“Pepe Nufrio unexpectedly brings down the house early on in the show with his performance of “Those Magic Changes”. Nufrio continues to impress in all subsequent scenes and seems to have a never ending supply of energy. I particularly enjoyed watching him during the dance sequences.
Grease at Pioneer Theatre is a joyous celebration of the nostalgia of 1950’s America. If you are looking for a fun evening that takes you back to a simpler time, Grease is the perfect evening out. Grab your leather jacket, slick your hair back, or put on your poodle skirt and don a high ponytail and make your way over to Pioneer Theatre to see their production of Grease. I dare you not to tap your toes.”
“Choreographer Lorin Latarro knows what it takes to sustain a career in the theatre world. As a veteran of 14 Broadway shows as a dancer, Latarro has made her mark as a choreographer for almost a decade. Her work is currently represented on Broadway in the show, Waitress.
Latarro spoke with Dance Network about her recent successes, her advice to dancers who want to make the transition to choreographer and a sneak peek at Almost Famous, the stage adaptation of the 2000 Cameron Crowe film. It will have its world premiere at The Old Globe in San Diego beginning this fall.”
“When talking about theater classics, there is a musical from the 1950s that undoubtedly brings back good memories. Maybe that’s why, every time we know that a theater company puts on the stage, we do not hesitate to go see it.
Well, good news! Because the Pioneer Theater will be presenting the musical work Grease, from Friday 10 to Saturday 25 May . In this presentation a young Hispanic talent will be playing the role of Doody . His name is José Álvarez Nufrio, better known as Pepe Nufrio.”
“In a large practice studio inside Lincoln Center’s Koch Theater, Suzanne Farrell watches quietly as New York City Ballet principals Sara Mearns and Russell Janzen work through a series of supported poses. As Janzen kneels to face her, Mearns brushes through to croisé arabesque, extending her leg high behind her. ‘I wouldn’t penché there,’ says Farrell, gently. ‘You can, but I wouldn’t.’
‘I get so excited here,’ says Mearns with a laugh. The three are slowly working through the pas de deux of Diamonds, the ballet George Balanchine created on Farrell and Jacques D’Amboise in 1967 that makes up the third act of his full-length Jewels.
“The new stage musical version of DreamWorks’ The Prince of Egypt will make its London premiere next year, with a West End production set to begin previews Wednesday, February 5, 2020 at the Dominion Theatre. The 32-week limited engagement will officially open Tuesday, February 25.
The production is directed by Scott Schwartz (The Hunchback of Notre Dame) and choreographed by Sean Cheesman (So You Think You Can Dance).”
“From Shakespeare to Sondheim, from the grandeur of opera to small vignettes, Lorin Latarro constantly stretches herself.
‘I’m interested in the inner life of characters, but I’m also interested in kinetic functions,’ she says, which explains how she makes baking both frenetic and sensual in Waitress or how she renders writing both frustrating and blissful in Merrily. Here, the choreographer breaks down the movement behind five of her routines to get behind the psychology in the dance.”
“Actor/singer/dancer John Edwards is not just a triple threat, he’s also an awards-nominated one, and deservedly so. A current member of the Grammy-nominated Broadway Inspirational Voices gospel choir, Edwards was just recognized earlier this month for his exceptional work in the 2018 New York revival of Smokey Joe’s Cafe at Stage 42, with a nomination for Outstanding Featured Actor in a Musical from The Lucille Lortel Awards, to be presented by the Off-Broadway League on May 5.
I was very fortunate to be able to share fifteen minutes of John’s fame, to congratulate him on the prestigious nomination and to revisit his acclaimed role in Smokey Joe’s Cafe (the production itself just nominated this morning for a Drama League Award for Best Revival of a Broadway or Off-Broadway Musical), to which he brought his signature heart, humor, and humanity (I saw the show for a personal record of nine times, and only wish I could have been there for every single performance).”
“How do principal dancers handle their intense schedules? For New York City Ballet star Sara Mearns, honing her instrument is key. The company’s Tuesday-through-Sunday workweeks, lengthy performance seasons and extensive repertoire can make for longs days and late nights. ‘During performance weeks, I think about what I’m doing that night and make sure I don’t have a lot during the day—or if I do, I’m smart about it,’ says Mearns. ‘You do one or two things full-out and then take it easy so that you perform your best at night.’ Pointe spent a rehearsal day with Mearns to see how she does it all.”
“Upon discovering a long-lost Bizet score, Balanchine took only two weeks to choreograph the neoclassical masterpiece Symphony in C, which dazzles with dozens of dancers – the ballerinas in sparkling Swarovski gems – and brings down the house at each performance. Set to Bizet’s high-spirited score, last night’s finale showcased Ashley Boulder who radiated her joy in her on-the-money pirouettes. Both Jared and Tyler Angle dazzled. Nonetheless, my eyes kept watching Sara Mearns who dominated center stage as the curtain closed.”
“There were numerous standouts among the cast on opening night, chief among them Sara Mearns and Jared Angle in the ballet’s second movement, an adagio of impossible beauty. Mearns brought to bear the full force of her trademark mystery and elegance on this section and with Angle’s confident partnering she danced with an abandon that was at once steely and delicate. There was an audible sigh of awe among the audience at that movement’s end.”