Broadway Dance Center is celebrating Black History Month by honoring some of the Black dancers, choreographers, and educators who broke through barriers and transformed the industry.
Next up is Pearl Primus.
Who is Pearl Primus?
Pearl Primus was an American dancer, choreographer, and anthropologist on a mission prove African dance was worthy of both critical study and professional performance.
Discovering her gift
Primus was born in Trinidad in 1919 and emigrated to New York City with her parents when she was a toddler. She excelled in school and majored in biology/pre-med at Hunter College. However, racial discrimination in the field prevented Primus from landing a job. To make ends meet, she worked backstage for America Dances and was eventually hired as an understudy. Her natural talent for the art form was undeniable, and Primus went on to join the New Dance Group, a Lower East Side dance troupe that promoted social reform through their performance. At NDG, Primus studied with such teachers as Jane Dudley, Sophie Maslow, Nona Schurman, William Bales, Martha Graham, Charles Weidman, Doris Humphrey, and Louis Horst.
Dance as activism
Primus also began to choreograph her own works, fusing spirituals, jazz music, spoken word, and themes of her own heritage to demonstrate the African and African American experience. An eternal student, Primus did extensive fieldwork to inspire and authenticate her choreography. To experience the impoverished Black communities of the South, she posed as a migrant laborer working in the fields and attending church worship. And when she traveled to Africa for an 18-month anthropological study (with a grant from the Jules Rosenwald Foundation), Primus declared herself a man so that she could learn the dances that only men were allowed to do. Primus’ sociological research was unique in that she kept the original dances, songs, and customs intact in her choreography rather than adapting them to “fit” her artistic vision.
An art worthy of study and performance
Primus choreographed for Broadway, the Alvin Ailey American Dance Theater, and her own troupe, The Primus Company. She continued her education by pursuing an MA in educational sociology and a PhD in anthropology from NYU. She founded the Pearl Primus Dance Language Institute with classes in African American, Caribbean, and African dance forms as well as ballet and modern technique. Primus went on to teach anthropology and ethnic dance at numerous universities and was awarded a National Medal for the Arts in 1991. She remained active in the dance community until her death in 1994.
Broadway Dance Center is celebrating Black History Month by honoring some of the Black dancers, choreographers, and educators who broke through barriers and transformed the industry.
First up is Mable Lee.
Who is Mable Lee?
Mable Lee was an acclaimed jazz tap dancer, singer, and entertainer on both the stage and screen.
If I can make it there…
Lee was born in Atlanta, Georgia in 1921 and started performing at school and local venues before she was 10 years old. In 1940, Lee and her mother moved to New York City so she could pursue a professional performance career. She danced in the chorus of the Apollo Theater, the West End Theatre, and at various nightclubs. Eventually Lee broke out of the chorus to become a soubrette, a soloist with a line of dancers behind her. On Broadway, Lee danced in musicals including Shuffle Along, Bubblin’ Brown Sugar, and The Hoofers. During World War II, she toured with the first all-Black USO unit, performing at hundreds of army camps and veterans’ hospitals—sometimes up to five shows per day.
“Queen of the Soundies”
In the 1940s, “soundies” were the precursor to music videos. They were 3-minute black-and-white films that featured big band music, jazz vocalists, and high-energy dancers. Lee appeared in over one hundred of these mini movies, earning her the title, “Queen of the Soundies.” Lee also choreographed for many of the soundies she appeared in, though she did not receive formal credit.
A tap dance legend
Lee was recognized with numerous accolades throughout her illustrious career. In 1985 she received a grant from the National Endowment for the Arts to create dance instruction videos of vintage chorus line routines. In 2004, Lee won the Flo-Bert Award (honoring outstanding figures in the field of tap dance) and was inducted into the Tap Dance Hall of Fame in 2008. She continued to choreograph and perform at tap festivals and events up until her death in 2019 at the age of 97.
Broadway Dance Center is celebrating Black History Month by honoring some of the Black dancers, choreographers, and educators who broke through barriers and transformed the industry.
