How to do the greatest showman dance
The Greatest Showman - Full Cast & Crew
Director
1 CreditMichael Gracey
Screenwriter
2 CreditsJenny Bicks
Bill Condon
Actor
89 CreditsHugh Jackman
P.T. Barnum
Zac Efron
Phillip Carlyle
Michelle Williams
Charity Barnum
Rebecca Ferguson
Jenny Lind
Zendaya
Anne Wheeler
Paul Sparks
James Gordon Bennett
Gayle Rankin
Queen Victoria
Tina Benko
Mrs. Winthrop
Fredric Lehne
Mr. Hallett
Sam Humphrey
Tom Thumb
Keala Settle
The Bearded Woman
Austyn Johnson
Caroline Barnum
Cameron Seely
Helen Barnum
Yahya Abdul-Mateen II
W.D. Wheeler
Yahya Abdul-Mateen II
W.D. Wheeler
Eric Anderson
Mr. O'Malley
Ellis Rubin
Young Barnum
Skylar Dunn
Young Charity
Daniel Everidge
Lord of Leeds
Radu Spinghel
O'Clancy
Yusaku Komori
Chang
Danial Son
Eng
Will Swenson
Philo Barnum
Linda Larson
Mrs. Stratton
Byron Jennings
Mr. Carlyle
Betsy Aidem
Mrs. Carlyle
Damian Young
Mr. Winthrop
Kathryn Meisle
Mrs. Hallett
Timothy Hughes
Strong Man
Arnie Burton
Court Herald
Carly Adams
Ballerina #1
Sawyer Niehaus
Ballerina #2
Shuler Hensley
Lead Protestor
Will Erat
Policeman
James Andrew O'Connor
Fireman
Jamie Jackson
Boss
Morgan Weed
Nurse
Henry Stram
Ticket Taker
Michael Barra
Stage Manager
Natasha Liu Bordizzo
Deng Yan
Luciano Acuna Jr.
Dog Boy
Shannon Freyer
Jenny Lind Admirer #1
Shannon Freyer
Jenny Lind Admirer #1
Kevin Dwane
Jenny Lind Admirer #2
Sandi DeGeorge
Jenny Lind Admirer #3
Tony Neil Butler
Royal Escort
Frances Emily Schramm
Laundry Woman
Kenneth Chan
Human Cannonball
Stacey Alyse Cohen
Theater Goer #1
Stacey Alyse Cohen
Theater Goer #1
Tim Wilson
Theatre Goer #2
Jonathon Culver
Theater Goer #3
Jillian Braithwaite
Panhandler
Adam Haas Hunter
Protester
Bob Rumnock
Bank Manager
Ben Reed
Mill Worker
Martha Nichols
Woman in Gold
Martha Nichols
Woman in Gold
Jonathan Redavid
Dancer Oddity #1
Shannon Holtzapffel
Dancer Oddity #2
Jeremy Craig Hudson
Dancer Oddity #3
Taylor James
Dancer Oddity #4
Chelsea Caso
Dancer Oddity #5
Caoife Coleman
Dancer Oddity #6
Mishay Petronelli
Dancer Oddity #7
Khasan Brailsford
Ensemble Dancer #1
Alex Wong
Ensemble Dancer #2
Alex Wong
Ensemble Dancer #2
Julius Rubio
Ensemble Dancer #3
Vincent-Oliver Noiseux
Ensemble Dancer #4
Sunny Walters
Ensemble Dancer #5
Jessica Castro
Ensemble Dancer #6
Najla Gilliam
Ensemble Dancer #7
Christina Glur
Ensemble Dancer #8
Emerson Tate Alexander Alexander
Pointe Ballerina #1
Emerson Tate Alexander
Pointe Ballerina #1
Victoria Llodra
Pointe Ballerina #2
Louise Hindsbro
Pointe Ballerina #3
Laci Justice
Pointe Ballerina #4
GiaNina Paolantonio
Pointe Ballerina #5
Rachel Quiner
Pointe Ballerina #6
Madison Smith
Pointe Ballerina #7
Brando Speach
Pointe Ballerina #8
Daniel "Cloud" Campos
Dancing Bartender #1
Daniel 'Cloud' Campos
Dancing Bartender #1
Rod Roberts
Dancing Bartender #2
Diahann Carroll
Katrina E.
