How to do the greatest showman dance

The Greatest Showman - Full Cast & Crew


1 Credit

Michael Gracey


2 Credits

Jenny Bicks

Bill Condon


89 Credits

Hugh Jackman

P.T. Barnum

Zac Efron

Phillip Carlyle

Michelle Williams

Charity Barnum

Rebecca Ferguson

Jenny Lind


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


Yusaku Komori


Danial Son


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


James Andrew O'Connor


Jamie Jackson


Morgan Weed


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


Adam Haas Hunter


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 Credits

Donald J. Lee, Jr.

Tonia Davis

James Mangold

Donald J. Lee Jr.


5 Credits

John Palermo

Laurence Mark

Hugh Jackman

Jenno Topping

Peter Chernin


2 Credits

Deb Dyer

Peter Kohn


2 Credits

Joseph Trapanese

John Debney

Music Director

1 Credit

Mark Wike


1 Credit

Seamus Mcgarvey

Production Company

2 Credits


1 Credit


6 Credits

Joe Hutshing

Michael McCusker

Tom Cross

Robert Duffy

Spencer Susser

Jon Poll


2 Credits

Bernie Telsey

Tiffany Little Canfield

Art Director

1 Credit

Laura Ballinger

Set Decorator

1 Credit

Debra Schutt


1 Credit

Ellen Mirojnick

Costumes Supervisor

3 Credits

Mark Agnes

Kevin Ritter

Wade Sullivan

Make Up

23 Credits

Janine 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 Credit

Dror Mohar

Sound Mixer

1 Credit

Tod A. Maitland

Sound Recordist

1 Credit

Tim Gomillion

Makeup Special Effects

1 Credit

Justin Raleigh

Special Effects Supervisor

1 Credit

Garry J. Elmendorf

Special Effects Coordinator

1 Credit

Jeff Brink

Special Effects

1 Credit

Eric Jolley

Visual Effects Supervisor

10 Credits

Gaia Bussolati

Daniel Tarmy

Sylvain Theroux

Eran Dinur

Mathieu Raynault

Mark O. Forker

Vincent Poitras

David Isyomin

Cliff Welsh

Martin Lipmann

Visual Effects

1 Credit

Paul Song

Production Designer

2 Credits

Nathan Crowley

François Audouy

First Assistant Director

3 Credits

Peter Kohn

Brett Robinson

Jason Roberts

Unit Production Manager

1 Credit

Deb Dyer

Exec. In Charge of Production

1 Credit

Aaron Downing

Post Production Coordinator

1 Credit

Mallory Trice

Post Production Supervisor

1 Credit

Alexis Wiscomb

Production Coordinator

1 Credit

John Edmundson

Second Assistant Director

1 Credit

Kasia Trojak


9 Credits

Bryce Biederman

James Armstrong

Victor Paguia

Andre Da Silva

Max Daniels

Anthony Mecca

Jason Mello

Dean Neistat

Andrei Runtso


8 Credits

Art Curry

Aram Lakhotia

Alex Filipov

Victor Perez

Alexandra Bernier

Vincent Farmer

Omar Morsy

Yves Ruprecht

Hair Styles

5 Credits

Susie Mazzarese-Allison

Christen Edwards

Nancy Nieves

Shellie Biviens

Toni Roman

Re-Recording Mixer

3 Credits

Alessandro Checcacci

Lewis Goldstein

Paul Massey

Department Head Hair

2 Credits

Jerry Popolis

Nicki Ledermann


1 Credit

Ashley Wallen

How Zendaya's Stunts In The Greatest Showman Were Filmed

By Kayleigh Fongers


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.

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