Choreographer Has Input

Perhaps it’s time to heighten the awareness of The Times’ theater reviewers concerning the not-so-fine line between director and choreographer. Laurie Winer (“Updated ‘Alice’ Shows No Sign of Aging,” Oct. 14) heaped well-deserved praise on this 16-song revue. On July 11, F. Kathleen Foley described the Odyssey Theatre’s “Avenue X” as “studded with crowd-pleasing musical numbers” (24, to be exact; it’s been thrice extended and nominated for an Ovation Award for best musical production). Last year’s production of “Candide” at the Ahmanson Theatre, favorably reviewed by The Times, swirled with dance and movement throughout.

In none of these notices was there mention of the choreographer who staged the musical numbers, creating, not only dance steps, but the movement, both grand and nuanced, that breathes emotional life into the characters. I’m aware that critics have space constraints, but by ignoring these essential contributions to the success (or failure) of a musical production, they prolong choreographers’ status as the Rodney Dangerfields of show business.

BARRY LEE WEISS

Los Angeles