Why Storytelling Is Key to Success in Musical Theater

A few decades ago, the choreography seen across Broadway stages looked remarkably similar. Dancers vying to be in musical theater studied the same movement techniques and perfected the same stylistic nuances—outstretched fingers, isolations, and clean, long lines. In recent years, the landscape has shifted and choreographers from all different genres of dance are bringing their unique styles to Broadway musicals and plays. While Camille A. Brown’s blend of ’90s street styles and modern dance in Hell’s Kitchen, Andy Blankenbuehler’s intricate­ gestural work in Hamilton, and Casey Nicholaw’s flashy production numbers in Aladdin look vastly different from each other, they’re all planted from the same seed: storytelling.

The style of dance may vary dramatically from show to show, but one thing remains the same: For dance to work in a theatrical setting, the emphasis needs to be on narrative and a connection to the larger plot and setting. Instead of a sole focus on re-creating specific body positions and steps, dancers need to develop an understanding of the story and how, working within any style of movement, the choreography can deepen that narrative and propel the ideas forward.

The Big Picture

Andrew Turteltaub, whose background is in contemporary dance, has recently worked as a choreographer and associate on a number of theater projects. He begins his creation process by dissecting the show’s script and score. “When working in a theatrical setting, no matter how the style, vibe, and vocabulary of the movement appear, the root must always be grounded in the core message of the show’s plot,” he says. To effectively study, teach, or create theater dance, the first step is to understand how movement fits into the bigger picture.

Emmy-winning choreographer and dance educator Al Blackstone is motivated by how his choreography can enhance the world that his creative teammates are building together. “Movement adds energy and motion and dimensionality to what the audience experiences,” he says. “Sets and costumes are only effective if there are people to live in them and with them.”

Building Character(s)

To understand the core of theater dance, it’s important to get comfortable with portraying storylines, creating characters, and using facial expressions to convey emotion, all while upholding the integrity of the steps, no matter how athletic or complex they may be. For dancers, this may require diving into new, unfamiliar territory: Acting and singing lessons will enhance dance training, not detract from it, as each skill plays into the others. Tanya Birl-Torres trained in modern dance before booking The Lion King at age 18. She’s had a long and successful career as a Broadway performer, and will soon make her Broadway lead choreographic debut with the upcoming Midnight in the Garden of Good and Evil. “I found that singing made me a better dancer, and the ability to understudy roles made me a better choreographer,” she says. “It’s all a collaborative collective that helps convey something so much greater than one part could do on its own.”

What sets a Broadway dancer apart is the ability to execute the steps with a clear point of view. Choreography should be approached by the dancer as actors would approach lines—a performer steps out of themselves, while still maintaining authenticity, and steps into a role. To help become someone else through movement, think of the character’s name, their age, and their background, and decide how that person would do each step. “Someone may be doing the same movement as the dancer next to them,” says Blackstone, “but they’re doing it as their specific character, never just as Dancer #1.”

Broadway shows are more than a series of big dance breaks—there are also scenes that might have gestural movement or stylized character work, and those moments are just as vital to the production. Learning how to move in these moments­ requires onstage experience, says Blackstone. “Get into a musical—any kind!” he urges. “Learn how to be onstage without choreography, listening to someone who is speaking and being active in the background without drawing attention. These are specific skills.”

There are ways to work on storytelling moments in class, adds Blackstone, who recommends creating a background story for a character while rehearsing a phrase in class or traveling across the floor. “For instance—you’ve arrived at a party and you are crossing the room looking for a friend,” says Blackstone. “What are some things that could happen as you cross?” Physicalize that simple idea, and you suddenly have something to say.

Dancers who learn to excel in communicating narrative, no matter the style of dance, will rise above just performing steps and help elevate movement into an essential part of a production.