‘Wicked’ Choreographer on Ariana Grande’s High Kick, Viral Dance Moves and Why ‘No Books Were Harmed’ in ‘Dancing Through Life’

As a choreographer who’s had the pleasure of working on the Wicked film adaptation, I can confidently say that this project was nothing short of magical. The dedication and talent exhibited by each and every cast member were truly awe-inspiring.

As a child, the talented choreographer Christopher Scott often found solace in going to the movies when he felt upset. After moving from Maryland to Los Angeles, Scott frequently visited the Chinese Theatre in Hollywood as a means of dealing with his frustrations.

Scott shared with EbMaster about his experience in the summer of 1998. He saw the movie ‘Blade’ starring Wesley Snipes not just once, but a total of ten times. Whenever he felt upset, he would head to the theater as an escape, making it his way to unwind.

So, when “Wicked” debuted in theaters last month, Scott strolled back into that famed cinema.

In that theater, Scott felt his past self resurface as he grappled with those same emotions. He recalled the immense impact this experience held, for it was a safe haven for him. Now, as he watches his own choreography unfold on screen, there’s an added dimension – a cameo role. Seeing himself appear on screen brought tears to his eyes.” (Scott is the man who takes Elphaba and Glinda’s coats when their train arrives at the Emerald City station.)

It’s worth mentioning that “Wicked” isn’t Scott’s debut venture in enchanting movie magic. In fact, his collaboration with director Jon M. Chu dates back 17 years to “Step Up 2: The Streets.” Since then, they have worked together on multiple projects such as the Step Up series, “In The Heights,” “Jem and the Holograms,” and “Now You See Me 2.” However, none of their previous collaborations have achieved the same level of success as “Wicked” has.

The Universal film featuring Cynthia Erivo and Ariana Grande has earned a total of $779 million globally, with $322 million in domestic box office sales. This movie currently holds the record for the highest-grossing Broadway adaptation domestically, surpassing 1978’s “Grease” ($188.62 million), and ranks second worldwide only to 2008’s “Mamma Mia” ($611 million).

I can’t help but be amazed by more than just the harmonious voices of Erivo and Grande. The captivating choreography by Scott, particularly the “book dance” segment in “What Is This Feeling,” has taken the world by storm. It’s gone viral, with everyone from Broadway ensemble members to Dancing with the Stars champion Jenna Johnson-Chmerkovskiy and even Grande’s brother, Frankie, showcasing their skills on TikTok and Instagram.

@wickedthesoundtrack
Show us your best #WhatIsThisFeeling dance moves 💚💖
♬ original sound – Wicked The Soundtrack

As a dance enthusiast, I find immense validation in the fact that our art form carries power, as demonstrated by those unexpected viral dance moves. Through this film, I’m weaving a narrative, with myself, other storytellers, and Jon leading the charge. Our aim is to provide a captivating cinematic experience. The beauty of this moment lies in offering people another means of finding joy and camaraderie. It truly feels like we’ve succeeded in our mission.

The dance routines in “Wicked” have grown so popular that Scott’s sister, who is a professor at Los Angeles Valley College, came up with a suggestion to him.

Scott mentioned that he had been asked if he would be willing to teach professors a dance for them to share online, potentially boosting college enrollment. If even one student ends up enrolling in college thanks to this video, Scott considers it a wonderful outcome. He spoke about how making the video makes him realize its impact on people. As a child, he was influenced by dance himself and recalls the moment when he first performed in a tap show – that was it for him! It’s satisfying to know that the movie has a tangible effect on people.

Were you surprised the book dance from “What is This Feeling” has gone as viral as it has?

Honestly, I never anticipated a moment from a movie to blow up as much as this one did. If anyone had asked me which scene would go viral, this wasn’t exactly what I had in mind. Frankly, the choreography was challenging – it’s amazing to see people at home practicing that timing, rhythms, and precision. It’s not just a simple dance routine; they’re pulling it off! And let me tell you, both the dancers and Ari were thrilled with that part. As someone who keeps an eye on pop culture trends, I thought, “OK, if something is going to take off, it might just be this.

You’ve said the way you choreographed “Wicked” wasn’t “traditional.” What do you mean by that?

Many dance genres are underrepresented in musical theater, despite shifts in music styles over time. The dance forms have remained largely unchanged. Innovators like Rennie Harris and Camille A. Brown have introduced hip-hop and other contemporary styles to the stage for years, but their work is often hard to find, even on Broadway. As “Wicked” turned 21, there was even less of this representation back then. I believe it’s crucial to convey stories through various dance styles.

How did you decide on the different dance styles? It’s not like you have Ariana Grande krumping. That wouldn’t necessarily be the way to go about it.

You never know — she might deliver. Her talent is crazy.

In my creative journey for “No One Mourns the Wicked,” I never impose a style without considering what fits best. Initially, there was discussion about incorporating dance in the opening scene. But since there’s no actual dancing in the scene, we questioned its purpose. However, this is a world that has just emerged from war, and the inhabitants of Munchkinland believe they are finally safe. This is a time for celebration, a ritual they hold dear. Many real-life cultures dance as part of their celebrations, and we drew inspiration from these practices to enrich our narrative.

Individuals who aren’t fond of musicals often comment, “I simply can’t grasp it. Why do characters suddenly burst into song and dance? Such scenes don’t occur in everyday life.” However, such instances do happen in reality. For instance, when wars end, people take to the streets dancing in jubilation. There’s even a well-known footage at the end of World War II showing a man dancing amidst a crowd celebrating. The scene in “Wicked” where everyone is seen skipping is a direct tribute to that moment.