Perkins
Linda Marie Larson
Mrs. Stratton
Executive Producer
4 CreditsDonald J. Lee, Jr.
Tonia Davis
James Mangold
Donald J. Lee Jr.
Producer
5 CreditsJohn Palermo
Laurence Mark
Hugh Jackman
Jenno Topping
Peter Chernin
Co-Producer
2 CreditsDeb Dyer
Peter Kohn
Composer
2 CreditsJoseph Trapanese
John Debney
Music Director
1 CreditMark Wike
Cinematographer
1 CreditSeamus Mcgarvey
Production Company
2 CreditsStudio
1 CreditEditor
6 CreditsJoe Hutshing
Michael McCusker
Tom Cross
Robert Duffy
Spencer Susser
Jon Poll
Casting
2 CreditsBernie Telsey
Tiffany Little Canfield
Art Director
1 CreditLaura Ballinger
Set Decorator
1 CreditDebra Schutt
Costumes
1 CreditEllen Mirojnick
Costumes Supervisor
3 CreditsMark Agnes
Kevin Ritter
Wade Sullivan
Make Up
23 CreditsJanine JP Parrella
Etzel Ecleston
Rosemary Redlin
Roberto Baez
Etzel Ecleston
Craig Lindberg
Janine JP Parrella
Mia Bauman
Glen Allen
Steven E.
Anderson
Roxy D'Alonzo
Sunday Englis
Whitney James
Nicki Ledermann
Lydia Milars
Tania Ribalow
Alexandria Storm
Kristina Vogel
Pamela S. Westmore
Nacoma Whobrey
Christine Domaniecki
Rachel English
Barbara Lacy
Sound/Sound Designer
1 CreditDror Mohar
Sound Mixer
1 CreditTod A. Maitland
Sound Recordist
1 CreditTim Gomillion
Makeup Special Effects
1 CreditJustin Raleigh
Special Effects Supervisor
1 CreditGarry J. Elmendorf
Special Effects Coordinator
1 CreditJeff Brink
Special Effects
1 CreditEric Jolley
Visual Effects Supervisor
10 CreditsGaia Bussolati
Daniel Tarmy
Sylvain Theroux
Eran Dinur
Mathieu Raynault
Mark O.
Forker
Vincent Poitras
David Isyomin
Cliff Welsh
Martin Lipmann
Visual Effects
1 CreditPaul Song
Production Designer
2 CreditsNathan Crowley
François Audouy
First Assistant Director
3 CreditsPeter Kohn
Brett Robinson
Jason Roberts
Unit Production Manager
1 CreditDeb Dyer
Exec. In Charge of Production
1 CreditAaron Downing
Post Production Coordinator
1 CreditMallory Trice
Post Production Supervisor
1 CreditAlexis Wiscomb
Production Coordinator
1 CreditJohn Edmundson
Second Assistant Director
1 CreditKasia Trojak
Stunts
9 CreditsBryce Biederman
James Armstrong
Victor Paguia
Andre Da Silva
Max Daniels
Anthony Mecca
Jason Mello
Dean Neistat
Andrei Runtso
Animation
8 CreditsArt Curry
Aram Lakhotia
Alex Filipov
Victor Perez
Alexandra Bernier
Vincent Farmer
Omar Morsy
Yves Ruprecht
Hair Styles
5 CreditsSusie Mazzarese-Allison
Christen Edwards
Nancy Nieves
Shellie Biviens
Toni Roman
Re-Recording Mixer
3 CreditsAlessandro Checcacci
Lewis Goldstein
Paul Massey
Department Head Hair
2 CreditsJerry Popolis
Nicki Ledermann
Choreographer
1 CreditAshley Wallen
How Zendaya's Stunts In The Greatest Showman Were Filmed
By Kayleigh Fongers
Updated
As trapeze artist Anne Wheeler in The Greatest Showman, Zendaya hardly used stunt doubles.
