump up and join the cast
b -if they did go crazy and joined the cast, they could do all of the same steps.
c- excited and tired (in a good way) at the end of the number as if they REALLY were in the number.
You can tell by the applause if you achieved the desired effect. The audience will cheer as if they were on the dance floor of a great concert. They feel a part of the music and movement.
2. Spectator. The audience is on the outside watching. ie: "Greased Lightning" or "We Go Together". The audience is there to merely witness the craziness.
With this type of number the proscenium matters more. Now the audience is beyond the "fourth wall" merely catching a glimpse of a private moment. A fly on the wall. Now the movements and stray a little from familiarity. This is a time to "Wow" the audience by showcasing the talents of the performers.
The prom scene in Grease really calls for both, invitation and spectator. The audience is a part of the action until Danny and Cha Cha are left dancing in the contest. Then, both audience and performer are watching the fun.
Next blog: Boys vs. Girls!
Thursday, February 22, 2007
How A South STL Choreographer Thinks...
I was thinking about my blog and realized that I haven't really written much about the choreographic process of GREASE!. Actually, I have NEVER written about the choreographic process of any show of which I was involved.
Wow. Where do I start?
Well, research is probably THE most important part of the job. Jazz squares, grapevines and pivot turns repeated over and over does not make an interesting evening at the theatre. On the same note, just having a minuscule dance vocabulary does not make a dancer a choreographer. This is lost to many who subject their poor cast members to endless choruses of lame, mind-numbing, lack-luster, inappropriate suck ass crap. Meanwhile I sit in the audience reaching for the barf bag that just isn't there because it's a theatre not a plane. Sounds harsh? Bite me...;-P
When I am commissioned to choreograph, I research the show- music, script, & time period. Not only how people danced, but how they lived, dressed, social life, and influences that came before that time period. For instance: The kids in GREASE would have still done some basic swing moves. That's the style that they would have seen their parents do at weddings and social events. These kids were not privileged and would not have gone to cotillions. Any dance they know they learned from their folks, TV and each other while adding the latest moves. They would have picked up on the latest crazes because they were completely tuned in to the more eccentric and hippest influences. At this time in history the musicians were shaking and moving all they had to the new Rock & Roll sounds. Elvis was already a huge figure, but let's not forget Chuck Berry, Little Richard, Bill Haley and The Comets to name a few. Motown was huge with all of the singing groups performing choreography by Cholly Atkins.
The "cool world" was mooooooooovin' and shakin'!
Style is the key. It is extremely important that I seize the style of dance of the time. Once I have a feel for the steps and flavor of the choreography, I now have to ask myself, "If I was a teenager in 1959 working-class Chicago how would my friends and I present this stuff?" The answer in my mind - crazy and wild- pajama party style. Organized chaos.
There is a very fine line in this situation. On one hand, you want the numbers to look spontaneous and "teen-ager" fun and free, but on the other hand you could end up with disastrous, messy pile of steaming dookie. To get the achieved effect, you need a top notch cast. A cast that truly understands their character's role in the theatre cosmos. Just like every person moves differently, every character must also move within his or her own personality. "Cookie cutter" choreography may work fine for some shows, but too many choreographers cannot leave that box. Small cast shows set within a certain time period can especially suffer from "Cookie Cutter Syndrome". This is very serious syndrome where every move is executed exactly alike and every dancer looks like a copied version of the next. Like I said, it works (and is even necessary) for some large cast shows...but not every show. Remember, shows are like the characters themselves- different personalities and histories.
Please I beg of you, the shows just want to be themselves. If you let them breathe and speak, they will shine!
In the next blog -- each number is special in its own way!
Wow. Where do I start?
