Word: sappington
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...second half of "Billboards," featuring thechoreography of Margo Sappington, then PeterPucci, elevates the energy , especially the sexualenergy five different songs with a brilliantlycohesive and magnetic flair. Sappington's workexplores the joy and sensuality of desire, as wellas its conflicting emotions. The talent of theJoffrey dancers shines in these segments,especially the duets and trios. Their mix ofartistry, athleticism and technique combinemagnificently in brining out the excellentchoreography. "Willing and Able," by Pucci,features an incredibly erotic duet between JodieGates and Peter Gardner, who, if they ever havetheir hands off of each other, are reaching outfor another embrace...
...been especially pressed since the death of founder Robert Joffrey in 1988. Temporary salvation came when new fan Prince (or Prince Rogers Nelson, as he is called in the program) donated several of his songs. Artistic director Gerald Arpino invited four choreographers to contribute: Laura Dean, Charles Moulton, Margo Sappington and Peter Pucci. None is known primarily for classical pieces, but all clearly responded well with the highly polished Joffrey dancers. The results vary in quality, but the whole evening reflects an enthusiastic effort to marry the discipline of the barre with the demon energy of the dance club...
...Sappington's Slide is savvy show biz; maybe Jerome Robbins should take a bow too. In the finale, Pucci, who was an engaging clown with the Pilobolus troupe during the '80s, lightens things up with cheerful, back-lit aerobics. In a pas de deux that manages to be both steamy and droll, he may be offering an opinion on pointe work, particularly when he has the ballerina (Jodie Gates) aim her toe shoe into her prostrate partner's mouth...
Elizabeth Swados has given Trudeau's lyrics (some of them witty and energetic) rhinestone settings; not one of her 14 tunes offers a memorable melody or a surprising chord pattern. It does surprise that Margo Sappington's choreography is so stunningly inept, that the cast is strident and charmless. In turning some likable icons of the center-left into show-biz brats, this musical Doonesbury emerges as a vision of '70s youth only Richard Nixon could love. -By Richard Corliss
...with her loins and if Western Union ever puts out a Lustogram, it should hire her to deliver it. Chadman is pallid as Joey, rather like a gypsy dropped from the audition of A Chorus Line. His dancing, however, is always fluent, and the actual chorus line, under Margo Sappington's supple control, both creates and burlesques a raft of dance routines. Mingling sordid facts with lovely tunes, Pal Joey is a modern Beggar 's Opera richly adorned in the apparel of a prince's ransom...