Here's how the actress managed the gravity-defying feats.
Zendaya can sing, dance and act, and after doing many of her own stunts for The Greatest Showman, she has some trapeze skills under her belt, too. In her portrayal of Anne Wheeler, an acrobat and trapeze artist, the Zendaya The Greatest Showman character soars through the air using various ropes and bars in several of the film's musical numbers. During "Rewrite the Stars," the Greatest Showman Zendaya character and Zac Efron engage in intimate trapeze stunts together as they grapple with their romantic feelings and the fear that society won't accept their relationship.
Phillip and the Zendaya The Greatest Showman character's romance first began in the film when the playwright noticed one of her stunning trapeze routines, and it turns out that Zendaya did many of those eye-catching stunts herself, though it was far from easy. When production for the film first started (after a song had saved The Greatest Showman from development hell), Zendaya recalled that director Michael Gracey welcomed her to the set by saying, "You might want to start working out" (via Self).
He went on to explain that she would have regular trapeze rehearsals and that he wanted her to use the stunt doubles as little as possible.The Greatest Showman Zendaya character had the actress working on her upper-body and core strength in order to pull off the gravity-defying feats.
Related: The Greatest Showman: What The Cast Have Done Since
How Zendaya's Stunts In The Greatest Showman Were Filmed
After a while, Zendaya got the hang of the equipment she was using and the height at which she was performing during her training to become Anne Wheeler. She felt confident — until she showed up one day and discovered what the real set looked like. The actual set-up was about 15-20 feet taller than she had expected, according to the actress, making the stunt more Mission Impossible than musical. While she had also gotten used to practicing above a net, that wasn't an option for her real scenes because nets weren't commonplace during the film's time period.
Just as she was about to ascend for the first time, Hugh Jackman happened to walk by. "Zendaya, you're a bada**," he said to his costar (via Elle). That was all the motivation she needed.
Though the Zendaya The Greatest Showman character's trapeze scene with Zac Efron's character is one of the film's most stunning scenes, it took a lot of work to get to that point. During the song's climax, each is grasping a rope and drifting apart from one another midair before coming together and spinning in an entwined circle — at least, that was the finished product, which, despite The Greatest Showman's CGI and special effects, was done for real. The duo learned the entire routine on the ground, unsure of what it would look like once they were in the air. Once they were, multiple body slams and bruises ensued as the timing and coordination of the spin became tricky to master. "There are some very famous outtakes of them swinging in and just slamming [into each other] and just hanging limp.
It's not graceful at all!" said Gracey (via MTV). However, the final result in The Greatest Showman proves that practice makes perfect. Who knows what Zendaya will master next.
Who Sang For Zendaya In The Greatest Showman
Although her role in Euphoria has proved how great Zendaya is as an actor, it may be surprising to learn that she can sing, too. Unlike Rebecca Ferguson's Jenny Lind — whose singing voice was provided by Loren Allred — Zendaya actually sang her own songs for the film. In The Greatest Showman, she can be heard singing in "Rewrite the Stars", "The Greatest Show", and "Come Alive" — proving that Zendaya truly was an excellent choice for her role in The Greatest Showman both physically and vocally.
Zendaya's Greatest Showman Stunts Have Increased Real-Life Circus Demand
Because Zendaya in The Greatest Showman hype surrounding seeing and engaging in circus performances reached an all-time high.
