Broadway Bares: Happy Endings

     I won't lie.  I had something to prove with Broadway Bares this year.  I've been doing my thing as a choreographer for a while now, but for some reason people haven't been thinking of me as a performer recently.  I'd go to auditions, deliver on the floor, but just haven't been getting gigs in that capacity.  So I challenged myself to throw down and show that I still 'got it.'  Mission accomplished.

     

     I performed in the "Pied Piper" number choreographed by the incomparable Peter Gregus.  In it, Marty Lawson played the piper who beckoned all his punk-rock, kilt-wearing mates to join him in a throw down testosterone-laden aggressive 'jig.'  We DESTROYED the number.  There were kilts, there was stripping, there were men dancing down.  I have never danced harder or been more naked at Broadway Bares, and I loved every minute of it.  And I'm so grateful for these incredible shots captured by Kevin Thomas Garcia and Matthew Murphy, returning photographer gods that every year document the insanity that is the evening.  

     In addition to my performing duties, I once more assisted mega-talent Michael Lee Scott.  After our collaboration on "Broadway Bares: Beach Burlesque", it was pure joy to get in the studio with him and help out with his number.  For "Happy Endings", he created the "Goldilocks" strip.  Andy Mills played the hapless twink who stumbled into the den of the bears.  And WHAT bears!  Finally, a Broadway Bares tribute to hairy men.  It was a blast welcoming a new crowd into the community!  Pictures of the "Goldilocks" strip below.  Woof!

Official recap of Broadway Bares: Happy Endings HERE.
Talented Photographers KEVIN THOMAS GARCIA and MATTHEW MURPHY.

Assistant Directed Broadway Bares: Beach Burlesque!

     I love BCEFA.  I'm just going to say it.  It is an incredible cause that is close to my heart, and in true Broadway fashion they know how to put on one damn good show.  Last summer I assistant directed BROADWAY BARES: MASTERPIECE for Josh Rhodes and Lee Wilkins.  And the show was utterly fabulous.  Imagine my surprise when I got an email out of the blue asking me to assist again!  This time, though, I got to be much more hands-on.

     BROADWAY BARES: BEACH BURLESQUE was a 'touring' company.  Instead of the mainstage show at Roseland with a cast of over 200, this version was intimate.  26 dancers.  Fire Island.  Fun in the sun.  MICHAEL LEE SCOTT directed and I assisted.  The beauty of BEACH BURLESQUE is that all the performers got to be in multiple numbers.  And because it was a smaller show with a smaller staff, I got to have more responsibility and really show what I could do!  I assisted Michael in creating choreography for the opening number "Burlesque is Back", the Elvis strip "A Little Less Conversation", a beachy strip with naked bathing beauties to Madonna's "Rain", and a cowboy fantasia "A Big Man."  I also got to lead my own rehearsal in restaging the iconic "Humpty" number originally choreographed by the badass DENIS JONES.  Oh, and transitions.  All the little bits and pieces that kept the show flowing along.

     The entire experience was incredible.  The cast were amazing performers and awesome human beings.  The production team and BCEFA liasons were phenomenal.  It was my first experience of Fire Island and it was just magic.  Oh, and in addition to assisting, I strapped on my performer shoes and strutted my stuff with all the rest.  What a dream team!

     You can check out the official recap HERE with a synopsis and photos from the show.

     Oh yeah, and this happened.  Still got it.

"Looping" at the Choreographer's Canvas

     My second time presenting a piece for the Choreographer's Canvas, and my choreo is growing by leaps and bounds!  The first year, I debuted "The Lady in the Street."  It was my first true narrative and my longest piece.  A man seduces a woman and brings her back to his place, but once he gets her in bed she flips the tables and becomes the aggressor (aided by her vengeful fury henchwomen).  About 5 minutes with a cast of 4.  "Looping" is a different beast.

     9 dancers.  Over 5 minutes long.  4 individual vignettes that combine to illustrate an overaching theme.  It was an ambitious dance.  I loved creating it with some fabulous performers and I love the story it tells.  It's emblematic of the work that I enjoy doing.  About human connection.  Contemporary. Romantic.  Real.  I got a fantastic response from this one and I'm so proud to share it with the world.
Without further ado...

"Looping"

"Looping" dress rehearsal

     In Atlanta, I had an incredible experience sitting back and observing another person's process, but as soon as I got back to NY I needed to be my own artist again.  Stop watching, start doing.  So I began creating a new dance.  "Looping" was originally presented as a part of the 2012 Choreographer's Canvas at MMAC.  While I was rehearsing it, I realized that I wanted to extend my network of collaborators and meet new artists.  I opened my dress rehearsal to photographers who were potentially interested in dance photography.  I had a room full of incredibly talented dancers and had them choreographed to make some incredibly beautiful pictures.  So why not invite more people into that world, just to play and see what develops?  The photographers would have a chance to explore dance photography, the dancers would get some shots they may be able to use for self-promotion, and I'd get to meet some new talent.  Winning all around.  Travis Kelley ended up taking me up on that offer, and as a result I can't praise www.traviskelleyphotography.com enough.  He does stunning work and I'm so lucky that he came to document our rehearsal.  Here's some moments that he captured at our working dress rehearsal.