Seize the Day! - Interview with Ricky Hinds, Associate Director for "Newsies" on Broadway

Before class I was able to sit down with Ricky Hinds for a quick interview - take a look!


What was your dance training like growing up?
I started dancing when I was four.  My aunt and uncle owned a dance studio in Connecticut so they pulled me in at a very, very young age.  So I grew up very heavy in the competition world, that's all we did - tons of competitions.  My last three years of high school I went to Interlochen, a performing arts high school that was very strongly routed in ballet.  And then, since I'm from Connecticut, I would come to Broadway Dance Center all the time.  And then after I graduated high school I moved straight here to New York and just started auditioning and performing for about 5 years and then transitioned over to choreographing and directing.

Knowing that you wanted to pursue musical theater, did you also have voice and acting training growing up?
I started my voice training at my performing arts high school.  But back then, I feel you were sort of able to get away with being just a "dancer" in a Broadway show or musicals where now the casts are so small you have to do everything.

What was auditioning like when you first moved to New York City?
Not unlike what it is now.  I did two non-equity tours, "Fosse" and "CATS."  And then I got my equity card doing the show "We Will Rock You," the Queen musical in Las Vegas.  I did a couple regional productions too.  My big mentor in New York was Andy Blankenbuehler, so when I told him that I wanted to transition over into choreography he asked me to assist him on "It's A Wonderful Life: the musical" at Papermill Playhouse.

What was it like to choreograph a brand new musical like "It's A Wonderful Life" or "Newsies?"  You don't have the influences of previous choreographers such as Fosse's "Sweet Charity."
I'm the associate director for "Newsies," and we did months and months of pre-production where we worked to get everybody on the same page.  That's the most important thing - that as a choreographer, you share the same vision as the director.  And it extends way beyond just the artistic team - it includes the lighting, set, and costume designers.  Everyone needs to be so clear that when we start rehearsals no one is questioning.  There's a lot of trust and awareness.  I've also worked on projects where directors don't work that way, however.  You know, where you're flying by the seat of your pants! - but that can be fun too!  But for me, my personal process is a lot of prep, a lot of pre-production, a lot of communication - I do my best work in that atmosphere.


How did you transition into directing?
I kind of go back and forth between choreographing and directing.  The day after opening night for "Newsies" I fly down to Kansas City to choreograph a production of "Little Shop of Horrors."  And I come back and I'm working as choreographer and director of a tour of "Jekyll and Hyde."  So, it's good - I don't think I see myself as only a choreographer or only a director.  I also like a blend of the choreography and directing roles together so I am always active and involved.  "Jekyll and Hyde" will be interesting for me, though, because it will be more about the acting than about the big dance numbers with turns and high kicks.

You are in the midst of a really exciting time with the opening of "Newsies," your first musical on Broadway.  What was the process like of taking a movie that, dare I say, flopped, and turning it into a musical?
Our new book writer is Harvey Fierstein and he was great; It just took somebody with fresh eyes coming in.  And the way Disney works is that they had done all these workshops and readings before they had attached a director or choreographer to it.  When we came on board, the entire show was written for a turntable...And our director said, "Absolutely not." (Our biggest fear was that these boys with dirt on their faces in 1899, on a turntable, would look too much like "Les Mis"). And it was good to sort of start over a little bit.  Once we came in, we had about 9 months before we started auditioning people, so we really had a lot of time to prepare.  And then it wasn't until we had our cast that we then developed it further - because everyone in the show has a line, has a character name, there's no ensemble.  The cast that we have now have helped further the script.  It's been quite a process, two years now - and we're still making little tweaks here and there up until Thursday night's opening.

What's your opinion about having a cast without an ensemble and the idea that you can't just be a dancer on Broadway anymore?
I think it's fantastic.  What's great about our director is that he made each actor write out a history of his or her character.  And then we all had to sit around and talk about these characters.  And I think as a dancer, it's really gratifying to feel like you're not just the fifth dancer from the left in the third line and you have to dance like everybody else.  I mean, there are certainly moments in the show where the dancing has to be clean and in unison, but there are other moments where it is more of "what would your character do here?" "how would your character react to this information?"  And I think at the end of the day that's what we all want to do - have a voice, a personality, individuality.

How does "Newsies" compare to the other Disney shows that have been/still are on Broadway?
I think it's great - it's fun for people to come in with very little knowledge of the material of "Newsies."  What was also a breath of fresh air for us was not having to be worried about "how is that fish going to swim?" or "how is that teapot going to pirouette?"  For Disney, I think, it was sort of a relief to have a show that's all humans!

What are your goals for the future as an artist?

I think everyone has this sort of thought that Broadway is the ultimate.  For me, I think it's just good theater - whether that's Broadway or regional theater or a tour or in Europe or here.  I just want to do good theater.  You know, something that touches people, that people respond to.  I would love to only say that I'm going to do Broadway shows!  But I really have had so many amazing experiences at theaters all across the country.

Be sure to get your tickets to "Newsies!"

