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

As a choreographer and former dancer myself, I am utterly amazed by the sheer dedication and talent displayed by everyone involved in the choreography of “Wicked: The Film”. The way they managed to bring the magic of the stage version onto the big screen is nothing short of extraordinary.

As a child, the talented choreographer Christopher Scott often sought solace at the movies when he felt troubled. Following their relocation from Maryland to Los Angeles, Scott frequently visited the iconic Chinese Theatre in Hollywood as a means to alleviate his frustration.

Scott recalls the summer of ’98, where he’d visit ‘Blade’, featuring Wesley Snipes, repeatedly – sometimes even multiple times a day. He paid for his ticket once but watched it close to ten times in total. Whenever he felt upset, this movie served as his escape,” Scott says, reminiscing about EbMaster. “It was my way of unwinding during those days.

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

Looking back in that theater, I could sense my past self grappling with those feelings, and it all came rushing back to me – how potent this experience truly is,” Scott reminisces. “It was my haven, and now here I am seeing my dance routines unfold on the big screen. Plus, I have a brief appearance. When I appeared on screen, I couldn’t help but shed tears.” (Scott is the man who takes Elphaba and Glinda’s coats when they arrive at the Emerald City train station in the play.)

It’s worth mentioning that “Wicked” isn’t Scott’s initial attempt at crafting enchantment on the silver screen. His collaboration with director Jon M. Chu dates back 17 years to “Step Up 2: The Streets,” and they’ve been working together ever since. They have jointly produced four more “Step Up” films, as well as “In The Heights,” “Jem and the Holograms,” and “Now You See Me 2.” However, their previous projects haven’t been as massive a success as “Wicked” has proven to be.

The film “Universal,” featuring Cynthia Erivo and Ariana Grande, has currently earned a total of $322 million in the U.S. and $457 million globally. It now holds the record for the highest-grossing Broadway adaptation at the domestic box office, surpassing the 1978 release of “Grease” ($188.62 million), and ranks second worldwide only to the 2008 hit “Mamma Mia” ($611 million).

Besides the captivating vocal performances by Erivo and Grande, it’s also Scott’s impressive choreography that’s garnering attention. A standout is the “book dance” sequence in “What Is This Feeling,” which has become viral. On social media platforms like TikTok and Instagram, people ranging from Broadway ensemble members to Dancing with the Stars champion Jenna Johnson-Chmerkovskiy, as well as Grande’s brother Frankie, have showcased their skills in recreating these moves.

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

As a film enthusiast, I find it affirming that our dance-based artistry holds power, especially when those spontaneous moves unexpectedly captivate audiences. Through this movie, I aim to narrate a tale alongside other storytellers, with Jon leading the charge. Our goal is to offer them an immersive cinematic journey. What makes this moment so rewarding is that it provides another means of expression that brings happiness and unity among people. Truly, it feels like we’ve accomplished our mission.

Ever since the captivating choreography in “Wicked” took center stage, it’s sparked quite a buzz. Remarkably, my sister, a esteemed professor at Los Angeles Valley College, came to me with an intriguing concept inspired by this very dance.

Scott mentioned that he was asked if he’d be willing to teach professors a dance for promotion purposes, hoping it would boost enrollment. If just one student ended up enrolling in college because of this video, he considered it a wonderful outcome. Scott expressed that the impact of the video becomes evident when you see how it affects people. He himself was once a child touched by dance, and the first time he performed in a tap show left an indelible impression on him. It’s fulfilling to know that there’s a tangible result from watching the movie.

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

As a dedicated cinephile, I must admit, if anyone had asked me which scene would spark widespread acclaim, I never thought this one would make the cut. Frankly, I didn’t anticipate it going viral due to the intricate choreography – it’s mind-blowing to consider that people are practicing at home, focusing on the timing, rhythms, and precision. It’s a small routine, yet they’re executing it flawlessly! Even the dancers reacted strongly to this part, and Ari’s reaction was equally intense. As someone who keeps a close eye on pop culture trends, I felt a surge of excitement thinking, “If anything is going to create a stir, it just might 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 the world of musical theater. Although music genres may evolve, dance styles often remain the same. There are pioneers like Rennie Harris and Camille A. Brown who have successfully integrated hip-hop and contemporary dance into theater for years, but finding such productions can be challenging on a larger scale. For instance, “Wicked,” which is now 21 years old, had even fewer opportunities to showcase these diverse styles when it first premiered. I strongly believe in the power of storytelling 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.

Initially, I go with what feels organic, avoiding imposing a specific style on the work. For instance, regarding “No One Mourns the Wicked,” there were discussions about whether to include dancing in the opening number. Since there’s no actual dancing on stage, one might wonder why it’s included. However, this is a scenario following the end of a war. The inhabitants of Munchkinland feel secure now, which leads them to celebrate. This is their tradition, and many real-life cultures dance during celebrations, so we drew inspiration from that.

Individuals who dislike musicals often comment, “I can’t wrap my head around it. Why do characters suddenly burst into song and dance? Such scenes aren’t found in everyday reality.” However, it is indeed common for people to express joy or relief through song and dance in real life, as demonstrated by the celebrations following the end of wars. A well-known example is the video footage from the end of World War II, showing a man dancing exuberantly amidst a crowd of jubilant people. This scene serves as inspiration for a shot in “Wicked” where the camera pans out to show everyone skipping, which is a nod to such real-life moments of collective joy and celebration.