Next up we’ve got Honi Coles and Cholly Atkins.
Who are Honi Coles and Cholly Atkins?
Coles & Atkins were tap duo known for their suave style and impeccable unison. Instead of showing off acrobatics and bold tricks, the pair mesmerized audiences with their cool, laid-back vibe and signature “Soft Shoe” dance where they performed a painstakingly slow and hypnotically smooth routine in perfect harmony—a talent that is especially challenging for tap dancers who need to not only match the physical movements of their partner but also the exact soundandquality of the taps.
Before they were a team
Charles “Honi” Coles (1911-1992) grew up in Philadelphia where he learned to tap on the streets, challenging neighborhood kids to dance duels—and usually winning. As a young adult, Coles moved to New York City to perform as part of vaudevillian troupe, “The Three Millers.” But when the other two dancers sought to replace Coles, he decided to prove them wrong by perfecting his technique and amping up his performance. When Coles returned to the NYC dance scene, he was hailed for his graceful style and incredibly fast feet. He performed with “The Lucky Seven Trio” and as a soloist for Cab Calloway’s orchestra before pairing up with Cholly Atkins (*read more about Coles & Atkins below). After their career as a duo, Coles worked as production manager for the Apollo Theater, served as president of the Negro Actors Guild, co-founder of the Copasetics (a tap ensemble honoring Bill “Bojangles” Robinson), and won both a Tony and Drama Desk award for his performance in Broadway’s My One and Only. Later in his life, Coles was bestowed a Dance Magazine Award, Capezio Award for Lifetime Achievement in Dance, and National Medal for the Arts to honor his lasting legacy in tap dance.
Honi as Tito, the bandleader, in the 1987 film Dirty Dancing
Charles “Cholly” Atkins (1913-2003) was born in Pratt City, Alabama and moved to Buffalo, New York with his family at the age of seven. Atkins grew up performing in his school’s musicals and, as a teenager, worked as a singing waiter. He and coworker, William Porter, partnered up to form the song-and-dance act, “Two Rhythm Pals.” Atkins went on to dance with Dotty Saulters before pairing up with Honi Coles (*read more about Coles & Atkins below). Throughout his performance career, Atkins also choreographed and coached behind-the-scenes. He was named staff choreographer at Motown Records and staged acts for stars like the Temptations, Gladys Knight, Aretha Franklin, Smokey Robinson, and the Supremes. He also won a Tony Award (shared with Fayard Nicholas, Frankie Manning, and Henry LeTang) for his choreography in the Broadway show, Black and Blue. In 1993, Atkins was awarded a National Endowment for the Arts fellowship to teach vocal choreography (staging for vocal artists and singing groups) in colleges and universities.
A “class act”
Coles & Atkins won over audiences with their elegance, charm, and no-fail formula—beginning with a fast-paced song-and-dance number, followed by their trademark soft-shoe, and ending with an impressive dance challenge where each performer one-ups the other with their very best moves. The dynamic duo performed throughout the Las Vegas show circuit, with the big bands of Cab Calloway, Louis Armstrong, Lionel Hampton, Charlie Barnet, Billy Eckstine, and Count Basie, and on Broadway in Gentlemen Prefer Blondes. Coles & Atkins were considered a “class act”–the cream-of-the-crop tap dancers—and their signature style continues to influence and inspire tap dancing today.
Carissa Fiorillo is living her dream—touring the country in Disney’s ALADDIN, the musical. Fiorillo’s dream of pursuing musical theater started at a young age where her dance teacher back home in Tampa was a former Broadway performer. After high school, Fiorillo made the move to NYC to attend AMDA (The American Musical and Dramatic Academy). “In that first year and a half I really focused on my acting and singing, so my dancing took a bit of a back seat,” explains Fiorillo. “I auditioned for Broadway Dance Center’s Professional Semester so I could refocus my energy on dancing and use the tools I had learned at AMDA to dive into the musical theater world.”