It's clear that the actress' hard work made an impact, and that real grueling stunt work is preferable to CGI. All in all, the casting and the stunts are what made The Greatest Showman an incredible film, and the production team obviously made all the right choices regarding their execution. The Greatest Showman was immensely successful worldwide, and due to its expansive exposure, the interest in circus performing has never been higher. The number of requests is up for circus performers at private parties, weddings, and corporate events all around the world, and entertainers are finding work at a rate higher than ever before. The most requested acts for events have been aerial stunts, stilt walkers, freestanding aerial hoops, and fire performers. There has even been The Greatest Showman shows put on all over the world, recreating Zendaya's popular stunt routines all across the globe. The proof is in the pudding that Zendaya's stunt work in The Greatest Showman has truly paid off.
Next: The Greatest Showman: All 9 Songs Ranked From Worst To Best
"The Greatest Showman": 7 interesting facts about dancing in the film
Zac Efron rehearsed a lot
For Zac, participating in big dance scenes with professionals was new. Here is what he said in an interview before the film's launch: "There was such a choreography that I have not come across yet. To prepare for this dance, I watched a lot of musicals, I watched Fred Astaire, Gene Kelly, even Michael Jackson dance, because he could tell a whole story in dance. And then we rehearsed, rehearsed and rehearsed again! ".
The choreography in the film is too modern
Professional dancers who have seen the film will surely notice that many of the dance scenes seem to have been torn out of the era. Indeed, the filmmakers do not hide the fact that modern choreography was used, although in some cases it retains the signs of the historical dance of that time. However, it is quite clear that if in reality at that time the troupe had demonstrated such movements, it would not have been understood.
The film's choreographer
The film's choreographer, Ashley Wallen, is well known for his work with famous pop and rock artists, mainly from Australia, and also choreographs commercials and music videos. This is what The Greatest Showman director Michael Gracie had to say about his work:
"He was so creative and brought our characters to life, and not just with beautiful dance moves. He helped each of the characters express themselves in a unique way, choosing different dance styles. for Hugh, Zendaya, Zack and all the rest.He tried to show the strengths of the actors in the process.Ashley knows how to make a person stronger with the right movements.He instills such confidence that everyone dances like never before in life.It was a pleasure to watch how the actors admired their own success."
How to choreograph the best movie song of the year
This is me won the Golden Globe Award for Best Movie Song. You can hear it in the trailer for the movie.
Ashley Wallen said that the main thing in working on a film is to approach each composition individually: "For example, the composition A Million Dreams is a very soulful dance on the roof, which reminded me of the musicals with Ginger and Fred. On the other hand, the song This is "Me is very modern and Come Alive is more like an old school movie room. I really wanted every room to be special."
Michelle Williams solo
Composition Tightrope - the actress's solo appearance in this film and one of the most touching dance scenes of the entire film: her character dances with the shadow of Barnum (Hugh Jackman's character). Ashley Wallen said that he rehearsed for a long time with the actress, but he was very pleased with the result.
Cirque du Soleil filmed
Cirque du Soleil coordinator Matthew Leopold was involved in one of the film's most technically demanding scenes, Rewrite the Stars. Here are the choreographer's impressions of working with the coordinator: "Matthew was in charge of the trapeze exercises, and I was in charge of the choreography on the ground.
We tried to connect everything. Zendaya worked great on the trapeze. I even tried to repeat her exercises on the circle, and It didn’t work out for me, but she also sang at the same time!
The Greatest Showman Review | Kanobu
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TelegramY.Google NewsGoogle News On January 4, The Great Showman, a musical based on a true story, dedicated to one of the greatest showmen of the nineteenth century, Phineas Barnum played by Hugh Jackman, premiered in our cinemas. Since there is nothing else to go from the premieres to the cinema during the holidays, it is worth taking a closer look at this passable, but soundly knocked down film. A year ago, in January, we also watched a musical - the wonderful "La La Land" by Chazelle, which we later included in the top 10 films of the year as much as on the second line. So, don't be fooled. The Greatest Showman is not even close to La La Land.
There are no catchy songs, no tear-jerking scenes, no real drama at all, no character development, no particularly talented, visually inventive numbers – this film is not to be confused with the Oscar winner in the Best Picture category. This is a superficial and obviously passing movie.
