GhostLight A sneak peek at the choreography in the GoodmanTheatre's blockbuster; Interrobang calls it quits. | ✍️ kerryreid
in pre-pandemic days. She notes that, though it might be counterintuitive for someone working on musicals, she tends not to focus on the songs when she’s coming up with choreographic concepts for shows.
Latarro reached out to Hernandez-DiStasi before she told McAnuff what she planned for that moment. “She told me, ‘I want someone to fly off, and I don’t want them in a harness,'” says Hernandez-DiStasi. “Which is just my favorite. I think harness work is great, but I’m a big fan of having actors use their own strength and do a little bit more of the heavy lifting or the light lifting, whichever makes sense.
The next step was working at the Actors Gymnasium with actor Ali Louis Bourzgui, who plays Tommy, and his understudy. Bourzgui, who was most recently seen at the Goodman in Martin Yousef Zebari’s, had no previous experience doing aerial work. “For me, that’s kind of what I do,” says Hernandez-DiStasi. “I love to take actors to a place they didn’t know was possible. That’s kind of been my role in a lot of shows.
This includes “generating the vocabulary of the era,” notes Tomasetta. Tommy’s story, if you’ve forgotten or never knew, starts with him witnessing a murder in his home as a child right after WWII; that trauma is what leaves him deaf, dumb, and blind. “We have swing dancing, and then [the story] takes us through the 60s, so it’s really creating the vocabulary of what rock ’n’ roll is through movement,” says Tomasetta.
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