Ghost: The Musical
Sam Wheat (Richard Fleeshman) and the cast of the West End production of Ghost:The Musical (Sean Ebsworth Barnes, courtesy the Harman Group)
There’s no question that Patrick Swayze plus Demi Moore plus a pottery wheel equals one of the most romantic scenes in movie history—but what if they broke into a love ballad as they sculpted that clay? Swoon! That and so much more will be going on in Ghost: The Musical, opening on Broadway this month (though without the movie’s actors). The classic story follows Molly Jensen, whose husband, Sam Wheat, is murdered and then trapped between the world of the living and the dead. Only phony psychic Oda Mae Brown can help the couple reconnect and prove that true love never dies.
The show debuted on London’s West End last July. And now, with many new cast members and amped-up musical numbers, Ghost is coming to the Great White Way. Dance Spirit talked to Australian choreographer Ashley Wallen—who’s worked with the likes of Kylie Minogue and The Black Eyed Peas—about his Broadway debut, and how he added a music video vibe to one of the most iconic love stories out there.
Dance Spirit: How is choreographing a Broadway show different from projects you’ve worked on in the past?
Ashley Wallen: I usually work on music videos, commercials and film, where I’ll have one week of rehearsals before shooting. It’s been so great to be able to rehearse for five weeks, then tech for four, then be in previews for four before we even open. It gives me the chance to get to know the cast and everyone who’s working on the show. Plus, I just love musicals.
DS: Was it hard to add dance to this love story’s plot?
AW: Yes, because Ghost is such a well-known film that doesn’t have dancing in it. But the writers have come up with really contemporary pop music that still tells the story. The main characters will have intimate moments that open up into these great big dance numbers.
DS: What styles of dance did you use?
AW: There are loads of different styles. It’s mostly contemporary, but with a theatrical feel. Then there are the scenes on the streets of NYC, which have a slick, jazz-based style.
DS: Do you have a favorite number?
AW: “I’m Outta Here,” which is Oda Mae’s fantasy about having $10 million. We just went to town on it. It’s the only number in the show with the whole cast onstage. The 17 new dancers are so great that I’ve been able to update the steps from what the previous cast did in London. It’s like a really fun music video.
Getting corrections from our dance instructors is how we grow, and as students, it's important that we do our best to apply every correction right away. But sometimes—whether it's because we're in physical pain, or have a lot on our minds, or are just not paying attention—those corrections don't sink in. And from a teacher's standpoint, giving the same corrections time and time again gets old very fast. Here are 10 important corrections dance teachers are tired of giving. Take them to heart!
Summer intensive auditions can be nerve-racking. A panel of directors is watching your every move, and you're not even sure if you can be seen among the hundreds of other dancers in the room. We asked five summer intensive directors for their input on how dancers can make a positive impression—and even be remembered next year.
We always love a good halftime performance. And we LIVE for halftime performances involving talented kids. (Fingers and toes crossed that Justin Timberlake follows Missy Elliott's lead and invites some fabulous littles to share his Super Bowl stage.)
So obviously, our hearts completely melted for 5-year-old Tavaris Jones. Tavaris may have just started kindergarten, but during Monday night's game between the Cleveland Cavaliers and Golden State Warriors, the Detroit native danced with the panache of a veteran pro at halftime.
The coolest place she's ever performed:
I'd have to say the Super Bowl. The field was so cool, and Katy Perry was right there. And there were so many eyes—definitely the most eyes I've ever performed for!
Something she's constantly working on:
My feet. I'm flat-footed, so I'm always hearing, 'Point your toes!' And I'm like, 'I am!'
My hair! That, and a pair of leggings with a T-shirt or tank top.
In our "Dear Katie" series, former NYCB soloist Kathryn Morgan answers your pressing dance questions. Have something you want to ask Katie? Email firstname.lastname@example.org for a chance to be featured!
For a long time, I was the strongest dancer at my studio. But this year there's a new girl in my class who's very talented, and my teacher's attention has definitely shifted to her. I'm trying not to feel jealous or discouraged, but it seems like my whole dance world has changed. Help!
In the dance world, Mandy Moore has long been a go-to name, but in 2017, the success of her choreography for La La Land made the rest of the world stop and take notice. After whirlwind seasons as choreographer and producer on both "Dancing with the Stars" and "So You Think You Can Dance," she capped off the year with two Emmy Award nominations—and her first win. Dance Magazine caught up with her to find out how she's balancing all of her dance projects.
Marzia Memoli may be the Martha Graham Dance Company's newest dancer, but her classical lines and easy grace are already turning heads. Originally from Palermo, Italy, Memoli started studying at age 16 at the Academy of Teatro Carcano in Milan. Later, she attended the Rudra Béjart School in Lausanne, Switzerland, before heading to NYC in 2016 to join MGDC. This month, she'll perform The Rite of Spring in the Martha Graham Studio Series in NYC, and tour with the company in Florida. Read on for the dirt.