Dance in Musicals, while it may seem like a dying art form, can, if used correctly , to be an integral part of a show. Whether it's the unique style that takes you back to the era, the sheer fun, its ability to tell a story and mood or even just adding a statement element, choreography can impact success of a show. In this essay, I will explore how each dance number led to the success of the respective musical by establishing or advancing the theme, style, tone, or plot of the show. Often when we think of Broadway musicals, iconic numbers come to mind. Non-dancers and dancers alike can enjoy the beauty, spectacle and ambiance that choreography can bring to a performance. Say no to plagiarism. Get a tailor-made essay on “Why violent video games should not be banned”?Get the original essayThe plot of West Side Story is a reimagined idea of ​​Shakespeare's Romeo and Juliet set in New York. At the center of the story are two rival gangs, the Puerto Rico Sharks led by Bernardo and the Jets led by Riff. The two star-crossed lovers of West Side Story are Maria, Bernardo's sister, and Tony, a member of the Jets. Maria and Tony fall in love despite opposition from her brother and both gangs. In a terrible turn of events, Tony kills Bernardo, but Maria finds him when he is a fugitive on the run. Tragically, the musical ends with Tony being killed by a shark. West Side Story relies heavily on choreography not only to tell a story but also to create an emotionally charged atmosphere. The show was choreographed by Jerome Robbins and music and lyrics by Leonard Bernstein and Stephen Sondheim. Surprisingly, the musical was not originally a smash hit, as many would expect from such a classic standard of musical theater. However, the 1961 film catapulted the musical to fame. What is so fascinating about Jerome Robbins' choreography is the varied stylistic differences of each number. As incredible as the choreography is to watch, it also tells a story in itself. In the third number of the musical, we can again see the tension and pent-up energy between the Sharks and the Jets in a number called the Mambo. And although this number is titled as a Cuban dance style, there is also a mix of ballet and other styles. West Side Story has so many iconic numbers, however, what makes the Mambo (The Dance at the Gym) so memorable is that it features the two love interests as well as the dynamics of the other characters. The dance from the original 1961 film begins with parade music with a mix of Sharks and Jets men moving in an outer circle and women moving in a smaller inner circle, all looking back and around space while waiting to fight. A loud whistle sounds and everyone stops in place and turns to see who their partners are. They are paired with members of opposing gangs, the drums start with a very rhythmic beat and the mambo begins with Bernardo extending his arm towards Anita and this cross of arms continues until each gang is with their respective group and the piece divides. A dance begins and the Sharks' movements are very subtle with hip isolation, the dance crescendoes into larger movements and the groups move to polar opposite sides of the room. Dance choreography becomes essential to create the mood andthe different dance styles define the Jets and the Sharks. You can almost feel the tension between the gang members. In the most recent revival of the Broadway musical, the choreography is almost a reflection of the original. The groups begin to advance towards each other with very large movements dancing with their partners and Tony joins in the dance. Then we see the sharks gather in a corner where they are calculating their next move as they start the dance. The Jets stop dancing and reluctantly give up their place on the dance floor as the music changes to a very romantic, slow beat with subtle movements including hip isolation, dancing crescendos into larger movements and the music reflects this change. The Jets erupt as they perform their move, and although they are initially dancing the mambo, they transition to a more swaying and swinging style. They eventually create two separate semi-circles where they dance just for their friends, which also reminds the audience that these are kids, at a high school dance and with all the dramatic things they get into involved throughout the evening. shows how easy it is to forget. The dance choreography at the gym tells a story of rivals and we see the differences in the ethnic dance styles of the Sharks' Latin dance versus the Jets' Caucasian dance style. An interesting scene is where they stop mirroring each other as we see the groups transform the same choreography into what each group thought was the right "style". Robbins' choreography in this dance particularly shows the differences in how the groups move while showing what can be considered a fun high school dance. At the end of the number, the blaring trumpet and music dissipate as lovers Maria and Tony make eye contact for the first time and all the tension fades. They're clearly attracted to each other, but there's something so