Well, research is probably THE most important part of the job. Jazz squares, grapevines and pivot turns repeated over and over does not make an interesting evening at the theatre. On the same note, just having a minuscule dance vocabulary does not make a dancer a choreographer. This is lost to many who subject their poor cast members to endless choruses of lame, mind-numbing, lack-luster, inappropriate suck ass crap. Meanwhile I sit in the audience reaching for the barf bag that just isn't there because it's a theatre not a plane. Sounds harsh? Bite me...;-P
When I am commissioned to choreograph, I research the show- music, script, & time period. Not only how people danced, but how they lived, dressed, social life, and influences that came before that time period. For instance: The kids in GREASE would have still done some basic swing moves. That's the style that they would have seen their parents do at weddings and social events. These kids were not privileged and would not have gone to cotillions. Any dance they know they learned from their folks, TV and each other while adding the latest moves. They would have picked up on the latest crazes because they were completely tuned in to the more eccentric and hippest influences. At this time in history the musicians were shaking and moving all they had to the new Rock & Roll sounds. Elvis was already a huge figure, but let's not forget Chuck Berry, Little Richard, Bill Haley and The Comets to name a few. Motown was huge with all of the singing groups performing choreography by Cholly Atkins.
The "cool world" was mooooooooovin' and shakin'!
Style is the key. It is extremely important that I seize the style of dance of the time. Once I have a feel for the steps and flavor of the choreography, I now have to ask myself, "If I was a teenager in 1959 working-class Chicago how would my friends and I present this stuff?" The answer in my mind - crazy and wild- pajama party style. Organized chaos.
There is a very fine line in this situation. On one hand, you want the numbers to look spontaneous and "teen-ager" fun and free, but on the other hand you could end up with disastrous, messy pile of steaming dookie. To get the achieved effect, you need a top notch cast. A cast that truly understands their character's role in the theatre cosmos. Just like every person moves differently, every character must also move within his or her own personality. "Cookie cutter" choreography may work fine for some shows, but too many choreographers cannot leave that box. Small cast shows set within a certain time period can especially suffer from "Cookie Cutter Syndrome". This is very serious syndrome where every move is executed exactly alike and every dancer looks like a copied version of the next. Like I said, it works (and is even necessary) for some large cast shows...but not every show. Remember, shows are like the characters themselves- different personalities and histories.
Please I beg of you, the shows just want to be themselves. If you let them breathe and speak, they will shine!
In the next blog -- each number is special in its own way!
Tuesday, February 20, 2007
Bill Bojangles Robinson Deleted Scene #1
A "Dapper Dan" of his time! One of the greatest tappers ever. Such grace...such style.
Thanks Mr. Bojangles!
Sunday, February 11, 2007
William Shattner ROCKS!
First in this blog, I just want to give big kudos to Mara (Cha Cha) and Brendan (Danny) for two great dance rehearsals. We have finished the Dance Contest and they totally deserve to win! Due to their talents, perseverance and killer moves courtesy of our Dance Captain, Jeffery Pruette, I think we may be ready for one of those suck ass-dance-reality- prime time shows. The ratings will soar through the roof. Move over David Hasselhoff, William Shattner, and the entire cast of "Cop Rock", the New Line Grease Dancers are comin' to Hollywood!
... and I haven't even had my Amaretto Sour yet....
Second...
I need a theatre, bad. The studio's show is this spring and I am having a horrible time finding AFFORDABLE theatre space. Okay, maybe I should have looked sooner, but I've been busy having a baby, moving, taking 20 kids + 9 adults to Disney, choreographing a New Line hit show, being a wife & Mom, and running a business. Damn, I'm a lazy skank!
If you have any ideas concerning my theatre dilemma, please reply.
Stanks.
Friday, February 2, 2007
Here's to bein' a kid again!
Scotty The Director and I had an enjoyable conversation today. During this enjoyable conversation, we discussed how most adults have had the "kid" squeezed out of them. This is mainly due to our everyday jobs insisting that we act maturely and responsibly. What a shame. I have a tear in my eye. I miss those days that I felt indestructible. Taking silly risks with my health, pride or both. Everything seemed brighter, bigger and more colorful.
So, let's make a pact... everyday we adults must do something silly or learn something new. It doesn't matter how small and insignificant it my seem. Remember, to kids NOTHING is insignificant...everything matters! Grab those crayolas and color a picture for your Mom. Ten bucks says that she will still proudly put it on the fridge.
