The DanceBreak Foundation
2002 - 2011
For over ten years DanceBreak hosted an annual presentation showcasing six new choreographers each year, providing all the financial, administrative and technical support necessary to help develop new choreographic talent for this unique art form. How It Worked
The Application Process
Preliminary applications, in the form of resumes, were accepted from anyo
ne, anywhere, with the exception of those who had previously held a Broadway contract. After an initial screening of these resumes, a list of semi-finalists was sent to the DanceBreak Board members to approve or disapprove. The next round was the submission of a reel, no longer than 10 minutes in length, and a letter of recommendation from someone they had worked for. These reels were also prescreened and narrowed down to approximately 15 to be screened by the full Selection Committee. 6 were chosen. This selection process usually took place in early January with the showcase in mid February. The Showcase
Each of the six choreographers was given the task of creating two dance pieces. One could be anything they wanted. Absolutely anything. The other piece had to be a classic Broadway number, done in the context of the original show. Although the “free” piece could be performed to prerecorded music, the Broadway number had to be performed with live music, a piano and full drum kit were provided, and, as this was a musical theater showcase, the number had to be sung as well. The audience was by invitation only and, initially, consisted of Broadway producers and directors. As the years went on, the rules on that lapsed a bit as many future applicants, out of town theater directors, agents (looking at both choreographers and dancers) and the very enthusiastic Broadway dance community wanted to see this showcase. We started in a rehearsal studio with 70 chairs on risers and ended up in a 300 seat house. Each choreographer could use up to ten performers, had eight minutes of stage time, divided up anyway they chose, and had only twelve hours of rehearsal time. It was an intentionally tight schedule as solid pre-production work is a necessary skill. There was no special lighting, and minimal costuming, props or set pieces. The focus was kept on the work, not the production values. At the performance, the choreographers came out on stage and introduced themselves and each of their pieces. A full reception followed each performance to ‘meet and greet.’
