Live
from Istanbul - Bob Fosse's Tatli Charity
by
Carol Schuberg
Carol Schuberg
[author photo]
I never thought
I'd find myself in Istanbul, Turkey, assisting director/choreographer
Tony Stevens with an all-Turkish production of Sweet Charity.
The adventure began on 23 January 1999 when Tony and I flew from New
York City to Istanbul. We arrived in a land unlike anything I'd ever
seen. In every direction there were mosques and minarets and we even
passed under an ancient Roman aqueduct on our way to the hotel. We
were on the European side of Istanbul and as I looked across the Bosphorus
Sea to our right was the Asian side of Istanbul. It dawned on me that
we were in the middle of the world, where East meets West.
We checked into
the Taksim Plaza Hotel, our accommodations for the next six weeks.
After settling in we set out on our first Sunday excursion to Topkapi
Palace, located in Sultanmet, the oldest section of Istanbul. The
Palace was built during the Ottoman Empire and was filled with the
most opulent treasures, jewelry, and thrones imaginable. We were even
able to tour the Sultan's harem. We then visited an authentic Turkish
bath house, built in 1594. I entered the women's section, having paid
for a combination Turkish bath and massage, and stepped back in time.
Inside the ancient steam room the entire floor was marble and dome-shaped,
heated from underneath by burning coals. After lying on the marble
and soaking up the heat, a Turkish woman seemingly from another century
gave me a "Turkish massage." I re-convened outside with Tony, both
of us relaxed and ready to start rehearsals the next morning.
The first day
of rehearsals began when we met with Yekta Kara, the Artistic Director
of the Istanbul Opera and Ballet Company. Then we toured the Opera
house, which is the third largest in Europe. Next, we met our stage
managers and cast and began a read-through of the show in Turkish.
We had two interpreters, one an opera singer from the show and one
a ballet dancer.
As we began our
dance rehearsals, what became apparent to me was that words weren't
very necessary because dance is an international language of the body.
So the best way of communicating with the dancers, was to define clearly,
with my body, the lines, shapes, steps, and Bob Fosse style, attitude
and isolations. It was wonderful watching these highly trained ballet
dancers expand their dance vocabulary.
During the first
afternoon of dance rehearsals, teaching them the "Rich Man's Frug,"
they were introduced to the language of Fosse - turned-in feet, tiny
isolated pelvic thrusts, slope walks, self-contained body shimmies,
a less-is-more mentality, and smoldering sensuality below the surface
of each movement.
We chose an exquisite
Russian ballerina, Tatiana, to be our lead Frug girl. She led the
company with poise, elegance, and understated power. She was the first
of the dancers to understand and own this new style of movement. We
watched as the others followed suit and learned to finesse the steps
and gain command of this language.
The company experienced
an entirely unusual rehearsal process. Even if they weren't called,
Tony asked them to stay and watch as much of the rehearsal process
as possible, so that each of them could develop their own character
and know how they related and contributed to the entire show. We mixed
the singers and dancers together in many of the musical numbers, which
is rarely done in this Company. We realized that many of the singers
initially did not even know the dancers' names, and vice-versa.
The two principal
dancers playing Nicki and Helene, having never sung in a show before,
slowly became what we would call in New York triple threats - as excellent
singing and acting as they are dancing. The two women alternating
the role of Charity were primarily Opera singers. It was amazing to
see Tony bring out their strengths and design the role for them, making
them look good even though they didn't have much dance training.
In the musical
number "Hey Big Spender" we combined women from the Opera chorus with
ballet dancers, to be our Fandango Girls. While teaching them the
style, steps, and attitude, we'd see one of the shyer opera singers
not only find her character, but feel comfortable speaking with both
her body and her voice.
The opening number
of Act II is "The Rhythm of Life." We used over 60 people, Tony transforming
the number into a huge gospel, roof-raising, gyrating extravaganza.
In their entire lives I don't think some of the opera singers had
ever moved parts of their bodies as Tony had them move. Tony's inspiration
for the choreography in "I'm a Brass Band" was George Balanchine's
ballet, Stars and Stripes. This number showcased the native
language and talent of the ballet dancers.
The people we
met in the company were so friendly to us and made us feel very welcome.
They invited us to their homes for Turkish meals, to other theaters
for Turkish musicals, and along with them to mosques and sights of
Istanbul.
"Just as the moon and planets revolve both around their own axes and also
around the sun, the semazens revolve while circling the chamber."
from Mevlana and the Mevlevi Way,
Association of Galata Mevlevi
Temple, Istanbul
On our final
Sunday we witnessed the mystical Sufi Whirling Dervish ritual. It's
not a performance, but actually their form of meditation, which has
been done for centuries, based on the teachings of Rumi. Each movement
and piece of clothing is important to the ritual. They began by taking
off their black robes revealing white robes underneath, signifying
the death of the ego. Their tall hats signified the tombstone of the
ego. As they begin to whirl, their right palm faces up to receive
love and their left hand faces down to give this love. Not only is
their movement a language in itself, but their dance becomes a conduit
for their meditation. Words were not necessary, as they swept us into
their world much as Tony and I swept the classically trained ballet
dancers and opera singers into our world of musical theater.
Opening Night
arrived, and at 7:15pm, with an 8:00 curtain, Tony was helping out
with last-minute light cues, and I gave the final note-session to
the company. Sitting in the audience as the lights dimmed and the
overture began, we were nervous and excited. The "magic-of-theater"
thing happened and everything came together.
We were so happy
and proud, and now it's their show to own and take care of. It will
be performed in their repertoire for the next six years or more, maybe
becoming a tour. We danced at the opening night party until 3:00am,
said our sad good-byes to our new friends, and boarded our plane the
next morning to return to New York. Having had one of the most amazing
times of our lives.
A few days later,
the Istanbul State Opera and Ballet Company sent this letter
to the US Embassy and EsBank [ed.]
Dancer/Choreographer
Carol Schuberg lists among her performing credits Broadway,
National and Regional touring companies, Film, and Television. A specialist
in the styles and technique of Bob Fosse, she served as Assistant
Director and Choreographer for the Istanbul State Opera production
of Sweet Charity which premiered in Turkey on 6 March 1999.
Most recently, she was Assistant Choreographer for the Pittsburgh
Civic Light Opera summer production of Bye Bye Birdie. Carol
has performed on Broadway in Meet Me In St. Louis (also serving
as Dance Captain), Off-Broadway in Chess and in the National
Tours of Cats, Tap Dance Kid and Barnum. Her
regional credits include featured roles in Bye Bye Birdie (Rosie),
A Chorus Line (Sheila), and A Funny Thing Happened on the
Way to the Forum (Tintinabula). Carol's choreography has been
seen in The Two Gentlemen of Verona for the New Jersey Shakespeare
Festival and Nine for New York University. Her teaching credits
include classes in Theatre Dance, Jazz, Tap, and Ballet at New York
University, The American Music and Dramatic Academy and at the Broadway
Dance Center. Carol received her BFA as a Ballet major from the University
of Utah.
For
a look at what Carol has been up to since Istanbul, click here.