Sunday, January 28, 2007
Wow. Cool! and OUCH!
Wow! What a great cast! Okay, I know I have said that before, but I don't give compliments unless they are REALLY due. So relish in it! We learned a ton of dance today. AMAZING. Even got the director, Scotty on the floor for a little Cha Cha and Box Step.
Major Shout Out to the Dance Captain: Jeffrey Pruett - you are a god-send. Thanks for your dance and input.
Downside: I feel as if I was hit by a MAC truck and then ran over by a parade of Shriners. After rehearsal with New Line, I had a rehearsal with my tap company "Diva La Tap". We look hot and we rock.
But enough dancing, looking hot and rockin' for me today. I'm going to eat some cookies and crawl to bed to die.......................................................................
Major Shout Out to the Dance Captain: Jeffrey Pruett - you are a god-send. Thanks for your dance and input.
Downside: I feel as if I was hit by a MAC truck and then ran over by a parade of Shriners. After rehearsal with New Line, I had a rehearsal with my tap company "Diva La Tap". We look hot and we rock.
But enough dancing, looking hot and rockin' for me today. I'm going to eat some cookies and crawl to bed to die.......................................................................
Thursday, January 18, 2007
To "PT" or not to "PT"?
Okay,
this has nothing to do with Grease!.
However, I have made an observation that I find interesting (I'm probably the only one to find this interesting...typical!).
I am the proud owner of a PT Cruiser. When looking for a parking spot, which drivers often do, I am always amused when there is an open spot next to another PT Cruiser. Of course I take that perfect spot every time! Something about the way two or more of the Cruisers look together I suppose. You know, cars feeling a fondness for their own kind. Then it dawned on me the other day that I am not the only PT owner who does this. Scene: I parked at Walgreen's between two empty spots the other day. Upon my exit, my silver beauty was flanked by another silver and a blue PT! Three in a row. Cool.
My question is: Does "PT Cruiser" mean "Park Together Cruiser"? Hmmmmm............
this has nothing to do with Grease!.
However, I have made an observation that I find interesting (I'm probably the only one to find this interesting...typical!).
I am the proud owner of a PT Cruiser. When looking for a parking spot, which drivers often do, I am always amused when there is an open spot next to another PT Cruiser. Of course I take that perfect spot every time! Something about the way two or more of the Cruisers look together I suppose. You know, cars feeling a fondness for their own kind. Then it dawned on me the other day that I am not the only PT owner who does this. Scene: I parked at Walgreen's between two empty spots the other day. Upon my exit, my silver beauty was flanked by another silver and a blue PT! Three in a row. Cool.
My question is: Does "PT Cruiser" mean "Park Together Cruiser"? Hmmmmm............
Monday, January 15, 2007
GREASE! is the word!
I had my first dance rehearsal with the cast of New Line Theatre's production of "Grease" yesterday. What a great cast! The casting is superb. Everyone is so into the show and gave 100% the whole time. I feel very fortunate! Can't wait for the next rehearsal....if yesterday is any indication, Grease is going to be a riot in two acts!
Wednesday, January 10, 2007
I should be sleeping...
Couldn't sleep so I thought I would create a blog instead...at 4am... Maybe I'll work on some choreography for New Line's production of Grease!. Dunno.
First of all, let me mention how excited I am to be working with such a fun cast. Second, let me mention how excited I am to be working with such a talented cast. And third, let me mention how excited I am to be working with such a talented director. Some of you may be feeling a little queezy right now, but just remember that I have no reason to suck up to anyone.
I meant what I said, I said what I meant, a Lizard is faithful 100 percent!
I'm going back to bed now...Chiao...
First of all, let me mention how excited I am to be working with such a fun cast. Second, let me mention how excited I am to be working with such a talented cast. And third, let me mention how excited I am to be working with such a talented director. Some of you may be feeling a little queezy right now, but just remember that I have no reason to suck up to anyone.
I meant what I said, I said what I meant, a Lizard is faithful 100 percent!
I'm going back to bed now...Chiao...
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