Broadway's The Lion King Hits 7,000
Can you think of anything you've done 7,000 times? OK, maybe brushing your teeth—if you do it twice a day for 10 years, you get roughly 7,000 cleanings. But my point is that 7,000 is a lot. And on Wednesday, September 3, The Lion King on Broadway will mark its 7,000th performance. Also a ginormous milestone? Alton Fitzgerald White (aka Mufasa) celebrated his 4,000th show last Saturday. That cat's got some serious stamina.
L to R: Gareth Saxe (Scar) and Alton Fitzgerald White (Mufasa) in The Lion King
(photo by Joan Marcus)
But back to 7,000. There are only two other shows in history (The Phantom of the Opera and Chicago) to make that milestone. Audiences have heard baby Simba sing in nine languages: In addition to English, it's been translated into Japanese, German, Korean, French, Dutch, Mandarin, Spanish and Portuguese. The only continent the production has yet to visit is Antarctica. And talk about girl-power: Lion King director and designer Julie Taymor became the first woman ever to win the Tony Award for Best Direction a Musical.
Nteliseng Nkhela at the New York Stock Exchange
(Photo by Josh Kuckens/NYSE)
Lately, the show has been making its way around NYC. This morning, Nteliseng Nkhela (Rafiki) rang the Opening Bell at the New York Stock Exchange. And earlier this summer, The Lion King cast took to the A-Train. And if you haven't seen what happened during the long stretch between the 59th and 125th Street stations, I don't want to spoil the fun. Take a look:
To get details on Broadway tickets and to see if the show's coming to a theater near you, click here.
Much of Janelle Ginestra's career has been about helping others shine. She's dedicated herself to supporting and cheerleading her partner, WilldaBeast Adams; the emerging talents in their dance company, ImmaBEAST; and the countless dancers she inspires at master classes and conventions. Her YouTube channel has become a launching pad for young talents like "Fraternal Twins" Larsen Thompson and Taylor Hatala, thanks to viral videos featuring Ginestra's creative vision.
But Ginestra's a skyrocketing success in her own right—an in-demand choreographer, a social media influencer, and a dance entrepreneur, building a legacy one eight-count at a time. It's time for her turn in the spotlight. And she's more than ready. "I want to be a legend in whatever I do," she says. We'd argue that she already is.
Daphne Lee is a queen, and not just in the "OMG Girl Boss Alert" sense of the word. She's an actual queen—a beauty queen. Crowned Miss Black USA in August, she's been doing double duty as she continues to dance with the Memphis based dance company, Collage Dance Collective. Lee's new title has given her the means to encourage other black girls and boys to pursue their dreams, while also pursuing dreams of her own. The scholarship money awarded with the pageant title will assist her as she earns a Masters of Fine Arts degree at Hollins University.
When a choreographer finds a composer whose music truly inspires her, it can feel like a match made in dance heaven. Some choreographers work with the same composers so frequently that they become known for their partnerships. New York City Ballet soloist and resident choreographer Justin Peck, for example, has tapped composer Sufjan Stevens numerous times (last spring, the two premiered The Decalogue at NYCB, to rave reviews); L.A. Dance Project's Benjamin Millepied's working relationship with composer Nico Muhly has spanned a decade and two continents; and when tap dancer Michelle Dorrance premiered the first-ever Works & Process Rotunda Project, a site-specific work for New York City's Guggenheim Museum, last year, percussionist Nicholas Van Young was by her side as an equal partner. Successful collaborations require compatibility between artists, direct and honest communication, and flexible, open minds. But when the stars align, working with a composer can be extremely rewarding.
For ballerinas, it's the dream role to end all dream roles: Odette/Odile in Swan Lake, the type of part dancers spend years preparing for and whole careers perfecting. And it's a role that New York City Ballet principal Tiler Peck never thought she'd dance. Though Peck is one of the world's preeminent ballerinas, her short stature made Odette/Odile, typically performed by longer, leggier dancers, seem (almost literally) out of reach.
Then—surprise!—her name popped up on the cast list for NYCB's fall season run of Swan Lake.
Lani Dickinson's power, grace, and raw presence make her a standout with AXIS Dance Company, whose mission is to change the face of dance and disability by featuring a mix of disabled and non-disabled performers. Born in China, Dickinson was adopted by an American couple and started dancing at 8 in Towson, MD. She attended the Boston Ballet School for two summers, studied at the Idyllwild Arts Academy for the last two years of high school, and graduated with a dance degree from Alonzo King LINES Ballet's BFA program with Dominican University of California. In 2015, she joined AXIS and won a Princess Grace Award. Catch her this month during AXIS Dance Company's 30th-anniversary season—and read on for The Dirt!