Twyla Tharp Answers Readers' Questions
By: BWW News Desk Sep. 18, 2006
BroadwayWorld.com is presenting first in a series of new, interactive interviews on the site in which you, the reader, will have the opportunity to submit questions for some of today's hottest stars, directors, choreographers and more. First up - Twyla Tharp. Readers were recently asked to send questions for Tharp, and the acclaimed director/choreographer has responded to them.
For Movin' Out, on which she collaborated with songwriter Billy Joel, Tharp won a Tony Award, Astaire Award, Drama League Award for Sustained Achievement in Musical Theatre, Drama Desk Award and Outer Critics Circle Award for Outstanding Choreography.She formed Twyla Tharp Dance (TTD), creating 80 pieces, including Nine Sinatra Songs and In the Upper Room. When TTD merged with American Ballet Theatre, she created over a dozen works. She also choreographed for Paris Opera Ballet, The Royal Ballet, New York City Ballet, Boston Ballet, Hubbard Street Dance, Martha Graham Company, and many others.
Other Broadway credits include When We Were Very Young, The Catherine Wheel with David Byrne, and Singin' in the Rain. Tharp's film credits include: collaboration with Milos Forman on Hair, Ragtime and Amadeus; Taylor Hackford on White Nights and James Brooks on I'll Do Anything. Television credits include "Sue's Leg" for PBS's Dance in America; "Making Television Dance," winner of the Chicago International Film Festival Award and which she directed and co-produced; "The Catherine Wheel" for BBC-TV; and "Baryshnikov" by Tharp, which she co-directed and for which she won two Emmy Awards and the Director's Guild of America Award for Outstanding Director Achievement. She has published two books: Push Comes to Shove and The Creative Habit: earn It and Use It for Life.
Tharp has received 17 honorary doctorates, the Vietnam Veterans of America President's Award, the 2004 National Medal of Arts and numerous grants, including the John D. and Catherine T. MacArthur Fellowship. She is a member of the American Academy of Arts and Sciences and an Honorary Member of the American Academy of Arts and Letters. She continues to create, write and lecture.
Tharp's next Broadway show, The Times They Are A-Changin,' starring Michael Arden, Thom Sesma and Caren Lyn Manuel, is a fresh exploration of the timeless tale of two generations at odds and a young man's coming of age, told through the classic songs of music icon Bob Dylan. The musical will open on October 26th at the Brooks Atkinson Theatre. Visit www.thetimestheyareachangin.com for more information.
From Shaun:What do you hope people come away from the show saying?
That it was thought-provoking.
From Kim Coyle:
Which was more of a challenge to choreograph, 'Movin' Out' or 'The Times They Are A-Changin'?' I am a huge fan of 'Movin' Out,' and I can't wait to see 'The Times.'
They are both challenging, and thank you.
From Jolene Chang:
You've choreographed some of the best dancers in the world, such as Baryshnikov. How do you choreograph for people who are not primarily trained as dancers, such as Michael Arden and Thom Sesma?
I choreograph for each person according to their strengths.
From Bob:
Were you a fan of Bob Dylan's? Has he seen the show yet himself or provided any input?
Yes and yes.
From Terri Taliaferro:
What style(s) of dance will be featured in your new musical 'The Times They Are A-Changin'?'
All!
From: R.C.N.
What do you most look for when casting your actors and dancers?
Commitment. Willingness to take a chance.
From Matt Sherrod:
This is your second musical using the work of an amazing artist. How do you choose the songs you use? And what's your strategy for connecting them into a story?
P.S. how is it working with the amazing Michael Arden and Caren Lyn Manuel?
I listen to the whole body of work and create an arc. They and the whole cast are fantastic.
From Mitchell Collins:
Who inspired you to become interested in dance? What were some of your favorite shows and dancers growing up?
My family had a drive-in movie theatre in California and growing up, I saw all the movies now considered musical classics.
Are there any classic shows that you'd like to take on and put your "stamp" on?
No.
From Steve Warren:
Why do you think dance is considered so elite? Sometimes when I bring up the topic (your dance pieces, local NC dance company) and my love for dance I am stared at like I was an alien? (I am a straight, 47 year old white male that hails from Alabama who played football for over ten years and I have to fight for my right to go to dance performances!)
I don't know.
From Ken Munch:
Do you feel you have more or less freedom when working with popular music that contains lyrics (that may or may not tell a specific story), as compared with a classical instrumental piece?
It depends on what you want to do.
From Jack B.:
Do reviews matter to you?
Of course.
From Jamie A. Fuller:
How do you stay "current" and up to date in the dance field?
I just "do my thing."
From John Waymire:
What do you say to those critics who say 'Movin Out' and 'The Times They Are A-Changin' are not 'musicals'?
What is a musical?
From Briana W:
No matter what format, a career in the arts is always very chancy. If you wanted to work in show business when you were younger, did you ever feel nervous about how risky it can be? Did that change your perspective on it, did you have a 'back-up' plan?
