Greenroom Diaries

We love bringing fresh ‘n funny musicals to the Falcon stage – but what really makes those productions pop is the rockin’ choreography!  Ameenah Kaplan is the choreographer for the upcoming Troubie musical, A Wither’s Tale, which is opening the Falcon’s 2010-2011 Subscription Season in August.  Ameenah has been working with the Troubies and all over LA for years – and she allowed us to get a little insight into her work as a choreographer:

Falcon: What was your first experience with dance and/or theater?  What was it that inspired you to make it your career?

Ameenah Kaplan: My first experience with dance was taking ballet as a kid around age 9 or 10.  Unfortunately, my parents understood sports much better than the arts, and they dropped the dance lessons in favor or organized sport.  I loved sports but longed to return to dance which didn’t happen until I was about 14 years old.  At that point I knew I wanted to be an actor.  The summer I turned 15, I booked my first professional job in the theater.  I was a witch in the Georgia Shakespeare Festival’s production of Macbeth. This production sealed the deal for me.  The actors were inspiring and I felt at home in the environment.  Theater was what I wanted to do.  I continued taking jazz and ballet lessons at the Atlanta Jazz Theater.  That fall, I transferred to the local performing arts high school and began to study seriously.

F: How do you approach a new piece?  If there are composers/musicians involved, how do you work with them?

AK: I like to have a chat with the director first to get a sense of his/her overall concept for the show.  I want my choreography to compliment the director’s style and intentions.  Their vision is what’s most important to me.  I personally love working with composers because I am also a musician.  I love to accent syncopation and other musical tricks they have used with my movement.  I usually like to throw in some kind of body percussion or something as a nod to the musical side of me. If the composer has written a musical phrase that I can interpret rhythmically with my body, I really go for that.

F: Tell us a little bit about your current project, A Wither’s Tale.

AK: I’ve been working with Matt Walker and the Troubie’s for a while now and we’re definitely finding our groove.  My choreography has really matured with this company.  The music of Bill Withers has a bouncy, clappy, club, fun feeling to me.  Along with Matt’s notes, this is the feeling I’m taking into the choreography.

F: How did you get involved with the Troubies?

AK: I believe Matt saw a show that I had choreographed and directed called Everyman for Himself.  It was the first ever workshop of my work, and I’m not sure why he thought, hey, that girl would make a good choreographer for me!  hahaha!  But he did, and I’m eternally grateful because it’s helped spin me down a path that I could not have anticipated.  My first show was A Christmas Carol King and I remember being so nervous because the techniques I’d used in Everyman were so crude and here I was trying to replicate them with performers that I didn’t know.  haha!  I’m sure I was a little harsh with them, but it was just nerves.  My style tends very physical and can even be abstract.  This approach is usually better for hard core physical theater or dancer types.  In the past, I’d give movement or rhythm to the Troubies that just wasn’t working.  I’ve had to learn to create movement that satisfies the “out there” urge in me that’s doable by actor/comedian/singers.    I want the movement to suite them but not be too easy or standard.  Together, we’ve found our way.

F: Do you have a favorite project you’ve worked on over your career?

AK: Of the Troubie projects, I’m particularly fond of Oedipus the King, Mama! That’s the show where I feel we hit our stride.  Alice in One Hit Wonderland was the beginning, but things really came together with Oedipus.  Outside of Troubie, I just choreographed The Women of Brewster Place.  It’s my favorite work to date as it fulfilled many of the dreams in my head about what my ography can be.  It was challenging, huge, and so rewarding.  Again, a strong and willing cast made it possible.

F: What is your dream project?

AK: They’re all my dream projects.  I can’t believe I’m lucky enough to do what I do.  They are part of what I hope will be a strong body of work.  When I’m old and gray and looking back, I can say, ‘I was a part of that?  Really?  That’s a pretty cool way to spend a life.’

F: How is working in LA Theatre different from theatre in NYC, where you went to school?

AK: I like the freedom that the Equity waiver plan gives LA actors, directors, and designers.  Theater here is abundant as a result.  The weather is also a major plus in terms of being able to workshop projects year round–outside if you need to.  I’ve certainly done it!  One issue I have is that the abundance of work doesn’t necessarily translate to quality.  And quality companies like the Troubies can work hard for years and not get the recognition and funding they deserve because theater is considered a side project.  New York by contrast is full of people with money who produce theater.  They’re not trying to adapt your stage play into a TV show.  What I think the Troubies deserve is a living wage.  Perhaps their shows would be running in Off-Broadway houses in NYC under equity contracts by now.  Perhaps they’d already be on Broadway.  The Troubies have already demonstrated that they know how to build an audience and keep them coming back for more.

F: Why should people come see your work in A Wither’s Tale?

AK: They shouldn’t come see it for my work alone.  My experience with the Troubies is a true ensemble one.  The dance is completely dependent upon the performances of the cast and the writing and directing of Matt.  They should come to see A Wither’s Tale because the music is incredible, the band will be poppin’, the cast will be killing it, the direction will be off the chain, and the choreo will be hot as well.

A Wither’s Tale begins previews August 11 at the Falcon Theatre

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Ameenah Kaplan (Choreographer) NYU’s Tisch School of the Arts. Choreography: The Women of Brewster Place, Altar Boyz, and Title of Show for Celebration Theatre; Duel and Steel for Oasis Theater Company; The Legend of Alex for CTG; Oedipus the King—Mama, CHiPs, Frosty the Snow Manilow, A Christmas Carol King, Santa Claus is Coming to Motown, The Comedy of Aerosmith, Jackson Frost, Alice in One Hit Wonderland II, It’s a Stevie Wonderful Life for Troubadour Theater Company. Sissy for Company of Angels. Prove It On Me for LA Women’s Theater Project.  Princess Bean’s Messy World for Princess Bean Productions. Original work: Everyman for Himself (2007 NAACP Award: Best Choreography; 2007 LA Weekly Awards: Best Fight Choreography and Best Original Score).  2007 Richard E. Sherwood Award from Center Theater Group.  2009 LA Weekly Award: Best Choreography