Community Theater Green Room Discussion Board: choreography

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MeMarge
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Joined: 12/29/06
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Topic: choreography
Posted: 12/29/06 at 4:53pm

Sometimes I am at a loss when choreographing for community theatre (and professional for that matter) when the empahsis is almost always on voice not dance ability. How much variablility can I use with "step-together-step-together-turn-around".....I've been pretty successful, but starting to feel 'burnt-out'.......any suggestions??

MeMarge

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Theatrestation
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Posted: 12/30/06 at 2:31am

I am sure many of your cast members can do more than "step-together-step-together-turn-around" Make it a bit more challenging, perhaps focusing much of the number or numbers on those that have more dance ability.

http://www.castbuilding.com
http://www.theatrestation.com

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suzecue1
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Posted: 12/30/06 at 9:04am

I think you may be underestimating their ability. When auditioning for your shows, you should have an area on the audition form where they can put down their dance experience. Then you can put those with the most experience in your dance scenes.

Ours is also a small community theatre, without dance "professionals", but our choreographer gets the best out of everyone. Even the men with zero dance experience can learn something new. Challenge them. Think of yourself as a dance teacher, and not a choreographer, and be proud of your results.

Sue
*****
So many hats.....so few heads!

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MeMarge
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Posted: 12/30/06 at 10:09am

Thanks, for the most part, I AM successful, and our plays look terrific and everyone gives me 110%.......I'm just looking for input and other ideas.

MeMarge

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B-M-D
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Joined: 11/03/05
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Posted: 12/30/06 at 10:54am

A couple of thoughts:

Don't mess with succes.

Look for more challenging shows for yourself that might require more experienced or talented dancers.

If you're feeling burnt out maybe it's just as simple as taking some time off from it for awhile.

"Dying is easy, comedy is hard."

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DWolfman
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Joined: 7/07/05
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Posted: 12/30/06 at 12:11pm

Please accept these virtual thanks from a less than graceful participant who greatly appreciates your KISS (keep it simple, "sweetheart" ...yeah, I know) approach.

I have suffered under one particular choreographer, herself a lithe and studied dancer who expected all of her actors to accomplish the same steps and routines as her equally adept steppers. The pre-workout "warmup" left me (and a few others) in knots. A fellow sufferer remarked that "when I bend like she wants, it's feels as if I'm trying to fold a watermelon."

A more appreciated and understanding choreographer (equally as lithe and graceful as the afforementioned) won my admiration when in the first dance rehearsal for "Guys and Dolls" she took all us men into a private room and said "Let's do a few simple steps and see what we've got." She then proceeded to build her choreography around the few who could handle more movement and give the rest of us supporting, chorus, and small group work. She did, however, expect us to "excel" in the work she gave and really made it an enjoyable and entertaining experience.

There are no small actors...but you seem to be a great choreographer who can do the small things well.

Thanks again, and enjoy!

Even a man who is pure of heart...

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Topper
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Joined: 1/27/05
Location: United States
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Posts: 543

Posted: 12/30/06 at 12:30pm

I agree with DWolfman. Finding your castmember's strengths and weaknesses and developing your choreography AROUND them makes for a better experience for all (cast and audience).

One of my most frustrating experiences working with a director/choreographer was his insistence that the ENTIRE cast be involved in these Busby Berkley-like chorus numbers where EVERYBODY had to move on cue. Even though they were just simple maneuvers (raising an arm, turning their head, etc) he would spend HOURS drilling, drilling and drilling.

Eventually it became torture for the cast because no matter how much time was spent there would always be SOMEBODY off by a beat or fraction thereof. (We had a cast of old people, young people, experienced, inexperienced and some admittedly with the attention span of a gnat).

Needless to say, there wasn't a single performance where the ENTIRE cast did the moves "correctly" and the director was crushed, believing his show was "ruined!"

I firmly believe it was his own fault. He had unreal expectations and -- instead of working with what he had -- wasted HOURS of rehearsal time pursuing a goal that only he cared about.

Sometimes one must be reminded about the adage of the dancing bear -- it's not so important that the bear dances WELL, but that the bear dances at all.

"None of us really grow up. All we ever do is learn how to behave in public." -- Keith Johnstone

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MeMarge
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Posted: 12/30/06 at 4:51pm

Thank you all sooooo much for your support.....I HAVE learned a few tricks along the way ie: "If people cannot give you 100% of what YOU want, it's because they are giving 100% of what THEY have" When I keep that in mind I'm usually OK, AND, by the time opening night comes around, it is no longer my show..........thanks again....I'll be choreographing 'dancing bears' soon again so this fresh show of support is GREATLY appreciated. HAPPY NEW YEAR.