New BDC Acting Class is a Class Act

It is said that after one of Fred Astaire’s first screen tests the director noted, "Can't sing. Can't act. Can dance a little." Boy, was that wrong.

It is a common stigma, however, that dancers “can’t act.” We are taught from our very first ballet class to watch our alignment, straighten our posture, and improve our turnout. The only thing we’re really supposed to emote (or at least try to emote) during tendus at the barre is a sense of calm confidence. So maybe acting isn’t a real part of dancing then, right? WRONG! Just take a look at what some notable industry professionals have to say: 


“…commitment from the dancer means communication to the audience. This is true for both the actor and the dancer, because dance is acting and acting is dance. The principles of storytelling are the same.” – Tony Testa (Los Angeles; 'The Cheetah Girls,' 'Wizards of Waverly Place,' 'Dance on Sunset,' a music video for Miranda Cosgrove, halftime shows for slamball on ABC, commercials for Skechers and Versace, shows for Janet Jackson, Britney Spears, and Danity Kane)

“The most important acting skill a dancer can have in my work is the ability to get really honest—to be able to relate to the work personally.” – Jack Ferver (New York; Dance Theater Workshop, Danspace Project, the New Museum, Théâtre de Vanves (Paris), an upcoming piece for Performance Space 12)

“I like dancers who put themselves out there on the line without the fear of embarrassment. Dancers are constantly seeing themselves as they dance. My advice is to get past that voice in your head, the one saying how you "should be." Instead, like the good actor, find that quiet, open space that lets you be whatever you want to be—or whatever I ask you to be.” – Mark Swanhart (Los Angeles; 'Viva Elvis' for Cirque du Soleil (Las Vegas), Celine Dion's 'Taking Chances' tour, 'So You Think You Can Dance,' a film of 'La Bohème,' the 2003 Tony Awards)

“If you don’t think of “acting” per se, but rather use your imagination to infuse your movement with clear intention, strong imagery, discovery, subtext, and self-knowledge, you will be more likely to enter that magical zone of “being in the moment.” – Dance Magazine, “Going Inside the Role”

"Today's world of musical theater demands dancers to have acting and singing skills. In musical theater there is always a story to tell and a plot to further-- no one is ever just dancing steps. Every dancer needs to comfortable using their voice and have the confidence to speak on stage. Broadway shows are full of " one liners", which are typically assigned to the chorus. If a dancer is asked to read sides during an audition, he or she must make a strong choice and read with authority; there is no time to be embarrassed about how you sound or how you "act". This is why a basic knowledge of acting is essential to dancers hoping to break into musical theater and Broadway. In terms of casting, the more skills you have the more valuable you are. This is why the cliche "triple threat" exists; if you can do it all, you are a threat to those who cannot. For example, Directors always need understudies, a job which typically goes to a member of the chorus. A dancer who can potentially understudy a lead role is more likely to book the job over one who cannot. Just as in life, being a well-rounded individual adds dimension to a dancer's talent and creates more opportunity.” – Kiira Schmidt (New York; “Follies,” “White Christmas,” “Stairway to Paradise,” “Mame;” assistant to Josh Bergasse for NBC’s “SMASH”)

“Agreed!” remarks Bronwen Carson, a recent addition to the faculty here at Broadway Dance Center. Ms. Carson, who will be teaching “Acting for Dancers” (Tuesdays at 10:30am-12pm), describes, “Dancers inherently have tools at their disposal to become powerful storytellers, but are rarely shown how to translate the precise control they have over their bodies into truthful, nuanced character portrayals.”

Tell us a little bit about yourself and how you came to be a performer.

I started in classical ballet at 7 because I wanted to be the music. It wasn't so much the movements, that passion came later. It was the music and the story I imagined in my head when I watched dancers. I'd make up the most intricate stories about every person I met. I kept the stories to myself, like favorite books one doesn't share at first. Now, after being in the performing arts for over thirty years, I'm ready to share those stories.

What brought you to acting?

I was incredibly fortunate to study with two extraordinary artists for the first decade of my training, Paul Curtis and Shawn Stuart. They seamlessly incorporated acting into my basic skill set as a dancer. So, almost from day one I was implementing it. I remember in rehearsals, even as a toy soldier in "The Nutcracker," I'd be really interested in what the director was trying to convey, and how I could best portray that as a toy soldier. Later on, I received a scholarship to study at the Theater Arts Institute in the Bay Area, under the director of Marc Jacobs, a RADA trained director who put a great deal of importance upon honing the craft and technique of acting. The more I studied it and played with it as a dancer, the more I sought out projects and artists who felt the same.

Why do you think it is important for dancers to know how to act?

Because that's what we are looking for now. When I say "we" I am speaking from the perspective of a director and choreographer. It's enthralling and exciting to find a dancer who doesn't drop out of character when whipping off their turns. I also see it as THE bridge to obtaining feature and leading roles in everything from concert work to film work. If you cannot act, you'll be kicking those fantastic legs up in the background. If you can act, your chances of being in the foreground, maybe with some lines and a lot more money, exponentially increase. I'm also weary of seeing dancers work their guts out as "dance" or "body doubles" just to be replaced with an actor who receives much of the recognition or acclaim. I think more dancers should be nominated for Tony awards. why not? If it's about excellence in storytelling and character portrayal, why shouldn't dance and dancers accomplish that?

