Laird – Notes on Article

Hook is A CHORUS LINE. Discusses that show as an apex of ‘dance…integrated into the the
musical as a crucial part of character development and dramatic impact’.
Then goes back to the ‘beginning’.
 Victor Herbert’s LADY OF THE SLIPPER (1912)
o Dances for spectacular effect and throughout scenes
 Vernon and Irene Castle
o Show latest ballroom steps, but some considered too racy
 Ann Pennington, the Astaires, Marilyn Miller
o Introduce idea of dance as describing their characters, but also still have specialty
numbers that will throw in regardless of plot
Idea of dance as entertainment, variety/spectacle – not connected to the plot.

This begins to change in the 1930s, in part because of Hollywood musicals and producers
realizing the appetite of the public for seeing stars dance.

On ON YOUR TOES (1936)

o Balanchine is the first to be ‘honored’ with the listing ‘choreography by’. Dances
include the “Slaughter on 10th Avenue” ballet, and “Princess Zenobia”. Seen as the
exception, so no immediate impact on Bway in general.

o Emphasizes the importance of George Abbott as a director who assembled all the
elements into a whole. He directed TOES, also goes on to mentor Robbins and Fosse
who become director/choreographers, as well as director Hal Prince

Point of importance of willing talent from the ballet world, like Mr. B and AGNES!! But also of
show creators like R and H and the Theatre Guild producers.

On Agnes:
 On OKLAHOMA (1943)
o “Laurie Makes Up Her Mind” as the title of the dream ballet
o Substituted her dancers for the leads
o Use of counterpoint adds to visual appeal
o The subsequent vogue for ballet and ‘dream ballets’ spurred on by Agnes herself

 On ONE TOUCH OF VENUS (1943)

o Music by Weill, lyrics by Ogden Nash
o Story of statue of Venus coming to life

 On BLOOMER GIRL (1944)

o Music by Arlen, lyrics by Harburg
o Contains the “Civil War” ballet showing women’s feelings being left behind as
husbands and sons go off to fight
  On CAROUSEL (1945)
o Dances as plot development
o Opening pantomime introduces the setting and mood
o Louise’s ballet, about expressing her frustrations

 BRIGADOON (1947)
o Lerner and Loewe
o Evocative Scottish element in dances; chase ballet in 2nd act

 On ALLEGRO (1947)
o Agnes becomes the first director/choreographer!!

Other Important Figures:

 Jack Cole – vernacular dance, considered father of concert jazz

 Michael Kidd – acrobatic, athletic style. Not as much success as a director as he has as a
choreographer. He does GUYS AND DOLLS (1950)

On Jerome Robbins:
Successful in both areas. Sets the standard in many ways.

 ON THE TOWN (1944)

o Based on his ballet “Fancy Free”. First collaboration with Bernstein

 HIGH BUTTON SHOES (1947)

o Farce with Phil Silvers

 LOOK MA, I’M DANCING

o Vehicle for Nancy Walker; brewery heiress becomes patron of ballet company

 CALL ME MADAM (1950)

o Berlin show starring Merman as ‘the hostess with the mostest’

 THE KING AND I (1951)

o “Small House of Uncle Thomas” ballet

 THE PAJAMA GAME (1954)

o Robbins gets co-directing credit with Abbott; gets Fosse to choreograph

 BELLS ARE RINGING (1956)

o 1st full directing credit; another collaboration with Comden and Green

 WEST SIDE STORY (1957)

o The fullest integration of dance into story-telling yet seen and the arrival of the
Director/Choreographer.
 o Also the arrival of the Triple Threat – the dancer/singer/actor
o The show was cast from a pool of dancers, or at least all had dance training,
including the romantic leads
o Robbins had the whole show ‘choreographed’

 GYPSY (1959)

 FIDDLER ON THE ROOF (1964)

o Robbins’ last full original Broadway show. Most personal.