The beginning of the rehearsal process is filled with trepidation and not just for the actors. The creative team have a lot of questions that they have to answer and they’ve got to be ready for all manner of problems with the script, the score, the rehearsal space – whatever… but hopefully they’ve got a handle on it all and have begun their plans, right? Of course they have.
They’ve copied their scripts, they’ve got the scores, (or at least they are on order), the set is sketched out and costumes are being measured and the choreography is… well… in the choreographers head.
That’s right, there’s generally no guide for the choreographer. No score, no script, no nothing. Except those words in the script that say… [they dance], or in the case of a Shakespeare… [they fight]
So, where does it all come from? And how can you be sure it’s gonna be good? Where’s the inspiration? How is it written out, taught, rehearsed, remembered? Well, sometimes all that’s a tall order to fill.
Just the other week, I began giving some choreography to a group of actors and before I’d begun a step, one of them said, (not too quietly either), “Oh, no, not another jazz square…” Well, the following step was NOT going to be a jazz square, but that little statement epitomizes the challenge of choreography. If an actor’s line in a script is silly or a note is difficult to sing, it isn’t the Director or Music Director’s doing. Sure, the actor can discuss it with them, and perhaps a solution can be found, or sense can be made of it, but if the actor doesn’t like the choreography, well, generally that came directly from the choreographer. Sure, some shows have film versions and some choreographers will lift directly from that source, but generally, I find, they like to create anew, and it can be a pretty daunting task. There’s nothing in the script to guide them – save for the odd stage direction. The only thing they’ve got is the music and often there isn’t a complete version of that. If there IS a complete recording, that can be a godsend. Otherwise it’s just the score, but some choreographers don’t read music and that will make it even more challenging.
It’s always fun to surprise people with something fun and inventive – your cast, your crew, your audience and your colleagues. I know how to read choreography and if I I’m surprised or thrilled by something on a stage, then that means I had an entertaining read at that performance. I’m always striving to provide the same for my colleagues who choreograph – and that means as few jazz squares as possible. And if you don’t know what a jazz square is… well then, you’ve probably never done a musical.
So, now… I’ve got to go find some inspiration for a dance number – again. With NO jazz squares.