BDC’s Professional Semester (Pro Sem) was the stepping stone that turned Fiorillo’s dream into a reality. “I loved the movie ‘Center Stage’ and used to daydream about what it was like to be a dancer in New York,” recalls Fiorillo. “The program was not only technically challenging and incredibly informative, but you are in the presence of such a supportive, beautiful group of dancers wanting to take in as much as possible. It’s inspiring and empowering.”
The Pro Sem dancers took 2-3 classes each day on top of workshops, mock auditions, and seminars. Fiorillo also had to juggle her survival job on the weekends. But the schedule wasn’t the most challenging part for her. “I was terrified to step out of my comfort zone,” she remembers. “In the classes you take as a Pro Sem, you’ll probably do some of the most free, safe, and open dancing of your life. I wish I had used that supportive environment to take more street styles.”
In addition to technique classes, vocal seminars, and master classes, the 4-month intensive also includes mock auditions to help prepare dancers for the “big leagues.” “The mock auditions were a great time to get instant feedback from a panel of industry experts like choreographers, casting directors, and agents,” explains Fiorillo. “You certainly don’t get that kind of honest criticism and understanding in the real world! So, having experienced it in Pro Sem, I feel more confident in how I present myself.”
Fiorillo recommends the Professional Semester program to aspiring dancers just out of high school or college and ready to make the move to New York City. “BDC’s Pro Sem is such a safe haven in Manhattan,” she says. “You’re challenged every single day—sometimes multiple times a day—but the connections you make with your fellow dancers, teachers, and mentors will support you during the program and long after. Pro Sem is probably one of the smartest training programs I’ve encountered. I owe so much of my career to my experience as a Pro Sem.”
After her semester ended, Fiorillo danced as a Radio City Rockette®, for regional and international theaters, and in the national tours of GUYS AND DOLLS and BULLETS OVER BROADWAY—All of which, for Fiorillo, were dreams come true. “I’m a very determined woman,” laughs Fiorillo. “When I have a dream, I won’t stop until I realize it.” ALADDIN was another such dream. “My journey with ALADDIN was very long,” she emphasizes. Fiorillo first began auditioning for the show when it opened on Broadway in 2011. “I would go to every Equity Chorus Call. I just kept going in,” she recalls. “Each time I would get further and further till the end—dancing and singing and dancing and singing again, but I never got the phone call.”
Back in August, the casting director called Fiorillo’s agent to ask if she was available to fill an open position in the national tour. “Of course, I said yes,” she says. “But I didn’t get my hopes up. This had happened to me many times before and I’d been disappointed. I felt I needed to protect myself from getting hurt again.” So, to distract her from her nerves, Fiorillo went about her day—to work, to dance class, and to a voice lesson. As she was walking home from the subway, her agent called…She got the job! And—she would join the tour in just three days. “I immediately Facetimed my mom and my fiancé. I was so happy!” she remembers with a big smile. “And then I really had to get to work packing and getting my life together before I left town.”
Fiorillo flew to Washington, D.C. to join the company’s residency at The Kennedy Center. “This was my first experience coming into a company that had already been established. It was a major learning experience.” In a big rehearsal space on the top floor of the theater, Fiorillo learned the entire show in just 10 hours. “It was challenging to rehearse with just me and our dance captains—without actually feeling and seeing the cast and traffic and sets around me.” Next, Fiorillo had an early put-in rehearsal since she had learned the show so quickly. “The entire cast is called on their day off,” she explains. “You run through the entire show. They’re all in their street clothes but you are in costume going through every quick change and rehearsing your traffic backstage.” And for the next week and a half, Fiorillo watched the show from the audience and the wings before her opening night on August 29th.
“Coming into the company, I wanted so much to be validated—both professionally and socially,” Fiorillo admits. “But I realized that I didn’t really need that external validation because I felt so proud of myself internally. It was weird to be the ‘new kid’ at first, but you find your way and suddenly you’re part of the family.”
