franchise player (rollerboogie) wrote in green_room,
franchise player
rollerboogie
green_room

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tell it to the marines.

I saw Movin' Out last night.

So who's got an opinion on the state of dance in musical theater? This is not my forte, but that doesn't stop me from having an opinion. There's a reason I ate Susan Stroman once upon a time--I was pretty goddamned sick of seeing people flipping around in Oklahoma!. I wanted them to just stay on the floor for a few bars and maybe do some nice footwork. Jerry Mitchell rocked my world in The Full Monty, "Michael Jordan's Ball" was one of the smartest dance numbers I'd ever seen--but in Hairspray, honestly, yawn. (Although most of that is derivative of 1960s-era dances, all of which were idiotic to begin with.) The most aggressively obnoxious chorography I've seen of late was the line-dance-ballet melange Melinda Roy turned out for Urban Cowboy--thrusting, thrusting, and then girls got tossed around. (Although! All right, I hate line dancing. So.)

What I don't want out of my dancing is hip thrusts for the sake of hip thrusts. I want grace. I want innovation that doesn't necessarily require acrobatics. Movin' Out showed flashes of greatness but ultimately was just a lot of sweat and muscle--there were a few combatitive numbers that stood out ("Big Shot," "Summer, Highland Falls") but, well...towards the end I saw John Selya do a combination that was astonishing not because he was balancing on his head or whatever but beause his gigantic body was relaxed, soft, graceful--it was a gentle combination and it was about the most astonishing thing I'd seen all night. I didn't know he could do THAT.

So, again, I don't really have the proper tools to talk about this, but OH WELL. I still see it.
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