Meet the Creative Team for
Crazy for You
A NOTE FROM THE DIRECTOR/CHOREOGRAPHER
John O’hara said, “George Gershwin died on July 11th, 1937, but I don’t have to believe it if I don’t want to.” I don’t know that there’s a sharper way to articulate our cultural commitment to a body of music that still breathes as deeply as the Gershwin canon. Anybody who’s ever tapped their toe to “Rhapsody In Blue” or whistled along to “An American In Paris” knows what I mean when I say that there is a buoyant vitality that is singularly identifiable and unfadingly timeless in Gershwin’s compositions. The world may never see another artist like him, and I’m proud of the great care that’s been taken in the preservation of his very precious catalogue.
I’ve been dancing for 30 years, and I’m hard pressed to name any other songwriter who’s notes and progressions speak more clearly to inform movement. Gershwin to a dancer is like wearing the most perfectly tailored suit or gown. You feel wrapped in it, viscerally connected to it. And as a choreographer, I’ve found there to be an unmistakeable voice of guidance when I’m in a studio with his music. It’s a very exciting, accessible, transcendent sound that unfalteringly makes my work a joy. Even on the days I spend 3 hours trying to get 15 seconds of material just right, it’s still an honor to search for the answers in these majestic notes.
Crazy For You, in it’s original design and concept, was a spectacle to end all spectacles. Just when you thought you’d seen the flashiest set piece, or most lavish costume, or extravagantly wild dance routine, the next scene would come along and shatter the mold the previous scene had set. And while I’m a world class sucker for spectacle, in preparing for this project and reading and rereading the script and these beautiful lyrics, it became very evident that my focal point had to be the music and, in turn, the dance. Gershwin’s captivating ability to so clearly emote in an almost physically tangible way has become inescapably informative throughout my journey with this process. And in working closely with my brilliant design team we’ve unearthed our own very unique, streamlined vision to frame the genius of Gershwin and what movement his sound continues to inspire. Because I, just like O’hara, will spend the rest of my days in complete denial that George isn’t around anymore and, as long as my ears work, and my heart beats, I don’t have to believe anything I don’t want to.