A Step Up at Choreography Awards

Midway through the first half of the sixth American Choreography Awards, Sunday at the Alex Theatre, Broadway virtuoso Hinton Battle got the audience on its feet for a lesson in the fluid, expressive movement style of veteran jazz-dance teacher Luigi, winner of the Educator Award.

But it was Luigi himself (a.k.a. Eugene Louis Faccuito) who taught the assembled Hollywood dancers, choreographers and dance-for-camera fans something far more pertinent than mere technique:

“To dance,” he said, “put your hand on your heart and listen to the sound of your soul.”

On a program that intended to honor choreography for film and television but all too often celebrated the misappropriation and trivialization of dance, this statement about the art’s primal rhythm and purpose ultimately outweighed the displays of empty facility in other segments of the three-hour event.

“Every exercise is the story of his life,” said actor Robert Morse, describing Luigi’s sense of commitment and also, perhaps, helping to explain what’s so often missing in the work of the very beautiful and technically accomplished commercial dancers of Los Angeles. When dance itself is reduced to mere merchandising, exactly whose life story is being told in the movement?

Originally named the L.A. Dance Awards and then the Fosses, the American Choreography Awards are presented annually by the locally based Academy of Dance on Film--though a lapse last year meant that the Sunday program had to catch up by covering both 1999 and 2000. Despite the misleading new name, nominees in the five categories don’t have to be Americans or work in America, and only choreography for film and TV is eligible: no concert dance, Broadway, rock tours, etc.

In one sense, such exclusions make the awards artistically irrelevant: Films and television are not the places to find the most influential or cutting-edge choreography. The best of what Susan Stroman can do, for example, can be seen in her Tony-winning dance musical “Contact” rather than her dance sequences in the problematic feature film “Center Stage,” which won an award Sunday for her and Christopher Wheeldon.

But of course, “Center Stage” will be seen by more people in more places than “Contact” (unless it’s filmed or telecast), so the long view or after-image of Stroman’s talents will ultimately come from the screen and not the stage.

Similarly, Alan Johnson has staged the most powerful and meticulous revivals of Jerome Robbins’ “West Side Story” in recent years--but it’s his “West Side Story” pastiche for the Gap commercials that keeps his fame burning bright in Hollywood and won him an award on Sunday.

Like Stroman and Johnson, most of the other winners (see list below) commute between stage and screen projects. And, like Stroman and Johnson, most of the winners gave acceptance speeches Sunday reflecting a deep appreciation of the level of recognition that the awards provide--reason enough for an annual parade of presenters, winners, film clips and specialty numbers bracketed by martini parties nearby.

Compared to its previous installments in other places, the Alex edition of the awards proved comparatively short on major celebrities and standing ovations, but long in nostalgia. Besides the Luigi segment, a tribute to the late choreographer Lester Wilson (winner of the Career Achievement Award) generated high emotion through the reactions and reminiscences of performer Ann-Margret and the remarkable restraint of Wilson’s mother, Wilhelmina Ana Bosley.

However, extreme brevity and a disjointed staging scheme destroyed the impact of a sequence by Danny Wooten and Mark Goodman honoring the beloved tap duo the Nicholas Brothers--despite the presence of surviving member Fayard Nicholas (tapping with Wooten but inexplicably far away from him).

Often more inventive than the work of most nominees, Shanda Sawyer’s title films introduced each category distinctively, but the live dance numbers told us what we already knew: that L.A. is full of gorgeous, skillful and energetic dancers who can put over just about any choreography. Even numbers such as these with no original concept or movement invention, no choreographic development or even a sense of direction--just an ability to exploit rock rhythm and dancer technique so predictably that you soon learn to pay attention only to individual people, not any guiding pattern. And that’s hardly what you’d choose for choreography awards.

Among the soloists, Selatine Kara brought spectacular contortions to “The Soul Is in My Blood,” but choreographer Debra Brown couldn’t persuasively integrate or contrast her actions with those of three quasi-menacing males nearby. Most of the presenters read their speeches stiffly, though host Kenny Ortega demonstrated that sincerity and charm can redeem even unfortunate platitudes (“the world is definitely here”). Finally, writer Bruce Vilanch suggested in his magnificently timely and irreverent introductions to the TV variety/special awards that a far more idiosyncratic approach to the whole event might well be a blessed relief.

The Winners

Feature film, 1999: Juan Carlos Copes, Carlos Rivarola, Ana Maria Stekelman, “Tango.”

Feature film, 2000: Susan Stroman, Christopher Wheeldon, “Center Stage.”

Television variety/special, 1999: Judith Jamison, “Hymn for Alvin Ailey.”

Television variety/special, 2000: Rob Marshall, “Annie.”

Television episodic, 1999: Keith Young, “Brotherhood of Man,” “The Drew Carey Show.”

Television episodic, 2000: (tie) Joseph Malone, “I Will Survive,” “Ally McBeal,” and Jerry Mitchell, “Drew and Kate Boink,” “The Drew Carey Show.”

Music videos, 1999: Tina Landon, “Livin’ la Vida Loca” (Ricky Martin).

Music videos, 2000: Travis Payne, “If You Can’t Rock Me” (Brian Setzer).

Commercials, 1999: Marguerite Derricks, Gap, “Khaki-a-go-go.”

Commercials, 2000: Alan Johnson, Gap, “America.”

Educator Award: Luigi.

Career Achievement Award: Lester Wilson.

Governors’ Award: The Gap.