ent001633-028

TROPIGANA?╟╓S ?╟ FOLIES?╟╓ ADDS MUSIC HALL * Continued from 72nd Page terned?╟÷how many bars, the in- different costumes on stage, having a struments played and the key it will be * make sung or performed in. alset change, j Color is also an important issue in who writes, choreographes and stages staging a revue such as the follies, the show and designs the costumes. Jackson will often contrast scenes In the new ?╟úFollies Bergere,?╟Ñ Jack- so that he can catch the audience off son has deviated from the age-old tra- guard. A bright-colored scene may fol- dition of the music hall and opted for a low with a more subdued set that will hewer, more sophisticated look. soften the mood, or alternately, elevate this time the follies salutes American Although a production show the size music, and in so doing creates a histori- of the Follies Bergere normally takes cal sketch of the times, ending with a six months to produce, jackson had only spectacular staging of the ?╟úspace age.?╟Ñ 4Vz months. Immediately he set his ?╟úI've created bookends in this new pace and has neyer let up in the interim, follies,?╟Ñ Jackson said. ?╟úThe show opens He maintains an average of four hours with a colorful look at how the follies sleep a night, and rises early each might have been during World's Fair morning to exercise and plan the show time, circa 1900. Then we make a tran- and rehearsals for that day. sition and start building through the His two assistant choreographers, years?╟÷tracing the music of the 1920's, Pepper Clyde and Suzie Childers, work 1930's, 1940's, and so on, until we end with the cast in sharpening their per- with the look of today and the future. formances. Then I close the show with the can-can Because the new follies salutes ?╟÷taking the audience full circle. It's a American music, there are several peri-very nice effect.?╟Ñ od ?╟úlooks?╟Ñ that had to be authentically The staging, aside from the under- captured in order to make the scene lying theme, is electronic and fast- look natural to the audience. The cospaced. tumes play an important role as a re- ?╟úThe whole show is paced out in my suit, and the staging and choreography mind,?╟Ñ Jackson said. And everything is also vital. depends on the audience in determining In the blues number, a girl sits at a this pace; Jackson believes that a Las small table and chair, with a huge wall - Vegas audience has to sit too long just paper backdrop, behind her. an ovpr. to see a show. They stand in line for en- sized window, an over-sized baseboard trance into the theatre, they wait to eat, along the floor?╟÷even the wallpaper they wait for the show to begin. ?╟≤ print is over-sized. ?╟úThe end result,?╟Ñ / ?╟úIf it's a star they're seeing,?╟Ñ Jackson Jackson explains, ?╟úis that the girl singer said, ?╟úthen an audience will be quiet becomes very insignificant?╟÷a point I and patient for them. However, it's not wanted to bring out to capture that the same with a production show. After blues era.?╟Ñ the audience has seen the costumes, In the 1940's boogie woogie number, scenery and heard the music, and they- bright-colored Wurlitzer juke boxes get the mood of the number?╟÷they're come swinging out on stage, followed ready, for something else. That's why by pompadoured chorus girls, smaking my shows move so fast. I believe that gum, with polka-dot print dresses, plat- there should always be some kind of a form high-heel shoes and beaded cos- change or another every 30-45 seconds tume jewelery. The dancers become while the show is in progress.?╟Ñ characters of that era, and mimic the To achieve this effect, Jackson will cartoon look of the 1940's singer and utilize various diversions, such as actor. change of tempo to the music, sending Please Turn to Page 75