But at the same time, it more or less works and looks boring. The tape was made brightly enough, pompously, energetically to quench the thirst for spectacles, to get out for an evening at the cinema, while there is time.
In Russia, the film is shown without translation of the songs - and that's great, the original voice of Wolverine and other actors is very pleasant to hear. There are subtitles, but since all the songs here are in the spirit of “My dream, blah blah blah, bright star, blah blah blah, dark night”, it is not necessary to read them. There is no content there. There is only one song that conveys important information (character dialogue) and moves the plot forward, although ideally all songs in the musical should transform plot scenes into musical numbers, and not just dilute them.
The Showman is worth watching primarily for the spectacular musical numbers and the three central actors. Hugh Jackman here is completely different from the brutal and gloomy Wolverine, his image of Barnum is much closer to the real Hugh - cheerful, smiling, good-natured. At almost fifty dollars, Jackman can not only swing his claws, but also sing and dance beautifully, his charisma saves half the scenes of the film. It was the musicals that brought him first fame in Australia, which is why he was invited to audition for X-Men, which made the actor a world-famous star.
But besides Hugh, there's another couple of characters in the film that get a fair amount of attention: Zendaya Coleman and Zac Efron. It is curious that these actors also owe their popularity to musicals, both of which are Disney.
Efron was in High School Musical when she was 18, and Zendaya was in Dance Fever when she was only 13. We recently saw Zack in Baywatch, and Zendaya is our new MJ in the Marvel Universe.
It’s nice to look at this couple, Zak has long been wishing for serious roles, a chance to prove himself beyond the images of stupid handsome men, and Zendaya is super-sexy here - although it seems that only recently in Homecoming she looked rather gray. The image of an acrobat, apparently, suited her much more. The songs and dances of the two are naturally masterful, which is not surprising given their harsh Disney training.
Rebecca Ferguson, forever remembered for her yellow dress in Mission: Impossible 5: Rogue Nation (she has often appeared in recent years: The Snowman, Live, The Girl on the Train, Florence Foster Jenkins), excellent plays Jenny Lind, an opera singer, but the only one in the film who does not sing herself (vocalist Lauren Allred does it for her).
The problem is that the song of the opera singer had to stand out from the rest, because her divine voice conquered Europe and America, and brought Barnum himself closer to the high society, moved him to real art from tabloid entertainment.
In part, it stands out - Allred's powerful voice and Ferguson's emotional playing, but here's the song itself ... I understand that it would not be particularly appropriate to insert an opera aria here, but when instead of it an opera singer of the nineteenth century performs the most nondescript and faceless pop of the sample as a vocal miracle 2017, which can be imagined, breaks the mold a bit. You can listen:
Ferguson is Swedish, just like her character
If, like me, you were curious about what was shown in the movie in any way similar to what happened to the real Barnum a couple of hundred years ago, then here is a short list of that I have verified. It contains light plot spoilers , but in my opinion, they are not capable of spoiling the viewing.
- Barnum's father was a tailor - yes, but not only, he also owned a shop and a hotel.
- Barnum worked as a clerk for a trucking company - no, he immediately started his own business, he had a store, a book auction, Phineas sold real estate and organized lottery draws throughout the state. After the lottery was banned, he began to create his own show.
- The first name of this enterprise was "Barnum's American Museum" - yes. Then it changed and grew many times. Right down to The Greatest Show on Earth, literally on the sign. Perhaps Phineas was not only the first giant of show business, but also the first SEO specialist, because on the posters he said so: “the biggest, greatest, best show.” Download without SMS.
- Midget dressed as a general, Siamese twins - yes, they were.
- Elephant, a Russian giant, passed off as an Irishman - indeed, Barnum had an African elephant, but his first giant was a woman. The Russian was just a dog boy, similar to Chewbacca, Fedor Evtishchev from St. Petersburg. But the very fact of forgery (passing off a Russian as an Irishman) is not far from the truth - Barnum invented a new colorful biography for Feda and told the audience to only growl and bark.