MeMarge

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red diva
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Joined: 5/15/06
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Posts: 199

Posted: 1/02/07 at 6:11pm

Another suggestion.....you might want to focus on "choreographed movement" rather than "choreographed dance". Not everyone is able to dance, but everyone (well, with a few exceptions) is able to move! Instead of having everyone do a "step-step-touch- turn" to get from here to there, have them walk with the beat in choreographed patterns on the stage. Focus on moving from one stage picture to another. In this way,

you can have the "non-dancers" serve as background for those cast members that can dance.

Also, use your environment in creating movement....if it's in a restaurant, have the actors sitting at the tables using the dishes, silverware, and chairs to create choreographed movement. I once set the number "It's an Art" from "Working" with everyone sitting down except the waitress, doing synchronized movements with the props while the waitress moved (danced) from table to table.

Let those that can dance, dance, and those that can move, move!

"I've worked long and hard to earn the right to be called Diva!"

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MeMarge
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Joined: 12/29/06
Location: United States
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Posts: 0

Posted: 1/02/07 at 6:39pm

Thank you Red Diva (LOVE that).....I've done something very similar when I did HELLO DOLLY and had no, I mean NO dancers for the "Waiters Gallup" that is supposed to be HUGE... it introduces Dolly.......so to the music I had the 'waiters' (they were women to boot!) set the stage to the music. The tables, tablecloths, plates, cups etc etc....worked out great. I'll remember your last line tomorrow nite (I start a new show)..those who can dance, dance and those that move, move. :-)

MeMarge

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Directing
Community Theater Green Room Discussion Board :Producing Theater :Directing

Author	Message
MeMarge Walk-On Joined: 12/29/06 Location: United States Online Status: Offline Posts: 0	Topic: choreography Posted: 12/29/06 at 4:53pm
	Sometimes I am at a loss when choreographing for community theatre (and professional for that matter) when the empahsis is almost always on voice not dance ability. How much variablility can I use with "step-together-step-together-turn-around".....I've been pretty successful, but starting to feel 'burnt-out'.......any suggestions??
	MeMarge

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Theatrestation Star Joined: 11/10/05 Location: United States Online Status: Offline Posts: 65	Posted: 12/30/06 at 2:31am
	I am sure many of your cast members can do more than "step-together-step-together-turn-around" Make it a bit more challenging, perhaps focusing much of the number or numbers on those that have more dance ability.
	http://www.castbuilding.com http://www.theatrestation.com
	IP Logged

suzecue1 Star Joined: 9/19/06 Location: United States Online Status: Offline Posts: 90	Posted: 12/30/06 at 9:04am
	I think you may be underestimating their ability. When auditioning for your shows, you should have an area on the audition form where they can put down their dance experience. Then you can put those with the most experience in your dance scenes. Ours is also a small community theatre, without dance "professionals", but our choreographer gets the best out of everyone. Even the men with zero dance experience can learn something new. Challenge them. Think of yourself as a dance teacher, and not a choreographer, and be proud of your results.
	Sue ***** So many hats.....so few heads!
	IP Logged

MeMarge Walk-On Joined: 12/29/06 Location: United States Online Status: Offline Posts: 0	Posted: 12/30/06 at 10:09am
	Thanks, for the most part, I AM successful, and our plays look terrific and everyone gives me 110%.......I'm just looking for input and other ideas.
	MeMarge
	IP Logged

B-M-D Celebrity Joined: 11/03/05 Location: United States Online Status: Offline Posts: 346	Posted: 12/30/06 at 10:54am
	A couple of thoughts: Don't mess with succes. Look for more challenging shows for yourself that might require more experienced or talented dancers. If you're feeling burnt out maybe it's just as simple as taking some time off from it for awhile.
	BD "Dying is easy, comedy is hard."
	IP Logged

