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One difference between the first ADM and the 21st century version, which had its debut performance in June, is Sappington insistence on giving the dances a context. musical theater dance has a purpose, she says. dances are not created in a void. So she made the supporting dialogue an integral part of the program. and the Mirror is famously a female solo, but the ADM21 version includes a non dancing actor to https://www.pinisibakerynyc.com play the scene that sets up the number. just makes all the difference, Sappington adds. really understand who Cassie is. Many of the performers chosen by Atkins and Sappington Askegard and Sarah Weber Gallo for the ballroom y and Georgina Pazcoguin, Amar Ramasar, and Daniel Ulbricht for the earthy Monotony from ballet. classical background lends richness to the choreography, Atkins says. line, that clarity, that crispness what Matt Mattox had, and Bob Fosse as well. Needless to say, Fosse is on the ADM21 wish list, along with a gamut of Broadway dancemakers. One of the historic numbers Sappington is eager to add is Bennett comic trio Lurkey Time (from Promises, Promises), which she herself danced on Broadway with McKechnie and Baayork Lee. Before any of that can happen, more money needs to be raised, more rights secured, more dancers trained in the appropriate styles. One big step toward these goals https://www.pinisibakerynyc.com begins this fall, with the planned opening of The School at ADM21, which will eventually have not just dance classes but a complete musical theater curriculum. Ultimately, if Atkins and Sappington succeed, Broadway will finally have an answer to the question are the dances of yesteryear?