April 13, 2011
Inside the sizzling 'Burn the Floor'
Jenny Block READ TIME: 3 MIN.
Before Dancing with the Stars and So You Think You Can Dance, there was the dance stage show Burn the Floor. Since 1999 it's toured some 20 countries to a gaga response. With its mix of Ballroom and Latin dance styles, it is so energized from the time the curtain goes up, you wonder if it will sustain it until the end... but they do. The tour features Anya Garnis, Pasha Kovalev, Robbie Kmetoni, Janette Manrara, and Karen Hauer (from So You Think You Can Dance) and Vonzell Solomon (from the fourth season of American Idol where she was second runner-up.)
In terms of styles of dance, the show encompasses all of usual suspects, as well as a few some audience members might not recognize. Burn the Floor numbers include the Lindy, Foxtrot, Charleston, Cha-Cha, Rumba, Salsa, Viennese Waltz, Jive, Paso Doble, Tango, Samba, Mambo, Quickstep and Swing. They do it all.
I had the chance to catch up with dancer Gary Wright this week to find out more about the show and his work in it.
Reinventing Ballroom
Edge: Can you tell readers a little bit about your background in dance?
Wright: I have been dancing since the age of ten. I was ranked first in English under twenty-one Championships and Latin American Competition. I also made many International Youth Trials. I've appeared in various West End theater productions and was also able to perform on Broadway with Burn the Floor.
Edge: Can you tell readers a little about Burn the Floor?
Wright: Burn the Floor is a Latin and Ballroom Theater show that consists of twenty dancers, two percussionists, and two vocalists. It takes Ballroom and Latin and totally reinvents them to appeal to audiences of all ages.
Edge: How do you approach a piece like this for which the audience already has such specific expectations because of things like "Dancing with the Stars"?
Wright: Burn the Floor takes So You Think You Can Dance and Dancing with the Stars to a whole new and energetic level. Anyone who likes dance shows will love Burn the Floor.
Edge: What is it that makes Burn the Floor work?
Wright: The live music, live performances, incredible energy, and twenty hard-working dancers that strive to please audiences daily.
Edge: Can you even believe this is what you get to do for a living?
Wright: I can't imagine what my life would be like behind a desk. I feel privileged to part of such an amazing production.
Edge: How did you come to get this gig?
Wright: Hard work and dedication. I [also] knew Jason Gilkison, the director and choreographer through competitions. I've been in theater productions before. But Burn the Floor is by far the most elite.
Edge: What's the biggest challenge you face in terms of this particular show?
Wright: Being away from family for long periods of time and living out of a suitcase.
Edge: What's the best part about performing in this show?
Wright: I am doing what I love to do and the standing ovations at every show bring the fulfillment to my performance.
Edge: Who do you think should come to see this show?
Wright: It appeals to all ages.
Edge: Any crazy anecdotes from the road you can share?
Wright: What happens in Burn the Floor stays in Burn the Floor. [He laughs.]
Burn the Floor runs through Sunday, April 17, 2011 and tickets are on sale now at The Box Office, 542 Preston Royal Shopping Center, or any Ticketmaster outlet. Tickets run from $15.00 to $75.00 and are also available by calling 1-800-982-ARTS or by visiting www.ticketmaster.com. For groups of 15 or more, call 214-426-GROUP.
Jenny Block is a Dallas based freelance writer and the author of "Open: Love, Sex, and Life in an Open Marriage" (Seal Press, June 2008). Block's work has appeared in Cosmopolitan (Germany), USA Today, American Way, BeE, bRILLIANT, the Dallas Morning News, D, Pointe, and Virginia Living, as well as on huffingtonpost.com, yourtango.com, and ellegirl.com. You can also find her work in the books "It's a Girl" (Seal Press, March 2006, ed. Andrea J. Buchanan) and "One Big Happy Family" (Riverhead Press, February 2009, Rebecca Walker, ed.).