West Suburban Theatre Blog [WSTB] asked Becky Messerschmidt a few questions about choreographing Wheaton Drama’s production of The 25th Annual Putnam County Spelling Bee.
Becky Messerschmidt grew up in Rockford, Illinois, where she attended a Creative and Performing Arts high school and was a member of the Rockford Dance Company. She spent her college years at the University of Illinois in Champaign-Urbana, and while studying Engineering, she still managed to participate in major’s dance classes and was a member of the Illinettes Dance Team. Becky has worked as a choreographer for Atius-Sachem in college, for countless solo projects, and in recent years, for Luis Arturo Dance Academy. As a performer, her favorite dance roles have been Charity, Morticia, and Adelaide! During her many years as a dancer, Becky has trained in a range of styles including Ballet, Jazz, Modern, Tap, Musical Theatre, Ballroom, Latin, and Swing!
WSTB: How did you first become interested in choreography?
Messerschmidt: I think it all began at those pre-adolescent slumber parties that I frequented… putting together our favorites dance moves to the latest hit records! After that, it would have been the choreography assignments each semester during my years in high school. I would spend hours upon hours planning, creating, and perfecting, completely losing track of time!
WSTB: Can you describe your creative process when developing a new dance piece?
Messerschmidt: With Spelling Bee, it all started with the story…and how the dance could advance or enhance that story. Next, the characters, and how they would most likely express themselves. And finally, the music, which dictated the specific steps and timing.
WSTB: How do you approach selecting music for your choreography?
Messerschmidt: For a musical, the music is already selected of course. However, for other types of dance pieces, I find that the music actually selects ME… if that makes sense! I can’t help imagining choreography when I hear a particularly inspiring piece of music. I actually have playlists, organized by dance style, filled with songs that I wish to choreograph.
WSTB: Are there specific themes or concepts that you find yourself drawn to in your work?
Messerschmidt: Contrast – in dynamics, pattern and form. And also Connection – inward to the dancer’s self, outward to the audience, and laterally to the other dancer(s). A dancer should know which type of connection is associated with each movement.
WSTB: How do you balance technical precision with artistic expression in your choreography?
Messerschmidt: Every piece will have its own balance – leaning one direction or the other. It’s important for me to start out focusing on both and to adjust that focus as the learning progresses.
WSTB: Can you share some of your favorite choreographic works or influences?
Messerschmidt: Hamilton.I love how it incorporates this beautiful mash-up of dance styles, and how the dancing is seamlessly interwoven into the blocking as if it is an integral part of the story.
WSTB: What challenges do you often face when creating choreography, and how do you overcome them?
Messerschmidt: Getting started. Typically, this is overcome by using improv. And also self-doubt. For that, I try to remain focused on the path; I try to remember to trust my instincts, to distance myself from my ego, and to just follow the creative thread that appears.
WSTB: How do you collaborate with dancers to bring your vision to life?
Messerschmidt: Ideally, I share my vision, teach the steps, and then let them make it their own.
WSTB: Are there specific dance styles or genres that you prefer to work with, or do you enjoy exploring a variety of styles?
Messerschmidt: Oh, I am a HUGE ‘dabbler’ in all kinds of dance – as both a performer and choreographer. I’ve tried too many styles to count, and I will never stop trying/learning!
WSTB: How do you stay inspired and continue to evolve as a choreographer?
Messerschmidt: Mostly, by juststaying curious. Attending performances, taking classes, working with inspiring coaches, and yes, watching YouTube clips.
WSTB: Can you share a memorable experience or story from one of your choreographic projects?
Messerschmidt: I remember working on a competitive piece with my Latin Dance partner, and I was dead set on having the perfect ending that matched the high energy music in a specific way. I kept changing it and changing it, and I think he was ready to strangle me, but in the end we found it, and it was perfect. And in the judge’s review? “That ending was the best I’ve seen in years.” So… in the end, well worth the agony! Lol
WSTB: How do you approach incorporating storytelling into your dance pieces, if at all?
Messerschmidt: It’sALL about storytellingto me. Even if it’s only the story of one dancer’s emotions. Even if it’s really short. The Pas de Deux in Spelling Bee is like that. It’s only a very small number of 8 counts, but within those 8 counts, I wanted to show a small story arc of Barfee and Olive’s developing relationship: from vulnerable, to extravagant, to playful, to embarrassment, to trust.
WSTB: Are there any choreographers or dancers who have had a significant impact on your own artistic journey?
Messerschmidt: Each and every dance teacher, coach, and choreographer that I have ever worked with has been an inspiration. I have taken a little something away from each one, encouraging me how – or how not – to proceed along my own path.
WSTB: How do you handle feedback from dancers or collaborators during the creative process?
Messerschmidt: We creative types are sensitive souls, right? Lol But I do my best to keep an open mind and remain non-defensive. Most importantly, I am always willing to take suggestions and try modifications – I always want the dancers to feel comfortable with their movements.
WSTB: What role does improvisation play in your choreography, if any?
Messerschmidt: Huge. It’s always how I begin. I first let the music work through me, and then I go back and refine.
WSTB: Do you have a favorite piece of choreography that you’ve created, and if so, what makes it special to you?
Messerschmidt: When I was working at a small Ballroom Dance studio, I choreographed what I called “The Twisted Nutcracker” with my partner. It was all different styles of partner dancing set to stylized versions of the Nutcracker Suite. Ever seen an Argentine Tango to the Arabian Dance? So much fun!
WSTB: Can you discuss the importance of costume and set design in your choreography?
Messerschmidt: It is very helpful to have that info as early in the process as possible! Costumes can have limitations on dancers, especially with lifts/tricks. And set design affects spacing and use of levels. Choreography often gets adjusted around such things mid-process…just because that’s how things work.
WSTB: Are there specific emotions or messages you aim to convey through your choreography?
Messerschmidt: That depends upon the story or the music. My main focus is to connect with the audience. The ultimate goal would be for the audience to truly understand the character or the dancer – to really feel the way they feel. I think that was the most rewarding part of working on Spelling Bee: the characters are funny, tragic and completely lovable, and the choreography was just one small way to help the audience get to know them.
West Suburban Theatre Blog thanks Becky Messerschmidt for her insights into choreographing Wheaton Drama’s production of The 25th Annual Putnam County Spelling Bee.