|re: the choreography|
|Last Edit: ShowGoer 06:47 am EST 11/26/22|
|Posted by: ShowGoer 06:45 am EST 11/26/22|
|In reply to: re: "Hey, Mr. Macy's"???? - KingSpeed 11:19 pm EST 11/25/22|
|This is a good point, on multiple levels.
First of all I didn’t envy the choreographer, who had to turn this idiosyncratic strong woman solo, Don’t Rain on My Parade, into basically a full-company production number for possibly the first time in history… complete with all the tempo oddities in that last minute and a half, including full stops and several time signature changes, going from a march-slash-swing beat to a 60s musical theater power beat to a double-time rideout, with multiple ritards, fermatas and accelerandos… and who, like you say, actually did a surprisingly good job with it.
Then I wondered, where was that brand of choreography in the production? Not that you’d want Fanny’s solos to have danced backup throughout, but it was not only certainly more interesting than the little bit of musical staging offered in Henry Street and A Temporary Arrangement, but better than any dancing in the entire show except for Jared Grimes’s hoofing and the 1 or 2 other tap moments (all of which, one assumes, were handled by the “additional tap choreographer”, up and coming sensation Ayodele Casel, and not the one credited for most of the humdrum workaday dancing).
None of this is in itself a problem, and I’m sure that parade opening sold as many tickets as just about any Broadway show ever showcased on the parade. But it does suggest, if nothing else, a more ambitious production than what’s on stage at the August Wilson, and it made me wonder a) if the show’s regular choreographer actually did it, and b) if in the rehearsal room they’d ever tried or even discussed similar ways to make this Funny Girl different.
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