Debbie Allen on Carrie The Musical1988
Taken from the Carrie Souvenir Programme:
Taken from the Carrie Souvenir Programme:
By the time I came to London to work on Carrie, I had already worked on the choreography for about five weeks, establishing my own dance vocabulary in terms of what I felt about the show. By then the music had been floating around in my head for a few years. Through my discussions with Terry Hands, I had a good idea of the style in which the show would be presented and how the set and costumes would function. By the time we started rehearsals in London, I had established the basic style of dance for the show.
By the time I came to London to work on Carrie, I had already worked on the choreography for about five weeks, establishing my own dance vocabulary in terms of what I felt about the show. By then the music had been floating around in my head for a few years. Through my discussions with Terry Hands, I had a good idea of the style in which the show would be presented and how the set and costumes would function. By the time we started rehearsals in London, I had established the basic style of dance for the show.
We chose a company who are all very strong and versatile -- strong in ballet but very funky at the same time. Because the cast is half British and half American, we had to spend a little time getting them to dance in a more uniform way. Dance is just like everything else -- it varies from one country to another. What they're dancing on the streets of New York is different from what they're dancing here. But once the styles were synchronized, we were ready to start developing the choreography to the next stage.
We chose a company who are all very strong and versatile -- strong in ballet but very funky at the same time. Because the cast is half British and half American, we had to spend a little time getting them to dance in a more uniform way. Dance is just like everything else -- it varies from one country to another. What they're dancing on the streets of New York is different from what they're dancing here. But once the styles were synchronized, we were ready to start developing the choreography to the next stage.
One of the reasons I'm here is to work with Terry. He's firmly rooted in the classics, in spectacle -- someone who understands opera and more than just the superficialities of musicals. The essence of this project is a very deep-rooted drama which were are presenting in a very classic way. Just to choreograph is nothing new for me, but having directed myself, I understand the problems the director has. I have likened our relationship to that of Professor Higgins and Eliza Doolittle. I'm learning a lot and I think he is, too.
One of the reasons I'm here is to work with Terry. He's firmly rooted in the classics, in spectacle -- someone who understands opera and more than just the superficialities of musicals. The essence of this project is a very deep-rooted drama which were are presenting in a very classic way. Just to choreograph is nothing new for me, but having directed myself, I understand the problems the director has. I have likened our relationship to that of Professor Higgins and Eliza Doolittle. I'm learning a lot and I think he is, too.
-- Debbie Allen
-- Debbie Allen