Footlight dance movie#
Footlight dance driver#
Footlight dance professional#

For the musical, however, which itself is not so much a genre as it is a framework, the questions are harder to define, to say nothing of the answers. thematic concerns (does a story need to take place in the “Old West” for it be a Western?).

Footlight dance movie#

effect (is this movie trying to be a horror film?) or iconography vs. This question can be applied to other genres: What makes a horror film a horror film? What makes a Western a Western? When it comes to these examples, such considerations are generally a question of intent vs.

Footlight dance driver#

If none of this is sufficient to qualify Baby Driver as a musical, we have to ask: What makes a musical a musical in the first place? Functionally speaking, there is hardly a moment in the entire film that is not operating on the same level as Busby Berkeley set piece. The landscape is literally strewn with signifiers of the songs that drive the story: lyrics appear on walls and window shops at the same time they travel through Baby’s earbuds people move to the beat of his music library the cacophony of the action - screeching wheels, busts of gunfire, punches, slaps, and kicks - synchs up to the rhythm and the beats perfectly. Whether the crooks, cons, and hapless innocents that make up the universe of Baby Driver are aware of it or not, said universe is as alive with the sounds of music as, well, The Sound of Music. And yet, though the music is diegetic, the film still fits into the framework of the traditional musical on both a formal and visceral level. Some might take umbrage at such a designation, since the film doesn’t have people busting out spontaneously into song and dance (except for when it does, as in the long tracking shot that accompanies the film’s opening credits, wherein we watch the titular Baby bop through the streets of Atlanta, singing along to the sounds of Bob & Earl’s “Harlem Shuffle” on his iPod). For while Baby Driver is far too much of a crowd-pleaser to anticipate any real audience backlash, it is not simply an action-comedy: it is also very much a musical. Still, viewers going in to it with little or no prior knowledge of Wright’s filmography, and who may be expecting something more traditionally fast and/or furious, might find themselves surprised at exactly what type of film they’re getting. This isn’t a case of misrepresentation : Baby Driver is as much a crime caper and thriller as it is anything else. Of course, Baby Driver, unlike La La Land, is also a high-octane car-chase movie, replete with life-and-death stakes and bursts of violence, and the marketing for the film has focused on these aspects (as well as its humor). Both films centered around the budding romance between a soulful, brooding would-be musician and a peppy, dreamy coffee shop waitress both were set to music from start to finish and both were shot in an eye-popping color palette that recalled the films of bygone eras (albeit different one: Baby Driver is to the work of Walter Hill and early Michael Mann as La La Land is to that of Vicente Minnelli and Jacques Demy). The program concludes with public performances by the entire Footlight Company.Įveryone gets a chance to perform a role or choose to crew backstage in the Festival of Plays.When Edgar Wright premiered his new film, Baby Driver, earlier this year at SXSW, critics and viewers were quick to compare it to La La Land. Younger children participate as 'Campers.' A teen 'Academy' level is provided for older children. 'Players' enjoy a month-long youth theater day camp. Everyone, regardless of experience, gets a role and participates in theater-making. We're open to all youth with a desire to explore their creative talents.

Footlight dance professional#

Footlight Players youth theater company provides young people opportunities to discover their creativity in a safe, nurturing environment led by professional teaching artists.