Broadway Star Joined: 5/24/06
It's similar to the case of "West Side Story", where if there ever were be a revival, the choreography would have to be the same, because I think it is such a huge part to its expression. For example, the choreography is pretty minuscule the first 3 songs, so this makes "The Bitch Of Living"'s explosion of energetic choreography a relevant connection to the characters minds, rather than traditional dances, which obviously do not go on in the characters' minds. In my opinion, none of the other choreographers were able to define their show in that sort of manner.
Now granted, WSS's choreography is far superior, but honestly now, the choreography to Mary Poppins or Curtains, while decent, were completely interchangable, while Spring Awakening's was a more interpretive art rather than traditional dance steps to traditional dance songs.
Shout away.
Broadway Legend Joined: 9/29/04
Eh. I just think that Tony voters confused the brilliant direction with choreography, not knowing where to draw the line. Musical staging vs. choreography... that whole deal.
I have no idea why it won after seeing the show today.
Broadway Legend Joined: 3/20/04
1. They swept everything, so it's no surprise that it won.
2. The choreography in Spring Awakening is far from brilliant (hell, everything about that show is far from brilliant). But what it did have going for it was that it was pretty damn eye-catching, from one of the best modern dance choreographers since Alvin Ailey. Plus, compared to the other nominees (Matthew Bourne's unimpressive Mary Poppins, standard Jerry Mitchell fare in Legally Blonde, and traditional-with-a-capital "T" musical theater dancing from Rob Ashford in Curtans, they awarded it to the most daring dancing.
It's similar to the case of "West Side Story", where if there ever were to be a revival, the choreography would have to be the same, because I think it is such a huge part to its expression.
Well, actually, the reason the choreography would have to be the same if there were ever a revival is the fact that all Jerome Robbins choreography is copyrighted. Any professional revivals of shows that had original choreography by Robbins must use the original choreography as well. He's one of very few choreographers to do this.
^ Exactly. The choreography is all copyrighted for WSS.
Broadway Star Joined: 5/24/06
Well I did not know this. That's interesting.
Understudy Joined: 6/3/07
That's certainly an interesting take on the award. Thank you very much
Broadway Legend Joined: 2/20/04
Not ALL Robbins choreography is copywrighted - only West Side Story and Fiddler. When those shows are licensed, you get a staging guide with all the choreography mapped out in detail. You don't HAVE TO reproduce it exactly, but either way, you have to credit Robbins as the original choreographer.
For shows like GYPSY and THE KING AND I, you can do whatever you like. Most productions just copy Robbins' dances from the movie versions.
In fact, for some of his early shows, the choreography is completely LOST. When ON THE TOWN was revived people asked, "Why didn't they just recreate the Robbins choreography?" The answer is that there is no record of it. When the revue JEROME ROBBINNS' BROADWAY was being put together, Robbins had to track down as many original cast members as he could (in other words, that were still alive), and ask them what they remembered about the choreography.
"Exactly. The choreography is all copyrighted for WSS."
And thank ****ing goodness for that!
Mark, I'm surprised you didn't know that. I mentioned it in our WSS thread, explaining that choreographers aren't interested in being hit with lawsuits (in response to someone saying choreographers aren't interested in doing new choreography for WSS, that's what I meant.
And thank goodness you explained that WSS' choreography is far superior, but I still don't think I can handle the choreography for Spring Awakening and West Side Story being mentioned in the same sentence. Blah.
Leading Actor Joined: 6/19/05
i like your thoughts on the "choreography" being an integral part to the interpretations of the songs but i must also agree with 'thevolleyballer' in saying that excellent directing may have been blurred into musical staging...
that being said...i think its clear that i wasnt pleased with SA taking the choreography award.
and i really have to say that if you think matthew bourne's choreography can easily be recreated or altered in future stagings, i suggest you see some of his stuff :)
just my thoughts...thanks for listening.
Broadway Star Joined: 5/24/06
<< Mark, I'm surprised you didn't know that. I mentioned it in our WSS thread, explaining that choreographers aren't interested in being hit with lawsuits (in response to someone saying choreographers aren't interested in doing new choreography for WSS, that's what I meant. >>
Oh, I thought that was a joke :)
Mark, I've been saying the same thing since it won. Good to know I'm not completely insane.
I still, personally, think that anything other than Spring Awakening should have won for Choreography. All I see is them jumping around and sitting in a chair jumping and pounding their feet on the floor. Anybody can do that. And don't say what they do is unique, because it's not. And I agree with Yankeefan, the other shows might not have the best dancing, but at least they dance in the other shows nominated.
Broadway Legend Joined: 7/27/05
IMO, there's no defending SA winning best choreography. Sorry.
IMO, it deserved the award...but is yet another thread on the subject necessary?
IMO, there's no defending SA winning best choreography. Sorry.
If you're not interested in what other people have to say, why do you read a message board? You should sit and have a conversation with yourself and keep telling yourself how right you are.
Broadway Legend Joined: 4/22/04
I'd like to go back to the original point of this thread: why Mark Rascati believed 'Spring Awakening' won the Tony for choreography (not why it shouldn't have): Bill T. Jones found a way to choreograph movement that captured the rebelliousness and energy of these teenagers. It would've looked ridiculous if these school kids suddenly started doing time steps or shuffle-ball-changes. Jones worked with the props at hand, so he has the boys jumping about the chairs. The choreography in 'SA' is organic to those characters; he even captures the anarchy and joy of 'Totally F*CKed.' For me, his work is exciting & live.
There's terrific work in the other Tony nominees: 'Curtains,' 'Legally Blonde' and 'Mary Poppins.' And to be frank, I expected 'Mary Poppins' to win because it's got giant ensemble numbers - often a favorite with Tony voters. A number of Tony pundits picked 'Mary Poppins' to win, too, so Jones' win was a surprise to many. So why 'SA'? Yes, it picked up many Tonys, but not ALL of them (not sets and not costumes). I guessing that 'Curtains,' 'LB' and 'MP' represented more traditional show dancing. And more traditionally flashier, too. What Jones does is arguably more original and subtle.
One more thing: Bourne, Ashford and Mitchell are all previous Tony winners. By giving a Tony to Jones, the voters got to recognize one of modern dance's premier choreographers.
At any rate, Jones won the Tony. Case closed.
Updated On: 6/21/07 at 03:17 PM
Broadway Legend Joined: 3/20/04
Beautifully articulate statement, as always, Wayman. I wish you still wrote your Playbill.com columns.
Broadway Star Joined: 5/24/06
Yes, thank you, wayman.
Wayman, that was a fantastic explanation.
Haha, I knew as soon as someone mentioned WSS, wickedrentq would show up :)
you know ... i still dont understand the "book" award .... like what criteria is used to decide who should win it.
It won because most Tony voters, it is proven, are big tai chi fans.
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