In the vibrant Emerald City, known for its diverse population due to being a metropolis in Oz, the street dance scene is incredibly varied. To truly capture the essence of a bustling city, you’ll find a mix of unique dance forms such as popping, vogue-inspired moves, jazz, brief instances of ballet, and Afro dance styles.

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

The performance featured approximately 160 dancers, which was significantly more than our usual range of 60 to 90. In fact, we might have reached as many as 100 dancers for another number. However, production designer Nathan Crowley constructed the largest set we’ve ever encountered, necessitating a large crowd. So, we had to populate it with people.

What was the number you developed first?

Initially, I chose the title “Dancing Through Life,” a tune I’m fond of. In many aspects, I embody Fiyero, expressing emotions through dance instead of words. Moreover, dancing is the most resonant form of expression for me, even if it means jumping on a table and sending books flying.

It was as if he said, “If I can solve this puzzle…”, and it’s quite an extensive sequence. Many events unfold within that sequence; it marks a significant change because he takes “Dancing Through Life” right up to the Ozdust ballroom, which is quite a journey.

By working on both aspects concurrently, I was able to develop the unique movement for Shiz’s character, as I envisioned it having two distinct appearances reflecting the university culture. The dance in the book – not merely a sequence of steps, but a form of expression – serves as a language. When they flip open that book, it evokes the feeling of an anxious teenager. There’s a purpose behind its jerky movements, with the shoulders rising and falling. We needed to establish this tense, structured language so that when Fiyero encounters Shiz, he would have something to challenge or disrupt.

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

Ariana was casually fooling around and accidentally kicked herself. Everyone in the room exclaimed something like, “Why didn’t we see that earlier? We need to include that!” So we were wondering, “Where can we incorporate this event?” It wouldn’t make sense for Ariana to randomly do a high kick. However, if anyone could pull off that move at any given moment, it’s Ariana Grande. But we wanted it to fit seamlessly into the production. Of course, it eventually became apparent that it would be “Popular.

As a cinephile, I had been on the hunt for the perfect dance sequence that would unfold within our movie’s room. It needed a touch of tap flair, but something more lighthearted and adorable was missing – not quite what we were after. We’re not ones to force things in this creative crew, so we moved on. Then, alas! Ari contracted COVID-19, giving us some unexpected downtime. With the hallway now serving as a makeshift set piece, the stunning lighting caught my eye; it reflected the sunset’s pink hues on the dorm room walls. Someone suggested, “Perhaps we should perform the extended version here?” Jon summoned me and asked, “Could you teach her a few moves?” I requested two hours – they generously offered an hour instead – and Ari quickly picked up the choreography. She was living her best life! Each take saw her nailing it with precision. It seemed like we repeated this 15 to 16 times, but she kept going with enthusiasm, “leg, boom!

What about Cynthia’s abilities stood out?

Cynthia is a real deal dancer. She was in a dance crew [in London] called Boy Blue. I was like, “I’ve gotta get ahold of Kenrick [Sandy, who co-founded the troupe].” He’s a big deal, a world-renowned figure. So I hired him. He has a moment in the Emerald City where he slams down a cane and dancers disperse. It’s a small thing, but it means the world to us because that’s Cynthia’s dance mentor.

Initially, upon Cynthia’s arrival, she asked me to be firm with her, which I did. However, it was tough because in the Broadway rendition, Elphaba doesn’t dance. In the Ozdust, she feels uneasy expressing herself through dance, but she doesn’t mind. Their approach – unique and well-suited for the Broadway performance – called for a focus on her movement style. On the other hand, our production includes dancing from Elphaba. Given that she possesses an understanding of choreography, we needed to discuss her dance vocabulary.

During our discussion about the character, it was clear to Cynthia that this girl shouldn’t be portrayed as a destitute, ragged individual. Instead, she emphasized her wealth, suggesting we should take that into account. Every decision we made kept this in mind. Cynthia’s poise reflected her affluent background, which gave me insight into how she might move. Jon then showed me Cynthia’s audition tape, and I was captivated by the graceful movement of her hands. It felt incredibly natural, almost hypnotic. Given the amount of narrative potential in our hands, we decided to explore this aspect further.

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 sure if he could pull it off. I generally consider actors as performers, similar to dancers. I prefer not to doubt their capabilities, assuming they won’t struggle with something. I may suggest they do something, but ultimately it’s up to them to execute it.

I recall that delightful page-turning instance. It’s challenging for me to replicate that action personally. However, we managed to find a solution to pull it off seamlessly without any need for modification. The thought of alteration never crossed our minds since the performers are intelligent and competent individuals who could consistently deliver. There was nothing I needed to adjust as the choreography wasn’t too demanding for them.

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

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

As a movie enthusiast, let me clarify a few points: The books you see in the library scene are merely props, crafted meticulously at Sky Studios in London. They’re not ordinary books with covers haphazardly placed over them. To my fellow book lovers, I want to assure you that we wouldn’t dream of such sacrilege. Barnes & Noble themselves have confirmed this, and the comments on their post are a riot! Rest assured, no books were harmed during the making of this film. My sister, who is an esteemed professor, and my mother, an educator, would have been horrified if I’d been using real books for that dance sequence. Trust me, they wouldn’t let me get away with it on set!

2024-12-12 01:51