Word: twyla
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Dates: during 1970-1979
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Hair. Milos Forman looks at the sixties through a rose- colored lens, sanitizing the anti-war movement into youthful anger with a utopian glow. Still the movie has more plot than the show ever did,, Twyla Tharp's choreography encourage some fancy swirling camera work, and the songs are still good. Compared to abysmal movie musicals like Grease, Hair shines...
...return, they let him know where they're at through the first dance sequence, Aquarius. The number, like all the rest, is infectuously buoyant. The camera unerringly swoons and follows the gliding choreography by Twyla Tharp: the film's greatest asset. Avoiding cute, stagey, Broadway production-type dance, Twyla Tharp has given new hope to musical choreography. The movements flow naturally; instead of watching a static dance number, we are taken by the camera into the movements, intrinsically swaying with them...
...doomed, it was this one. Hair's source, the 1968 Broadway hit, was a largely plotless, if tuneful, show that homogenized the '60s for theater audiences; even at the time, it was dated. The movie's creators -Czech-born Director Milos Forman, Playwright Michael Weller, Choreographer Twyla Tharp-have never previously negotiated the perilous tides of movie musicals. Add a largely unproven cast and a grand budget, and you can see just how hairy an undertaking this movie was. One false move, and Hair would have congealed into Grease...
...construct the kind of ice show he envisioned. Curry choreographed two numbers himself and invited eight choreographers from the dance world - Peter Martins, Twyla Tharp, Norman Maen, Kenneth MacMillan, Jean-Pierre Bonnefous, Donald Saddler, Douglas Norwick and Robert Cohan - to do the others. He would explain what a skater could technically do, and they proceeded from there, excited by the prospect of a fluidity and motion denied them on an ordinary dance floor. "John is showing that it's possible to do something on ice that's never been done before," is the enthusiastic comment of Bonnefous...
...bicycles in 1968, but not in the numbers and models that descend on Central Park these Sundays: flotillas of gleaming ten-speed Peugeots, Atalas, Gitanes, Raleighs and Fujis. Cut. One curious cyclist is nearly clothes-lined by a Hausman staffer to prevent his vehicle from mowing down the entire Twyla Tharp dance company as it limbers up for a Hair number. Cut. And then there are the joggers...