DWolfman Celebrity Joined: 7/07/05 Location: United States Online Status: Offline Posts: 134	Posted: 12/30/06 at 12:11pm
	Please accept these virtual thanks from a less than graceful participant who greatly appreciates your KISS (keep it simple, "sweetheart" ...yeah, I know) approach. I have suffered under one particular choreographer, herself a lithe and studied dancer who expected all of her actors to accomplish the same steps and routines as her equally adept steppers. The pre-workout "warmup" left me (and a few others) in knots. A fellow sufferer remarked that "when I bend like she wants, it's feels as if I'm trying to fold a watermelon." A more appreciated and understanding choreographer (equally as lithe and graceful as the afforementioned) won my admiration when in the first dance rehearsal for "Guys and Dolls" she took all us men into a private room and said "Let's do a few simple steps and see what we've got." She then proceeded to build her choreography around the few who could handle more movement and give the rest of us supporting, chorus, and small group work. She did, however, expect us to "excel" in the work she gave and really made it an enjoyable and entertaining experience. There are no small actors...but you seem to be a great choreographer who can do the small things well. Thanks again, and enjoy!
	Even a man who is pure of heart...
	IP Logged

Topper Celebrity Joined: 1/27/05 Location: United States Online Status: Offline Posts: 543	Posted: 12/30/06 at 12:30pm
	I agree with DWolfman. Finding your castmember's strengths and weaknesses and developing your choreography AROUND them makes for a better experience for all (cast and audience). One of my most frustrating experiences working with a director/choreographer was his insistence that the ENTIRE cast be involved in these Busby Berkley-like chorus numbers where EVERYBODY had to move on cue. Even though they were just simple maneuvers (raising an arm, turning their head, etc) he would spend HOURS drilling, drilling and drilling. Eventually it became torture for the cast because no matter how much time was spent there would always be SOMEBODY off by a beat or fraction thereof. (We had a cast of old people, young people, experienced, inexperienced and some admittedly with the attention span of a gnat). Needless to say, there wasn't a single performance where the ENTIRE cast did the moves "correctly" and the director was crushed, believing his show was "ruined!" I firmly believe it was his own fault. He had unreal expectations and -- instead of working with what he had -- wasted HOURS of rehearsal time pursuing a goal that only he cared about. Sometimes one must be reminded about the adage of the dancing bear -- it's not so important that the bear dances WELL, but that the bear dances at all.
	"None of us really grow up. All we ever do is learn how to behave in public." -- Keith Johnstone
	IP Logged

MeMarge Walk-On Joined: 12/29/06 Location: United States Online Status: Offline Posts: 0	Posted: 12/30/06 at 4:51pm
	Thank you all sooooo much for your support.....I HAVE learned a few tricks along the way ie: "If people cannot give you 100% of what YOU want, it's because they are giving 100% of what THEY have" When I keep that in mind I'm usually OK, AND, by the time opening night comes around, it is no longer my show..........thanks again....I'll be choreographing 'dancing bears' soon again so this fresh show of support is GREATLY appreciated. HAPPY NEW YEAR.
	MeMarge
	IP Logged

red diva Celebrity Joined: 5/15/06 Online Status: Offline Posts: 199	Posted: 1/02/07 at 6:11pm
	Another suggestion.....you might want to focus on "choreographed movement" rather than "choreographed dance". Not everyone is able to dance, but everyone (well, with a few exceptions) is able to move! Instead of having everyone do a "step-step-touch- turn" to get from here to there, have them walk with the beat in choreographed patterns on the stage. Focus on moving from one stage picture to another. In this way, you can have the "non-dancers" serve as background for those cast members that can dance. Also, use your environment in creating movement....if it's in a restaurant, have the actors sitting at the tables using the dishes, silverware, and chairs to create choreographed movement. I once set the number "It's an Art" from "Working" with everyone sitting down except the waitress, doing synchronized movements with the props while the waitress moved (danced) from table to table. Let those that can dance, dance, and those that can move, move!
	"I've worked long and hard to earn the right to be called Diva!"
	IP Logged

MeMarge Walk-On Joined: 12/29/06 Location: United States Online Status: Offline Posts: 0	Posted: 1/02/07 at 6:39pm
	Thank you Red Diva (LOVE that).....I've done something very similar when I did HELLO DOLLY and had no, I mean NO dancers for the "Waiters Gallup" that is supposed to be HUGE... it introduces Dolly.......so to the music I had the 'waiters' (they were women to boot!) set the stage to the music. The tables, tablecloths, plates, cups etc etc....worked out great. I'll remember your last line tomorrow nite (I start a new show)..those who can dance, dance and those that move, move. :-)
	MeMarge
	IP Logged

Topic: choreography( Topic Closed)
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