The 2010 Tony Award Winner for Best Musical dances into Toronto this week where it will play until Christmas at The Toronto Centre for the Arts. Featuring original Broadway cast members Bryan Fenkart and Felicia Boswell, the show opened in Memphis, TN to rave reviews and will have its Toronto opening on December 7th. Aubrey Dan, President of Dancap Productions said “We have been a huge supporter of the Tony-winning Memphis since day one. I have always believed that love is the great equalizer, and at the heart of Memphis, amidst all the spectacular singing and dancing, is the universal story that love conquers all.”
Memphis tells the story of a young white DJ named Huey Calhoun living in 1950s Memphis, who falls in love with all the wrong things (such as rock and roll and an African American singer). It is a collaboration between many of Broadway and the music world’s most talented people, with a Tony winning score by David Bryan, book by Bryan and Joe DiPietro and choreography by Torontonian Sergio Trujillo. Mr. Trujillo is responsible for the choreography in some of the biggest hit shows of the last few years, including Jersey Boys and Next to Normal. He is returning to his hometown of Toronto for the show’s opening night, and spoke to BWW about what makes Memphis so special, how he balances so many incredible projects and what he thinks about the future of musical theatre in Toronto:
First off, congratulations on the success Memphis is having on the road! Have you been to any of the other touring cities to see the production?
Yeah, I was in Memphis because we made some adjustments to the set and the show for touring purposes so it was imperative that I travel and take care of everything. I usually do that with all my shows and I like to be there at the beginning of the show and until it opens in its first city.
Did you notice a distinguishable difference in the audience reaction on tour versus on Broadway?
We were lucky to open in Memphis, TN and it was quite magical when we opened there. The reaction that we got there was just unbelievable. We get that in New York but in terms of touring it was a special and a perfect place for us to go.
Do you see Toronto audiences embracing the show the same way it has been embraced in the US?
The show is very entertaining. The music is wonderful and the choreography is exciting. The performances from Bryan and Felicia are stellar and in terms of the show it’s an interesting one with universal themes. Just because we aren’t in 1950 doesn’t mean that those issues such as racism and discrimination are no longer relevant. It is because they are still so relevant that this show resonates so well with audiences.
Is it true that you got some of your inspiration for the choreography after seeing children jumping rope in Harlem?
Only for one song, but it did help me. There was an instance in the script for a number called Radio where it simply said “dance” and gave no additional direction. I needed inspiration to help with the story-telling aspect of the number and seeing the children jumping rope was how I found my way into that song.
You certainly keep busy! How do you find a balance between all the shows and ensure that the quality of each of them remains intact?
Time management and discipline are very important, as is having a team of associates who can carry out your work with the same level of integrity as I would expect from myself. I think we are all multi-taskers at heart and how well you do it and how well you can compartmentalize your focus is really important. I went to University of Toronto to study biochemistry and while I was doing that I was studying dance, so I learned very early on that I needed to throw everything into compartments in order to be successful at everything that I was doing.
This past summer you were quoted saying that you hoped to bring a new production of Flashdance to Toronto featuring a Canadian cast. Is that something that is still on the table?