- There was also a reception at the Queen of England. The nobles were eager to see the midget general.
- There was a fire, even three times. The circus burned down twice, then one of the four palaces built by Barnum in Connecticut burned down.
- Tour Jenny (Jenny) Lind - yes, it was. And it was a resounding success. Barnum so skillfully deployed a PR company that the Americans went crazy for the Swedish diva, the demand was such that tickets were sold at auction.
- Breaking the contract - Jenny did break up with Barnum, but not for the reasons in the movie. In reality, she became uncomfortable with the aggressive promotion that Barnum started, and at some point she refused his services, continuing the tour alone. They parted, however, friends.
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In the film, Barnum is portrayed as a romantic who came out of poverty, who had to work at a boring job to feed his family, and only then try to open his dream business, because he believed in miracles.
From the facts of his biography, a completely different portrait is formed - he is definitely an extremely pragmatic businessman with phenomenal business acumen. It is clear that we cannot say that he was definitely not a romantic - maybe he was - but there is no evidence for this.
Phineas obviously wanted to earn money at any cost and did not hesitate to make dummies of mermaids, exploit his troupe 10-12 hours a day and lie wherever possible. He was so good at throwing dust in people's eyes, guessing from desire, that for the first time he used many of the tricks that advertisers and PR people are now massively using. That is why he is called the greatest showman of his time, the first master of show business.
The musical also actively promotes the theme of equality and tolerance, denouncing xenophobia and showing aggressive crowds insulting Barnum's "freaks". Phineas himself is shown as a man without prejudice, supporting the members of the troupe in their struggle to be accepted by society for who they are.
This is not so easy in reality either.
On the one hand, Barnum simply bought his first "curiosity" - a black woman who, according to the documents, was 160 years old, she was a slave. And he worked for her in the same way as everyone else - 10-12 hours a day, even when she was dying. But everything did not end with death either - he made a performance out of her autopsy, as there were rumors that this was not a living person, but a robot (the autopsy showed that she was barely over 80).
On the other hand, Phineas staged a play based on "Uncle Tom's Cabin" and others who supported the idea of equal rights for blacks, and when he went into politics, promoted these ideas and legislated. In particular, he delivered an eloquent speech to the legislative assembly, stating that “the human soul cannot be taken lightly, whether it be in the body of a Chinese, Turk, Arab or Hottentot - this is still the same immortal soul!”
Barnum was the king of swindle, a manipulator of the masses, but at the same time he hated mediums and ordinary swindlers, actively bringing them to clean water.
At the same time, he himself traded in a magic potion, which supposedly is capable of turning a black man into a white one.
The same goes for his good-natured romantic soul — he lied, cheated and made a big deal out of an elephant, squeezing the maximum profit out of everything, but you can’t call him a soulless cynic either — he, for example, donated part of his possessions to the park.
In general, he was a complex person who cannot be driven into any clear definition, you cannot pick up an exhaustive label, which, of course, is completely unsuitable for such a simple film, so they had to reinvent Phineas a bit. No one was pursuing historical authenticity there initially.
This film can brighten up a couple of hours, but it will be erased from your memory instantly. There is no serious history and living people in it, everything is very conditional and hypertrophied.
These two-dimensional characters work inside the story, so the film looks easy and pleasant, but they are not capable of making a real impression. As soon as the fairy tale ends, all the falseness climbs into the light.
It's ridiculous to call it a biography - Barnum's life was used only as a starting blueprint, changing it without any hesitation, this is a fantasy on a theme, and on a theme that is standard for Hollywood - the path to success for a tramp dreamer. And the fact that La La Land was also about dreamers is the only thing that unites them besides the genre.
The picture cannot be called loud, noticeable, valuable, it is a magnificent and pretentious exercise in which there is no author's voice, no talented soul-touching music, no art in fact - this is the same empty tabloid entertainment that Barnum's circus itself was two centuries ago. But in this capacity, the film works, so if you needed high-quality entertainment for the evening, you can go.