In the vibrant Emerald City, characterized by its diverse population drawn from various parts of Oz, the adoption of street dance styles is quite particular. With such a multicultural setting, it’s essential to reflect this richness in our expressions. Consequently, you might observe a blend of popping, vogue-influenced moves, jazz steps, brief ballet moments, and Afro dance styles, all adding to the authentic urban atmosphere.

Does “One Short Day” have the most people and the most going on?

In this performance, there were approximately 160 dancers participating. Normally, our team consists of around 60 to 90 dancers, but in a different number, we managed to reach up to 100. However, for the largest set we’ve ever created, designed by Nathan Crowley, we needed to populate it with people due to its vast size.

What was the number you developed first?

As for me, I’ve found myself drawn to the rhythmic melody of “Dancing Through Life.” It resonates deeply with me, much like Fiyero who dances his emotions away. For me, it’s not just about moving my feet; it’s about expressing my feelings in a way that feels most natural – leaping onto tables and stirring up a whirlwind of books.

It was as if he thought to himself, “If I can solve this puzzle…” And indeed, it’s a lengthy sequence of events – a significant part of the narrative unfolds within those digits; it represents a major change because after traversing through the Ozdust Ballroom with “Dancing Through Life,” that journey is quite extensive.

By working on both aspects concurrently, I was able to establish the unique movement for Shiz’s character. This was important because I aimed to portray two distinct cultural aspects associated with a university setting. The dance in the book – not merely dance moves, but a form of expression – serves as a language. Each slap of the book evokes the feeling of an anxious teenager, a state depicted through subtle movements such as the raising and lowering of shoulders. To create this tense and structured dance language was crucial, as it provided Fiyero with something to contrast when he interacts with Shiz.

Tell me about Ariana’s high kick in “Popular.” I understand that was something you discovered she could do in rehearsals?

Ariana was casually messing around and accidentally kicked herself. Everyone in the room exclaimed something like, “Where have you been hiding that move? We need to include it!” So we were left wondering, “How can we incorporate this into our routine?” It wouldn’t make sense for Ariana to do a high kick without reason. However, if anyone can pull off an impromptu sell anywhere, it’s Ariana Grande. But we wanted it to fit seamlessly. Of course, it was decided that the perfect place for it would be in “Popular.

We had been searching for the right dance move to perform within the room, one that incorporated a bit of tap. It was enjoyable and adorable, but not exactly what we were looking for. Being a flexible group, we didn’t push anything further and moved on. However, Ari contracted COVID-19, giving us some spare time. With our hallway serving as a new stage, the lighting was simply breathtaking, showcasing the sunset turning pink in the dorm room. Someone then suggested, “Should we perform the extended version here?” Jon called me over and asked, “Could you teach her something?” I requested two hours, but they could only spare an hour, yet Ari quickly picked it up. She was thriving. She mastered it flawlessly during every take. It seemed like around 15 to 16 takes, and she kept repeating it enthusiastically, like “leg, bam!

What about Cynthia’s abilities stood out?

Cynthia is an authentic dancer who was part of a London-based dance group known as Boy Blue. Impressed by Kenrick Sandy, who co-founded this troupe and has international recognition, I decided to recruit him for our team. A notable moment featuring Kenrick in the Emerald City involves him forcefully placing his cane on the ground, causing the dancers to scatter. This minor action holds significant importance to us since it represents Cynthia’s dance mentor.

‘Wicked’ Choreographer on Ariana Grande’s High Kick, Viral Dance Moves and Why ‘No Books Were Harmed’ in ‘Dancing Through Life’

Initially, upon Cynthia’s arrival, she requested firmness from me, which I provided. It’s difficult because in the stage adaptation of Wicked, Elphaba doesn’t perform dances. However, she feels at ease when it comes to the Ozdust scene. She doesn’t mind the lack of dance, and this approach suits the Broadway production perfectly. In contrast, our interpretation allows Elphaba to dance. Given her proficiency in movement, we needed to discuss her unique dance vocabulary to ensure it was fitting for our production.

During our discussion about Cynthia’s character, she emphasized that this girl shouldn’t be mistaken for a poverty-stricken one. Instead, she’s wealthy, a detail we had to keep in mind throughout the process. Her elegant stance spoke volumes about her aristocratic upbringing and helped me envision her movements. Jon then shared Cynthia’s audition tape with me, and I was captivated by her fluid hand gestures. They seemed so effortless yet full of story; it was mesmerizing. Since a lot of the narrative can be conveyed through our hands, we decided to focus on that aspect in her performance.

What about working with Jonathan Bailey on “Dancing Through Life?” He wasn’t as available during rehearsals because he was shooting another project. He just showed up and could slide books with his feet?

I wasn’t certain if he could pull it off. As a director, I generally view actors as performers, similar to dancers. I tend not to presume they won’t be capable of something. I might suggest what I want them to do, but ultimately, it’s their talent and skill that brings it to life.

I recall that pivotal moment when pages flipped in a tiny book. It’s challenging to replicate that action myself, but we managed to find a solution. We never felt compelled to alter our approach. The actors are intelligent and skilled individuals, so I had confidence they could handle it. Nothing needed adjustment because the task wasn’t too demanding for them.

What else should people know about what went into choreographing this film?

To clarify the situation: The books you see in the library scene are merely props, not actual books. They were created specifically for the film at Sky Studios in London. If you take a close look, they’re not simply covers placed on existing books. I want to assure everyone in the book community that we would never dream of damaging real books. I appreciate your support and love for literature. Barnes & Noble shared this information and the comments are quite amusing. Rest assured, no books were harmed during the filmmaking process. My sister is a professor, my mother an educator, so you can imagine that there was no chance of me using real books for that dance scene. They would have swiftly intervened to protect the books.

2024-12-12 01:17