Newsies on Broadway - Choreography in Newsies the Musical

Uploaded by DanceOn on 17.02.2012

CHRISTOPHER GATTELLI: The dance in the show is
particularly important because it's the perfect marriage of
what it can do to a musical and to a
scrappy group of newsboys.
But their dancing, to me, shows their ethic of how they
deliver the papers.
They may be poor, but they have integrity.
And so their dance kind of shows that.
And I feel like that's why we try to hire technical dancers,
and the dancing is technical and whatnot.
But also, it's, to me, they're flipping and flying, but that
also represents this new generation that's coming up.
Even from my age compared to them, they're so much more
technical in just what they can do now than what we could
do that many years ago, is incredible.
And to see--
there's a line in the show that Teddy Roosevelt says
about there's time for one generation to step aside and
make room for the next.
And to me, that's what the dance is in the show.
It's going, wow, look at this new group of dancers that are
coming up and how completely fantastic they are.
EVAN KASPRZAK: The choreography in the show is
like outrageously physical.
And on top of all the dancing, we're running up stairs, and
we're throwing papers and fighting and all
that kind of stuff.
So it's not just having great dance technique, it's about
just being generally very physical.
RYAN STEELE: In the beginning, he taught us vocabulary.
He taught us, this is like, kick the curb combo for
"Carrying the Banner." And this is hopscotch, "Carrying
the Banner." And there are like each four or
five counts of it.
And then, when we get to staging, he's like, OK, so
this is "Carrying the Banner." You stand here and do kick the
curb, which goes into half of hopscotch.
So it's sort of a formula, but it's a cool way to work.
CHRISTOPHER GATTELLI: I normally focus on one number
at a time, just to keep things clear.
And my normal process is, I go through and
treat it like a scene.
I'm like, what would these boys do?
How would they do this physically?
And then, Alan's score is incredible.
And then just kind of meshing it and seeing what vocabulary
works for our version.
THAYNE JASPERSON: It's really positive, which is nice.
It's like a good energy, not that it's always different
But you know, sometimes you go into a room with a
choreographer, and then you're all just like,
what's going to happen?
This one's nice, like relaxed.
And it's cool, too, because, through the choreography, he's
like, now make this a little sloppier.
And it's like, OK, cool.
Like we get to bring a lot of yourself to it, instead of
being so rigid, everything's got to be just exact.
CHRISTOPHER GATTELLI: I was a fan of the movie growing up.
I mean, I watched it just as much as they did.
And so, when I heard it was coming to the stage, I knew
the opportunity, especially for me, it would bring.
So I was thrilled to be a part of this.