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American Dance Machine For The 21st Century To Perform Workshop of Robbins, Stroman, Fosse, and Pan Works! 11/4

Related: American Dance Machine for the 21st Century, Robbins, Stroman, Fosse, Pan

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American Dance Machine for the 21st Century (ADM21) will present a workshop presentation of four classic musical theater and film dance numbers on Wednesday, November 14 at New York City Center, Studio 4 at 6 pm. Each piece has been coached by artists intimately involved in their original productions; numbers from CONTACT, Jerome Robbins' BROADWAY, LOVELY TO LOOK AT and BIG DEAL will be presented. The evening will be directed by Artistic Director Margo Sappington and feature live music with musical direction by Eugene Gwozdz. ADM21 is a new not-for-profit dance company founded by Executive Director Nikki Feirt Atkins, dedicated to creating a living and vibrant archive of classic and current notable musical theater choreography.

The November 14 workshop presentation will feature:

“Simply Irresistible” from CONTACT, original choreography by Susan Stroman. Staged by Tome’ Cousins, assisted by LeeAnna Smith and Coached by Susan Stroman

“Mr. Monotony” from Jerome Robbins' BROADWAY, original choreography by Jerome Robbins, Staged by Robert La Fosse. Danced by Georgina Pazcoguin (NYCB), Amar Ramasar (NYCB), Daniel Ulbricht (NYCB) and featuring Amra-Faye Wright (currently starring as Velma in Chicago).

“Smoke Gets In Your Eyes” from the film, LOVELY TO LOOK AT, original choreography by Hermes Pan, Coached by Marge Champion, Staged by Margo Sappington. Danced by Maria Kowroski and Charles Askegard.

“Beat Me Daddy Eight to the Bar” from BIG DEAL, original choreography by Bob Fosse; original choreography recreated by Kathryn Doby.

Nikki Feirt Atkins, Founder and Executive Director of ADM21 and Artistic Director, Margo Sappington, will continue the legacy of the late Lee Theodore, who established The American Dance Machine in 1976. Theodore created a “Living Archive” of Musical Theater Dance to address her belief that “many great choreographic works are lost with the musical they once embellished.” Of concern was that the artistry of each dance would vanish with the artists who created them. That was the impetus that drove The American Dance Machine from its pilot program in 1976 to its final days following the death of Lee Theodore in the late 1980’s.


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