When emotions overflow in a Broadway musical, characters don’t just sing—they dance. But what happens when those dances aren’t just steps, but references? That’s the question at the heart of two Tony-nominated shows, Schmigadoon! and Cats: The Jellicle Ball, which use choreography as a secret language, speaking volumes to those in the know. Personally, I think this trend of embedding dance callbacks is one of the most fascinating developments in modern theater. It’s not just about movement; it’s about meaning, layered like a theatrical onion waiting to be peeled back.
The Art of the Subtle Nod
One thing that immediately stands out is how these shows use dance to pay homage to their roots. Schmigadoon!, a mash-up of Golden Age musicals like Brigadoon and The King and I, doesn’t just borrow melodies—it borrows moves. Christopher Gattelli’s choreography is a masterclass in nostalgia, weaving in steps that feel both fresh and familiar. What many people don’t realize is that these callbacks aren’t just for the die-hard fans; they’re a way to deepen the story, adding layers of emotion and history to every scene. If you take a step back and think about it, it’s like watching a conversation between eras, where the past and present collide in perfect harmony.
Cats Reimagined: When Ballroom Meets Broadway
Cats: The Jellicle Ball takes a different approach, transplanting Andrew Lloyd Webber’s feline extravaganza into the world of queer ballroom culture. The choreography, by Arturo Lyons and Omari Wiles, is a bold fusion of voguing, duckwalks, and the original production’s iconic moves. What makes this particularly fascinating is how it redefines what Cats can be. It’s not just a reimagining—it’s a reclamation, a way to bring a classic into a new cultural context. From my perspective, this is theater at its most innovative, proving that even the most familiar stories can be reborn through movement.
The Inclusive Dance Floor
Both shows walk a fine line between insider references and accessibility. Gattelli insists he doesn’t want anyone to feel left out, but let’s be honest: part of the joy is in the recognition. It’s like catching a private joke in a crowded room. Yet, what this really suggests is that theater can be both exclusive and inclusive at the same time. The uninitiated might not catch every reference, but they’ll still feel the energy, the emotion, the sheer joy of the performance. That, to me, is the magic of these shows—they invite you in, no matter where you’re coming from.
Why This Matters Beyond the Stage
This raises a deeper question: what does it mean when art becomes a dialogue with its own history? In an age where everything feels new and disposable, these shows remind us of the power of continuity. They’re not just entertaining—they’re educating, subtly teaching audiences about the evolution of musical theater. A detail that I find especially interesting is how these callbacks challenge the notion of originality. Are they derivative, or are they a celebration of tradition? Personally, I think it’s the latter. By embracing their influences, these shows don’t just honor the past—they redefine it.
The Future of Dance on Stage
If this trend continues, what’s next? Will every new musical come with a built-in history lesson? I wouldn’t be surprised. As audiences become more savvy, choreographers will need to dig deeper, finding new ways to reference, reinterpret, and reinvent. What this really suggests is that the future of theater isn’t just about creating something new—it’s about reconnecting with what came before. And in a world that often feels fragmented, that’s a pretty powerful idea.
In the end, Schmigadoon! and Cats: The Jellicle Ball aren’t just shows—they’re statements. They remind us that dance isn’t just movement; it’s memory, it’s conversation, it’s connection. And in a theater filled with people from all walks of life, that’s something worth celebrating.
