Student Blog: Unicorns of the Theatre

Last week, I was invited to attend a dress rehearsal for the Summer Theatre of New Canaan's TYA production of "The Wizard of Oz". I was told to arrive at 10:00 am for a particularly early matinee - intentional for STONC's younger audience members.

Luckily, I had the opportunity to sit down with the director, choreographer, and set designer of the show, Corinne C. Broadbent, for a brief chat before the run. I know what you're thinking: director, choreographer, AND set designer? Oh my! But Broadbent opened my eyes to the world of highs and lows that comes with holding multiple positions in a professional theater.

Broadbent explained to me that director/choreographers are like the "unicorns of the theater". Although becoming more common, she admitted that the profession can be lonely - which is no surprise considering that she was single-handedly responsible for every piece of movement in the show. There is a substantial amount of collaboration between directors and choreographers that goes unnoticed, and to do both jobs is a unique creative challenge.

There is a benefit, however, to having only one vision fuel a piece, she explained. Broadbent noted that with more artistic control, director/choreographers can fill out their creative concepts more fully. There is more room to be specific, without having to compromise choreography for direction, an undeniable aspect of STONC's "Wizard of Oz". With a background in choreography, Broadbent was able to breathe new life into the classic tale.

The show opened with an aspirational Dorothy, dressed in mousy overalls (think Orphan Annie-esque), tougher than we may remember. Instead of a vibrant opening, Broadbent (who in addition to doubling as the director/choreographer, tripled as the set designer) wanted the audience greeted by a dry, dusty, and unforgiving portrayal of Kansas. The set consisted of a single, turning four-sided "cube" shaped like a house that never left the stage, signifying that home was with Dorothy all along.

Broadbent's set design, although imaginative, remained minimal, allowing herself room to give expressive direction. With full control of the stage, its structure as well as its players, Broadbent brilliantly created a movement-friendly space suitable for sizable choreography. Her actors, therefore, were clearly encouraged to "take up space" and explore their roles, physically.

Our first insight into Broadbent's choreographic approach began with the infamous twister. Instead of your typical tornado, Broadbent utilized dance, crafting a beautiful ballet routine to replace the violent storm. The dancer's performance distracts the audience's eye, allowing the impressive costume changes to feel all the more magical.

When we touch down in Munchkinland, it's near impossible not to smile. Broadbent's choreography, filled with literal gestures and funky personality, enhanced the cast's charming performances, allowing the ensemble to shine. Later, Scarecrow is introduced through a jazzy, broadway-baby dance combination, Tin man with a rigid, yet tender tap routine, and Lion with a number that could only better be suited in an Elvis music video.

Broadbent also chose to include several musical additions that added to her choreographic vision. She included poppy flowers on pointe, a show-stopping number by the Wicked Witch of the West, and her dancing (rather than flying) monkey, as well as several new, well-suited solos dispersed throughout the cast.

But, it's not only Broadbent's inventive approach that made this particular production so special to watch, it was the obvious bond between the cast and crew, a tight-knit group of talented college students, that brought the show to life. There's truly no place like The Summer Theater of New Canaan!

If you can't find the Wizard himself to ask for tickets, be sure to visit stonc.org and follow the yellow brick road to The Summer Theater of New Canaan's "Wizard of Oz" now through July 31st!