Choreographer’s genius evident in hit musical
IN EVA Perón’s (nee Duarte) rise to fame – or infamy – lies a strong moral message. One that says: ambition, determination and drive – in addition to a little luck – will get anyone where they want to be.
But unless that journey is undertaken honestly, there can be disastrous repercussions.
Such was the case with Eva Perón on whose short and colourful life Tim Rice wrote lyrics, Andrew Lloyd Webber composed music, Larry Fuller choreographed and under legendary Hal Prince’s direction, Evita the musical hit Broadway in 1979.
Unlike Evita (Spanish diminutive for Eva), for the international choreographer it has been Fuller’s honest, sincere drive to become a dancer, director and choreographer that brought him to the pinnacle of his profession in musicals.
He was 5 when he was determined to dance and his big luck came from his mother, who strongly supported his aspirations.
Speaking in his quiet American twang, Fuller’s eyes sparkled as he recalled his youth.
“My good fortune started with lessons with a Miss Zoe in our home town Rolla, Missouri. As everyone should know, classical ballet lays the foundation on which ALL dance forms are built. Miss Zoe taught me well until I reached puberty.
“Then I switched to a very smart secondary school where sporting activities were paramount. While I was top of the ballet, tap and acrobatic classes, I had little aptitude for baseball – America’s national sport.
“In fact, I was so terrible nobody really bothered me… Although I did undergo some ragging about my dancing.”
Another stroke of luck forging Fuller’s career came from finding the Ford Sisters School of Dance.
“The school in St Louis was 160km from where we lived, so my dear mother ferried me, every Saturday, for my last year of middle school lessons.But my father insisted on “having something to fall back on”, so I studied business administration for a year.
“When I turned 18 and could legally go my own way I went my own way and my dance career began in earnest.”
But Fuller didn’t feel suited for princely roles and so moved into musicals. During the 1950s Fuller performed at St Louis Municipal Opera’s weekly musicals or operettas. He’d also danced with the New Yorkers and in New York in September, 1956, a $500 wage packet found him dancing in a big new New York nightclub.
The next step saw Fuller dancing as a corps member in Carousel. Then came a stint with Jerome Robbins’s West Side Story. Never without work, Fuller’s list of performing in great Broadway musicals grew. As did his experience working with the best choreographers, directors and stars in musicals.
“What isn’t remembered is the human body has already been used in every way possible. Nothing is actually new. What is new is the intellect that governs great choreographers’ minds, which enables them to combine shapes and steps in their own unique style. Of course music and story add to these factors.
Choreographing Jule Styne’s Funny Girl, in which Barbara Streisand starred, took Fuller to London’s West End. Jetting back to America he repeated the task for Funny Girl’s American tour.
Since then, there’s hardly a musical or TV show which Fuller’s choreographic genius hasn’t touched. He’s travelled the world and his recent (first) visit to Cape Town and Johannesburg was to launch Evita at Monte Casino on October 12 and now at Artscape on December 1.
“I’m pleased with what I’ve seen, and delighted with my colleague Kim Jordan’s reproduction of my choreography. She has an amazing sense of responsibility towards this task and has done a marvellous job.”
In 2011, Pieter Toerien Productions presented an Evita production. Why then go this time for the original? Said Toerien: “I discussed this production with Andrew (Lloyd Webber) and he was adamant that Hal Prince’s award-winning production is to date the best Evita production and wanted it done again. Well, when the “master” speaks we obey.
Every costume and set was constructed in the UK to Timothy O’Brien and Tazeena Firth’s original designs. Final touches and fittings are being done here.”
That was an enormous task. When closes at Artscape on January 7, 2018, is that it?
“No,” replied Toerien. “After striking sets and packing costumes, they are being shipped to Singapore where we are on show at the Marina Bay Sand from February 23.
“Then we’re off to Taipei, Hong Kong and Japan, after which the South African company returns home while our sets and costumes go to Australia. With an Australian cast we open at the Sydney Opera house to mark the 40th birthday of the show.
“After Sydney, its Melbourne after which our South African company rejoins the Evita tour and it’s back to Asia.”
With Jonathan Roxmouth as Che, Emma Kingston as Evita and Robert Finlayson as Perón; and Evita’s popular songs – Don’t cry for Me Argentina, On this Night of a Thousand Stars, Oh! What a Circus and High Flying – a truly original Evita production is sure to be one of those rare theatre treats. Book at Computicket or Dial-a-Seat on 021 421 7695.