Broadway Choreographer Sergio Trujillo Takes on Memphis
Boasting a career of performance and choreography on Broadway for the past 20 years, it is clear that Sergio Trujillo is a very special artist. He’s choreographed numerous Broadway musicals including “Jersey Boys” and “Guys and Dolls,” and is currently in final rehearsals for the debut of the new Broadway show, “Memphis,” which opens on October 19, 2009 at the Shubert Theatre in New York.
“Memphis” is a show that takes place in the underground dance clubs in 1950s Memphis, TN. In an era where every aspect of life—including music—was segregated. The collaboration and romance between white singer DJ Huey Calhoun and black singer Felicia Farrell creates the kind of drama that hooks the audience from the get-go. As viewers experience the Golden Era of early rock ‘n’ roll, they are witness to a love story between two people, and a love story for the sounds of a particular place: Memphis and its infectious music.
Dancer sat down with Trujillo to find out more about his journey on Broadway and his insight into creating head-bopping, foot-tapping choreography.
Q: Where are you from?
A: I was born and raised in Columbia, South America, until my family migrated to Toronto, Canada. I moved to New York City in 1989.
Q: How did you start dancing?
A: I began dancing when I was 21. I was at University of Toronto studying pre-med. I saw a performance at a theme park and fell in love with dancing immediately. Eventually I finished a degree in biochemistry, and attended chiropractic school. I took a leave of absence when I got my first Broadway show.
Q: Was you family supportive?
A: They didn’t get it at first. They thought it was a phase until they saw me perform in my first Broadway show, “Jerome Robbins’ Broadway.” They knew it was an incredible thing.
Q: Was “Jerome Robbins’ Broadway” your “big break” as a performer? What was your “big break” as a choreographer?
A: “Jerome Robbins’ Broadway” in 1989 definitely launched my career. As a choreographer, I never had exactly a “big break.” Dancing in shows like “Guys and Dolls,” “Victor and Victoria” and “Fosse” was an excellent education for me. I was also constantly challenging myself and reinventing my story. Choreography was the natural progression.
Q: Who or what inspires you?
A: Process. The process of how you are going to use music and dance to tell the story of the show. And, of course, music. Music is the passionate and pivotal element that informs everyone. It is the heartbeat of the show.
Q: Did you intend to become a choreographer?
A: Yes. I knew that it was my destiny. I always wanted to be involved in the process and control the creativity.
Q: How did it feel when “Jersey Boys” won the 2006 Best Musical Tony?
A: Oh my god. It was life changing, like winning a gold medal. That moment is suspended in time, priceless. I can still feel it and I will never forget it. I must say, though, that I do the work because I love it. The accolades come later—they’re icing on the cake.
Q: Did this success create any pressure when choreographing “Memphis”?
A: Since choreographing “Jersey Boys,” I have worked on many productions. The success from “Jersey Boys” afforded me more control over my career. I could pick and choose what projects I wanted to pursue and what stories I could tell through choreography.
Q: Underneath the glamour of a Broadway show, is “Memphis” a love story or a statement about race? Or both?
A: “Memphis” is first and foremost a story about love. But there are many aspects of this love. “Memphis” is about a love and passion for music, a love for a place, and the love felt when a man meets the love of his life. The race statement is only a layer to the story.
Q: How does the choreography demonstrate this?
A: When Hugh walks into the club for the very first time, there is an environment of sensuality. There is definitely love there.
Q: Do you have a favorite scene of choreography in Memphis?
A: “Radio” is the ballet of the show that every choreographer dreams about. It is the point when the corps de ballet tells the story in nothing but dance. In that moment, the message is that music has no colors or boundaries—the analogy that music unites the world.
Q: Were you involved in casting, and if so, what did you look for in the dancers?
A: I learned a great deal about casting from Jerome Robbins and [Bob] Fosse. The dancer must have the “it” factor and spectacular virtuosity. But more than that, I look for dancers who are excellent actors. I look for ones who have their own sense of being, their own ingredients, and their own experiences to make the movement unique.
Q: What is the biggest challenge of choreographing for Broadway?
A: A Broadway choreographer is another writer of the show. They propel the story forward through movement. The challenge for me is how to do this in an unpredictable way. I ask myself, “What is the most interesting, unique and innovative way to tell the story? How can I make sure the vocabulary is fresh and new?”
Q: Did you do research for “Memphis”?
A: Fortunately for me, previous shows I have choreographed like “Peggy Sue Got Married” and “Jersey Boys” have allowed me to have extensive knowledge in this era. I used my knowledge base to inform my work by taking previous vocabularies and reimagining the movement.
Q: What is the style of the choreography?
A: The choreography is a mix of everything and is very technical. My dancers, yes, are versatile but they have excellent technique. You cannot only do hip hop and be in one of my shows.
Q: What are the names of the 1950s dance moves that you have included in the choreography?
A: I must say that I somewhat quote things in my choreography, but I reinvent them and make them very hip and funky. There are definitely remnants of the Mashed Potato, Lindy Hop, Jitterbug, Watusi, the Shoeshine and more. This show is about black music in the 1950s. Some of the moves have no official name but are typical of an African-American teen in the ‘50s. I even throw some James Brown and [Little] Richard in there. Q: Do you enjoy choreography more than performing?
A: I loved performing, but once I finished my last show I knew I was done dancing. As a choreographer I get more joy than ever. The feeling I get when I am in the room with a group of dancers is more than I could ever expect.
Q: What do you want the audience to experience with your choreography?
A: I would like the audience to get the feeling that they want to get up and dance because they like it so much. I want them to get that feeling of joy and being transcended from the current moment in time.
Q: Do you have any free time these days? What do you do in your spare time?
A: When was the last time I had spare time? When I am not at the theater, I am working on another show. I am a very practical guy. I love going to the beach—it cleanses me. I love spending time with my friends, many of which are also artists, and I love to see their work too.
Q: It is nice to hear that you support fellow artists. Often dancing can be cutthroat and competitive. In your experience, can there be camaraderie at the top?
A: I have excellent best friends. We support each other. We see each other’s shows. I recently saw my friend, Christopher Wheeldon’s company perform in the park. My friend Jerry Williams flew out to San Francisco to see my show the day after his show opened. This is the type of camaraderie that exists in my niche of the finest.
Q: So what is a day in the life of a Broadway choreographer? A: I wake up early in the morning, practice yoga, run on my treadmill, check e-mails, rehearse all day long, usually go to an afternoon meeting, come home by 9 and in bed by 10:30 p.m.
Q: Is there any last things you would like to say about “Memphis”?
A: “Memphis” is a very special show. The choreography comes from a specific era, but I have aimed to make it fresh and unique. Most of all, I want the audience to be inspired. They will leave thinking, “I want to dance! I want to be in a show! I want to work harder! I want to be better!”