The fascinating thing about the conversation is that "challenging an audience's racist assumptions" is EXACTLY what Oscar Hammerstein was doing in King and I, South Pacific, and even Flower Drum Song. Oscar was more progressive and further to the left of center than his audiences, and he challenged them to open their minds by looking at the humanity of the Thai, Pacific Islander, and Chinese-American characters. Then he made them question their assumptions with songs like &
...Gypsy...Rose stabs Louise and Tulsa when she finds out they're running away and makes Louise and the girls chop up their bodies and make food for Chowsie.
...My Fair Lady...everyone doing the Ascot Gavotte is shot.
It's a serious reach to say that choreography is the same thing as the ACTUAL WRITING OF THE PIECE.
In this case, I beg to differ.
The choreography is an equal component of the writing of the piece.
I would even go so far as to say that the music and the choreography are the GREATEST of the four components, each far greater than the book or even (Sondheim forgive me!) the lyrics.
GeorgeandDot said: "The Robbin's choreography is great, but the image of a bunch of rough, urban gangs prancing around on point makes me chuckle. It's always been a little jarring to me."
Okay, GeorgeandDot--tell me who's on pointe here. No one?
HOW COME when they talk about "reimagining West Side Story," they always attack the Jerome Robbins choreography? Why do they never talk about "reimagining" Arthur's book? Or Steve's lyrics? Or Lenny's music?
Why is it only the choreography that is considered in need of "reimagining"?
(Not that I think any of it is. Just asking, as they say, for a friend.)
