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...with director and choreographer Daniel Jáquez (who graduated from the A.R.T. Institute in 2000) and incorporated student dancers into the performance. Jáquez is one of many artists who have been influenced by Ho’s strong personality. He describes the process of choreographing the show as a quest guided by Ho’s desire for liberation. “It wasn’t like each dance was unusual, but we found the bizarreness of the dance in releasing the dancers’ strength, in trying to find new ways of responding to movement...
Sondheim’s mentor Oscar Hammerstein II, believed that the first musical number is the most important of a production, as it sets up the plot and informs the audience of what to expect from the rest of the show; the major flaw with “Forum,” according to Sondheim, was the mood set by the opening number, a song called “Love...
...offered a reason for the negative responses to the musical. “When Robbins came in, he said ‘You’re not telling the audience that this is a low comedy; you’re telling them that it’s a charming show,’” Sondheim recalled. When Sondheim replaced “Love is in the Air” with a new song, “Comedy Tonight,” there was an almost instant change in the show’s reception. “Comedy...
...love to write nervous breakdown songs,” he said. “I understand them so well.” The number “Epiphany” in “Sweeney Todd,” for example, marks the turning point of the show, when Todd transforms from a tragic hero into a man thirsty for blood and vengeance. The success of this particular number is crucial, because it has to justify this character’s transformation...
...such a privilege to be a creative artist and to get yourself into a country that not many people are able to get into,” Sondheim said, referring to the creative domain exclusive to artists. “I wanted the song to show the vulnerability of someone who is making his own world...