much purer. The dance between Maria and Tony is a perfect transition to set up the moment where they fall in love and that is when the audience also falls in love with the doomed couple. In West Side Story, the choreography is at the forefront in weaving the story and the choreography is more than just dance numbers, it emphasizes and tells a story where monologue alone cannot. Fosses' influence on choreography caused his unique style to become popular. An influential show he choreographed and also directed was Cabaret, which was presented both on Broadway in 1966 and in theaters in 1972. This show was set in Berlin, on the eve of World War II. The show itself has a dark and ominous tone with war looming around the corner. Bits of humor are interwoven throughout the nightclub to provide levity and escape from trouble. The number “Mein Herr” in particular is impressive and requires strength to perform a plank on a chair, but it also brings a certain style to the slinky Berlin club where the show takes place. The Mein Herr number specifically captures one image, the women on stage pose and remain perfectly still in a broken doll position. They also roll their ankles as if they are snapping their fingers, again Fosse style. What is so interesting about this production is that even though the dance seems strange, there is something about the exact timing and synchronization that makes it extremely sensual. Fosse's unique style can also be seen in the musical Chicago, which, like Cabaret, also enjoyed great success on Broadway and at themovie theater. Chicago has enjoyed its longest revival since 1996 and its success can be attributed to Bob Fossee and his creation of jazz as a new art form. The musical Chicago begins with the introduction of Velma Kelly, the scene shifts to Roxie Hart who has murdered her lover. Roxie is sent to prison where other inmates are accused of murder, including Velma who is accused of murdering her husband and sister. The First Night in Prison opens with the number "Cell Block Tango" in which each of the women tells their story of how they were thrown into prison. Roxie fears she will be sentenced to death and so she pursues Billy Flynn who has never lost a cause for a woman and uses the media/press attention and sympathy to get out of prison. Velma is not happy with the new developments, as she was previously the darling of the media. Velma watches this, she tries to form an alliance with Roxie which is refused. A competition between the women begins to see who can get the most media coverage and be bailed out. Eventually, the two women conspire together and team up to become a famous jazz duo. Chicago is set in a speakeasy in the 1920s. From the beginning of Velma's entrance where she is wearing a black jumpsuit as she appears from the ground and the lights echo her silhouette. In the back there is an immediate focal point of her coming down the stairs. The whole forms a pyramid and creates a shadow with its simple movements that catch the eye. Then all of a sudden, in the middle of the song, the chorus interrupts in chaotic movements then returns to the unison of the swing of its arms. The choreography clearly sets the tone and mood. The audience is then introduced to Roxie and a lover. The choir forms a pyramid for a simple overview, then they dance freely again. We then see Roxie and Fred again as they say goodbye after their date, at which point the ensemble reforms into formation but instead of being as in sync, the chaos builds to a crescendo where we have an image of the whole getting up with jazz hands and then removing them. The next scene we see is Roxie shooting Fred, then the song ends after the ensemble raises their arms in the air and Velma whispers "All that Jazz." Fosse created the new style of Jazz at the time, and he told a story without each movement revealing it. What's incredible about Fossee is her ability to expand her work outside of choreography. As the director of Cabaret, he was able to share his work with others, resulting in the film Chicago released in 2002. His choreography in these two shows was so influential to lower dancing and changed the way we see dance today. But his style was not only unique, it opened the door for people to explore their sexuality whereas before, dancing had been much more conservative. Cat's is another defining musical in which choreography was integral to its success. Created in 1982, Gillian Lynne's choreography was a transformation of the art form from a classical genre to a high-energy modern dance best seen in the first act number Jellicle Ball. Regardless of conflicting personal opinions about the show “Cats,” its success cannot be denied. This musical launched the career of Andrew Lloyd Webbers. The dances are a mix of classic ballet training and an 80s workout video. The stamina required to perform the numbers is incredible and the unique choreography resembles the mannerisms of a cat. The musical is said to be "a revue on the world of cats", based on TS Elliots Old Possum's Book of Practical Cats which Andrew Lloyd Webber set.