Meet the Masters of Movement
MoveTVnetwork.com presents Jerry Mitchell On... Working with Ann Miller
Jerry Mitchell is an Americantheatre director and choreographer.
Born in Paw Paw, Michigan, Mitchell later moved to St. Louis where he pursued his acting, dancing and directing career in theatre. He graduated from the Fine Arts college at Webster University in St. Louis. Today, Mitchell resides in New York City and St. Louis.
Mitchell's early Broadway credits were as a dancer in The Will Rogers Follies and revivals of Brigadoon and On Your Toes.
Mitchell's first production as sole choreographer was the 1999 revival of You're a Good Man, Charlie Brown, which he followed with The Full Monty.
Mitchell created and for many years directed the annual Broadway Bares benefit for Broadway Cares/Equity Fights AIDS. In addition to the theatre, he has choreographed for films such as Camp, In & Out and Drop Dead Gorgeous. He garnered an Emmy Award nomination for his work on The Drew Carey Show.
In 2003 Mitchell was named one of Dance Magazine's "25 to Watch". His most recent project, for which he serves as both director and choreographer, isLegally Blonde: The Musical, which opened in April 2007, and currently serves as a mentor on Bravo's reality competition Step It Up and Dance.
Mitchell is currently working on a stage show for Las Vegas, Peepshow, and was involved in workshops for the stage musical version of the film Catch Me If You Can.
We'd love to see your favorite Ann Miller links......this is after all YOUR place to share your dance inspirations.
Jerry Mitchell~ it was an absolute pleasure!
We truly look forward to sharing more of your insightful interview!
Jerry's words and Ann's dancing - what a wonderful way to start the day! There are not enough superlatives for Mr. Mitchell and all that he has contributed to musical theater and it is only fitting that he got to work with Ms. Miller. I well remember seeing her in "Sugar Babies" and from the moment she entered, I sat up straight in my seat, realizing that I was in the presence of greatness. Thanks for posting these inspirations!
Regarding "I Gotta Hear That Beat:" You take Ann Miller and her talent, Busby Berkeley and his innovative conceptual eye and all those men who were fainting standing under that floor - holding those instruments in the air and 59 years later, you have something magnificent that makes the way dance is filmed today look like the non-stop edit, pan, fire-and-pyro bursting mess that it is. It's about the DANCE, folks.
WOW, I wish I could tie up all my tap students and MAKE them watch these films!!!! Like Larry said in his comment, 59 years later, there is still nothing to compare!! That's loving what you do and doing it well. Thanks, MOVE, for sharing.
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