As if the show itself weren’t a dream enough already, Fiorillo really lucked out on finishing these last few months of the tour route. “I get to be in Tampa, Florida—my hometown—for three weeks over Christmas and New Year’s,” she says, beaming. “I’m beyond ecstatic to bring this incredible show to my family and friends. It’ll be a very special experience.”
For all the highs of being a professional performer, there are certainly lows along the journey—being away from your loved ones, getting cut at auditions, and working a few survival jobs to make ends meet. “The first thing I tell anyone is that if there’s any other career that calls to your soul, do that!” Fiorillo says with brutal honesty. This job is so tough and if you aren’t one trillion percent invested, it can break you. “Pro Sem taught me all the skills and technique and tips to be successful in this business. But most importantly, I learned how important it is to have a support system and to ask for help when you need it,” she explains. “Find people you look up to andtell them. Ask them about their journey, what coaches they study with, what classes they take, and how they get through from one audition to the next. Just start an open conversation. It’s so important to share our stories and connect with one another. We’re all in this together!”
BDC has three more stops on the Professional Semester Audition Tour:
Los Angeles, CA – February 22nd Las Vegas, NV – February 23rd Chicago, IL – March 1st
What does theater dance mean today? On Broadway, we’ve recently seen everything from hip-hop in Hamilton to pointe work in Anastasia. As a result, theater dance class can truly run the gamut when it comes to genre and even music. “A jazz, tap, or modern class will focus on specific codified technical training,” explains Jim Cooney, who teaches theater dance and serves as the educational department’s resident faculty advisor here at Broadway Dance Center. “In theater class, we work on storytelling, style, and musicality. You focus on communicating the story–what you’re thinking and feeling—through dance. It’s like an acting class, but instead of text we’re using movement.”
Did you catch the premiere of FX’s new limited series, Fosse/Verdon, on Tuesday night? The eight-part series chronicles the creative and complicated relationship of renowned Broadway power couple, Bob Fosse and Gwen Verdon. Fosse was a Hollywood hoofer turned award-winning director and choreographer, known for such shows as Chicago, Sweet Charity and Pippin, and films including All that Jazz, Star 80 and Lenny.
His wife, muse and artistic partner, Verdon, began as a dancer and assistant to Jack Cole. She went on to star in a host of Broadway shows (many of them directed and choreographed by Fosse) and kept her late husband’s legacy alive through the 1999 Broadway revue, Fosse.
The lights are bright, the buzz and energy is so full of life. It’s full of song, dance, storytelling, exciting choreography, extravagant costumes and sets. It’s Broadway. It’s lovingly called The Great White Way – one of the first streets in the U.S. to be lit with electric lights. Its history and reputation and potential for amazing things make it a “bucket list” item for many dancers. But when so many dancers are vying for the same goal, how can you turn this dream into a reality? How can you break into Broadway?
Here, we turn to Stephanie Bissonnette, a 2010 graduate of Broadway Dance Center’s Summer Intern Program (now called the BDC Professional Semester), who made her Broadway debut in the musical Mean Girls last April. She knows all there is to know about what kinds of classes aspiring Broadway dancers should be taking, how to prepare for that singing audition and how you, too, can make it on The Great White Way, doing what you love.
Do you ever get tired of your usual weekly routine? Looking for something new to try, or are you wanting to try to become more versatile in your training?
Well, here are 5 offerings at BDC – different styles, exciting master classes and studio events – that will keep your week more interesting!
We all remember the names of tap greats – Bill “Bojangles” Robinson, the Copasetics, Gregory Hines and Savion Glover. Looking more deeply and broadly, we see that far more dancemakers were influential and accomplished in their own ways. Sometimes it’s up to people who learned from them and worked with them to honor their legacy.
That’s what Justin Boccitto and Germaine Salsberg, BDC tap teachers, recently did in memory of tap icon Bettye Morrow, who passed away in 2016. Boccitto studied with Morrow extensively. Salsberg took Morrow’s class when she was still teaching at BDC, and “saw it as a fun challenge”. On Friday, June 29, they held an Advanced Beginner tap masterclass with Morrow’s material and in her teaching style.