No. I knew what I wanted to do.
From Jamie JC:
I was wondering, as a dancer, what has been the most important thing you have learned?
Bodies change.
From Blax:
How was your experience working with Baryshnikov and how did he influence your current work?
He was and is an amazing dancer.
From Matt Sherrod:
You seem to have a knack for making musicals using the songs of an amazing artist. When constructing a musical do you come up with the story first and then figure out which of the artist songs fit with the story, or do you choose certain songs and then try to create a story with them?
Good question. It's a little bit of both actually.
From Joseph Marrella:
My question relates to your incredible staging. As someone who saw 'Movin' Out' 7 times, I was continually blown away with how you would build your staging to create an emotional impact. It took me a while to figure out why I was being moved the way I was. Finally, after trip 4, I realized that part of the reason was due to how you would use the ensemble to reinforce the story and emotion involved, without distracting from the main action at hand. I know that it is somewhat of a broad question, but how do achieve that balance? Also, on another note, can you speak a little bit about your collaborative process? Thank you very much for your time. I am looking forward to seeing 'The Time They Are A-Changin'!
Thank you. Your first question is actually answered quite easily with two words: Counter Point. Your second question regarding collaboration – the process is dependent on those you are collaborating with.
From Amy Doran:
1) How and at what age did you first learn to dance? 2) Given the chance, what play would you like to direct and why?
The answer to your first question is another question--"What do you call dance?" For me, it was at a very young age. The answer to your second question is--"I haven't written it yet." Thanks for your questions.
From Mica Spicka:
Your choreography is so unique and interesting, what is your biggest inspiration?
Good question. And the answer is a simple one: WORK – inspiration is not passive. Creativity is a habit, and the best creativity is the result of good work habits.
From Elva:
When did you realize for the very first time that the world of the arts, especially the art of movement, dance, would be your calling?
Hi. That would have been upon graduating from college and realizing that graduate school was not for me.
I have been a great admirer of your work ever since watching 'Hair' in high school! I'm glad to have this opportunity to get your thoughts on something. I am from Indiana, as I believe you are. Is your art, your style, informed at all by your roots here? If so, do you think that that is a universal truth - that all artists are linked inexorably to their past? Thank you for your time and for sharing your perspective!
I am from Indiana – and my life is totally informed by my roots there. Yes – everyone is linked to their past.
From Jill Fees:Many years ago I took some dance classes. Due to a lax teacher and bad experience I stopped, I lost the desire. I saw 'Movin' Out' on tour a few months ago and it floored me. Watching the dancers make everything look so effortless and joyful made me realize I was missing something and made me want to take dance classes again. I would like to thank you for your contributions to dance for all these years and for making a 40+ kid at heart remember what got me interested in the first place. I can't wait to go see 'The Times They Are A-Changin' when I visit New York.
Many companies all over the world stage your past works. Do you ever look back at a piece and wish you had done something differently or that you could make changes to the original choreography? Or do you just keep moving forward and not look back? Thank you! Keep moving. And I do not look back to previous works. You keep moving forward.
From Joey:
From 'Sinatra Songs' to 'Movin' Out,' you have created dance/theater pieces from song catalogs and found a way to bring out the the deepest level of drama from within the songs. Can you describe the creative process that takes you from listener to dramatist?
Thank you. A good question, and it's a very complex and long one to answer simply . . . but it basically comes from the realization that there is enough in what you are hearing that will sustain excitement for literally thousands of listenings.
From Kristine Sheppard:
Do you feel if you hadn't found Michael Cavanaugh and Darren Holden to be piano men for 'Movin' Out,' that it may not have been a success? I saw it with both of them and then I saw understudies and it was a different show.
No. Although both performers you mentioned were terrific, the success of Movin' Out did not lie in their hands – there was an entire company of committed actor/dancers driving each and every show.
From Patrick J:
Which choreography is do you think more challenging- that of 'Movin' Out' or 'Times They Are a-Changin?'
And how does it feel to work with such a talented person like Caren Lyn Manuel?
Each show's choreography is different with its own unique challenges. The Times They Are A-Changin, which is primarily told through Dylan's songs, is a totally different show than Movin' Out, whose story was told through movement.
Caren Lyn has empathy with the Dylan material and is terrific.
From Andrew Linnie:
Hi. I'd like to ask what inspired you most about Billy Joel's music? How was working with the performer?
The characters in his songs. I enjoy working with performers.
From Chris:
What was going through your mind when you choreographed 'Movin' Out' and how did you come up with such a clever storyline for it? I can't wait to see 'The Times They Are a-Changin'!'
I studied the cultural history of the time. Thank you!
From Ed Panusko:
What was your inspiration while doing the choreography for the film 'Hair.' I though it was brilliantly done.
It was the first movie I worked on. Thank you!
From Gvendo:
What was most memorable for you about your work on the film of 'Hair?
Seeing first-hand how movies are made.
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