All tagged Jerome Robbins
It has been a few days now since the news officially dropped about the cuts and revisions made for the Ivan Van Hove-helmed revival of West Side Story preparing to open on Broadway. Some of my readers have pointed out to me that I have been noticeably quiet about what some have deemed is a massacre of a classic and some feel is an innovative take. They are correct. I have been mostly silent on the topic, taking some time to process how I felt about the changes and synthesizing these changes to decide whether or not they will truly influence the integrity of the piece. In recent years I have also tended to write about history, steering away from personal opinions in the hope that what I share ignites enthusiasm about musical theatre classics instead of turning people away from them. Even if a show is dated or is not in line with the thinking of our contemporary views, I believe most older shows (even the flops) have merit and are worthy of remembering. However, enough people have reached out to me over this West Side Story debacle that I suppose I am being called upon to speak in its defense. I will share my thoughts, at risk of much criticism (and maybe not for the reasons you might think). I do not expect everyone to agree with me and hope that each of you will apply your own reason and thought to whether you want to an altered West Side Story, making (or not making) your ticket purchases accordingly.
Jule Styne was a one of the great composers for the Broadway musical stage, having penned the melodies for such classic scores as Gentlemen Prefer Blondes, Bells Are Ringing, Gypsy, and Funny Girl. Styne’s first Broadway score, however came in the form of the breezy and bright High Button Shoes, which premiered in 1947. Paired with lyricist Sammy Cahn, the show is best remembered as the musical that introduced that showtune classic “Papa, Won’t You Dance with Me?” and the clever dance sequences staged by Jerome Robbins.
An old school musical comedy that was not only a perfect star vehicle for an over-the-top leading lady, but also a fine example of a lost art of comedy filled with melody, romance, and pure joy, was the 1950 Broadway outing Call Me Madam. Starring the indelible Ethel Merman, and brimming with a parade of terrific Irving Berlin tunes, Call Me Madam may have had a corny plot, but it provided a night of carefree, escapist theatergoing.
Dance is an essential part of most Broadway musicals and there have been many amazing choreographers over the years. Some have really stood out, either reinventing the form and purpose of dance within Broadway musicals and/or bringing a signature style to their work that has become legendary in its own right. Today, I’d like to celebrate these gods and goddesses of the world of musical theatre dance and talk a little about how each of them left their imprint on the art form.