How did you get connected with Broadway Dance Center?

I took classes at BDC when I first moved to New York, back when they were located on Broadway and 54th Street! I've gotten to know Diane, Bonnie, and Vanessa through the years as a producer for Melanie LePatin and then as a producer for the Astaire Awards.

Tell us about “Acting for Dancers.”

It was born out of necessity really. I began working more as a director and choreographer a few years ago and with each audition I held, I found dancers falling into one of two categories - "fierce dancer" or "really good mover who can act." But what I needed was fierce dancers with fantastic acting chops. The rarity of that combination concerned me a great deal. Then I realized it was not the dancer's fault - the skill wasn't really being taught. So, after I saw the need, I worked out the "what's" and the "how's" of training dancers to act. It's a really different deal with dancers. Their control over the minutia of their bodies often creates blockades to truthful acting. I decided to create a class built for their unique strengths and challenges. I used my experiences as a professional dancer and actor to build specific exercises that bridge the two worlds. Once I felt I had a course that could offer results, I approached a number of schools in the city, including BDC. Bonnie Erickson was the first to respond with real excitement. So, a month later I started teaching during BDC's Fall 2011 Professional Semester and am now teaching for the Spring Pro-Sem as well as newly available drop-in open classes offered on Tuesday mornings. The open classes go through March 27th.

Why do you think people believe dancers can’t be actors?

I think it's an antiquated belief based solely upon the lack of training dancers receive in acting technique. Dancers train so ferociously on their lines, their strength, their flexibility, their "tricks"...but for the most part, they don't learn how to build and perform a nuanced, evocative character with objectives, relationships and a storyline. Give them training and suddenly astounding abilities start to reveal themselves.

You are in the process of directing and choreographing a new work, “49^th Street and Other Stories.” Why do you classify this project as a dance play?

I call it a dance play because of the sheer emphasis I've placed upon the storyline and character portrayal. I'm demanding a lot of myself and of my dancers, but they love it. They love being asked more of them. It's been a thrilling and pretty daunting process. I spend a great deal of rehearsal time working out character development, relationship dynamics and tactical changes through their movements.

What prompted you to create this project and what are your hopes for the future of the project?

"49th Street and Other Stories" has been a long time in the making. There's a huge Mason jar in my office filled with ideas and memories. It's loosely autobiographical, so the challenge hasn't been in creating the story, but which parts to include and which to leave out. As with anything I direct or choreograph, my primary desire is to have the audience forget the performers are not speaking because what they are watching...the characters, relationships, individual moments...all start to fill in what literally isnt' being said so as to unconsciously create dialogue and conversations in their minds. As for the show's future, all I have is an unrelenting drive to see it produced. I head into a final workshop early this summer for some interested backers, after I'm done choreographing a new musical called "Jack's Back." I'm pursuing all sorts of creative financial backing options, from grants to individual backers to corporate sponsors. The piece lends itself to a large scale production to fully experience the whole "mind's eye of one woman's New York" quality. I'm batting ideas around with some truly exciting and visionary set and costume designers right now. I want it to be exceptionally appealing both artistically as well as commercially. I want to pay my dancers, pay them well. With what I'm asking of them, they deserve it!

Drop-in classes for "Acting for Dancers" with Bronwen Carson will take place Tuesdays from 10:30-noon.

Read more about why acting is important for dancers:

Backstage

Dance Magazine

Dance Teacher Magazine

Jason Marquette's Chorepgraphy Receives Accolades at Competition!

Jason Marquette's choreography earned two Platinum 1st place awards at Access Broadway in Valley Forge, PA for "Power's in the People" in the Senior Small Group Tap category and "Campus" in the Senior Tap Solo category. His musical theater piece, "Walking Papers" earned Extreme Platinum and he received the Choreography Award at Dance Xplosion in Hackensack, NJ.

Sheryl Murakami and Lady Gaga!

Check out BDC's own Sheryl Murakami dancing with Lady Gaga in 2008. Work!


Come take class with Sheryl at Broadway Dance Center:
Intermediate Jazz Funk
Mon/Wed 3:00-4:30 pm
Sat 6:00-7:30 pm

Finis Jhung: Viewer's Choice Winner!

Congratulations Finis Jhung, the January 2010 Dance Teacher Magazine Viewers' Choice winner!

Check out Dancemedia.com to see Finis in action!
Here's a little more about Finis:

Finis Jhung is one of America's most sought-after ballet instructors. Hailed as a brilliant, exciting and elegant dancer with the San Francisco, Joffrey and Harkness Ballet Companies, he brings those qualities and a fresh vision of ballet instruction to his classes each day. Born and raised in Honolulu, Hawaii, of Korean-Scottish-English parents, Finis studied ballet with William F.Christensen at the University of Utah, where he graduated magna cum laude.

(read more at BDC's Web site)