Working with a Trainer Brings Back Dance Memories

When the third doctor emphasized the importance of keeping one’s muscles strong as a senior, I thought it was time to act.  A friend had mentioned an excellent trainer who came to her house, so I asked for the trainer’s name, made contact, and set up a date to begin.

It’s now three weeks later and I am loving the experience. We meet twice a week, and a third time I do some recommended exercises on my own. There were some challenges at first and I learned how important it is to communicate directly my reactions. I’m 83 years old. Keeping myself safe screams out at me.

“Please be mindful,” I calmly explain to my trainer on our third meeting.

I continue, “I want to feel the movement deeply and correctly and it’s important to go slowly with me and not push too far.  Last session when we lengthened the twenty minutes of the first session to forty-five minutes, I was exhausted and it took me two days to recover.”

“Thank you,” Villi Alfaro responds. “Some people would just call and cancel.  You didn’t.  You are sharing your reaction. We’ll slow down.”

I sigh and am relieved.  I am enjoying working with Villi and had a lot of fun the first session as we did playful twisting, reaching, squats, and modified pushup using the kitchen counter as our floor.  It was the second session, which lasted over twice as long with more repetitions of each exercise and ended with walking around the atrium in the house with two-pound weights in each hand, that did me in.  After making two circuits I felt shaky and like I might fall.  Villi had noticed and wisely said not to do that on my own.  When the fatigue lasted that evening and the next day, I knew I had to either quit or speak to her.  The idea of quitting didn’t appeal to me.

Villi balanced the next workout at a pace that I could enjoy.  She reminded me to rest, take deep breaths, and sip water between exercises or before a new set of repetitions.  It worked. Muscles that have been asleep are stirring.

A special moment occurred when we were doing twists turning to one side, seated in a chair.  As I twisted, a movement memory reminded me of being in class at the Martha Graham studio in New York City.  We were sitting on the floor doing turns around the back.  I remembered how the series began and advanced to a fall to the elbow, then a whip around of the upper body to the other side before a stretch out to the beginning side.   I could feel sensations in my body that I hadn’t felt in years, particularly the first 6 counts of the Graham “turns around the back,”  and I loved it.  Over the next several sessions this pattern continued.  Villi would introduce a new exercise and my muscle memory would take me to a modern dance class or a ballet class and I would find myself smiling and happy to be rediscovering movement that was familiar but hadn’t been used in years.

So often we read about how the body holds trauma.  Much has been written about how trauma affects the body with the body remembering danger even when the threat is no longer there.  Now I am experiencing the opposite.  Beautiful memories are coming back. What surprises me is how detailed each memory is.  I know the kind of class I am in and even the teacher.  At one point as I was reaching over my head with a pole I found myself back in Alfredo Corvino’s ballet class and his emphasis on using the muscles under the shoulder blades.

JoAnne working with the pole, lifting a bent leg and
thinking about keeping her shoulders down. (Photo by Villi)

Oscar loves to be a part of our training session.  He walks with us in the atrium and sometimes sits right beside me when I am doing exercises in the chair.

Oscar walking with me in the atrium. (Photo by Villi)

He is the first to greet Villi at the door and expects to be acknowledged.  He loves to smell the different dog aromas on Villi’s legs and shoes.

Oscar greets Villi. (Photo by JoAnne)

A big thank you to the three doctors, each of whom emphasized the importance of maintaining muscles as a senior!

 

Bridgerton, Jack Murphy and Movement’s Important Role

It’s fascinating how promotional ads for television shows have changed over time, including with today’s abundance of social media and streaming possibilities.  Years ago, phrases about a show spoken by the leading performer were used to entice people to watch. Jackie Gleason’s, “And away we go” and “How sweet it is” are examples of how slogans were used to motivate an audience to tune in during the 1950s.

Today the ads can be fast-paced collages from the upcoming program with intense music or totally nonverbal with skillfully choreographed movement such as one I found for Season 4, Part 2 of Bridgerton.  The two main characters’ faces open the 32-second ad.  First Benedict and then Sophie’s eyes peer out at us. Soon we see one hand and then another trace the edge of the antique tub followed by embraces and kisses with a dramatic blurry background.  There are no words or captions until the end: “Only on Netflix, Part 1:  Now Playing, Part 2:  February 26.”  https://www.netflix.com/tudum/articles/bridgerton-season-4-cast-release-date-news

“The ball” is an important part of the story line in all four seasons of Bridgerton.  It reaches a new level of importance in Season 4 where the first episode is called “The Waltz.” The use of choreography gives us insight into each character’s life, as well as the tension that will be an important part of the plot.

One of the first screen shots is of actors at the ball doing asymmetrical arm gestures in a period dance. I did a double take and thought, “WOW, that’s cool. Ah… the choreographer is letting us know this is not going to be a normal ball!”  And indeed, I was right.

The plot basically follows the Cinderella outline when Sophie arrives as a masked figure at the season’s opening ball and Benedict immediately falls in love with her!  As the episode progresses we learn that Sophie does not know how to dance. There is a very sweet scene where Benedict patiently teaches her.  This is introducing us to a new side of Benedict, as in previous seasons he was very much the playboy.

I was delighted to find an article in The New York Times on February 4, 2026, timed between Part 1 and Part 2, that spoke about the important role of dance in Season 4 and introduced Jack Murphy, the choreographer of all four seasons.

In Bridgerton, dance reflects rituals and norms, connects characters, heightens emotions, advances plot, creates spectacle, and brings audiences — on the edges of the ballroom and the other side of the screen — into the action.

“It’s kind of the backbone of the show, not only when our main characters are going through their courtship,” said Tom Verica, an executive producer and director of the show. “There’s so much in the pomp and circumstance and the rules of the world that comes through dance,” he said, adding that it illustrates how people communicated and fell in love.

“It’s all about powerful nonverbal communication that extends beyond the limits of dialogue,” said Jack Murphy, the show’s choreographer, who trained as an actor.

“She’s spellbound by it,” Murphy said of how Sophie responds to the ball. “I made everything, as much as possible, asymmetric. So it’s very beautiful, but it’s broken, and that’s because, actually, we also know she doesn’t belong.” At the same time, “she’s not frightened,” he added. “She is desperately, desperately drawn to the movement of it, this freedom, this abandonment, this swirling. https://www.nytimes.com/2026/02/04/arts/dance/bridgerton-waltz.html

I immediately wanted to know more about Jack Murphy, and what led him to use period dance patterns in creative ways.  He has an excellent website. I learned he is based in London and has worked in television, film and theatre.  His approach is different than most choreographers as he trained as an actor.  He has extensive knowledge of period dances from the Middle Ages to 20th century social dance.  I love how he lists all these different dance styles on this page of his website: https://www.jackmurphymovement.co.uk/dances

What makes him stand out is how he approaches his work with directors.  In an interview on Shondaland.com  he shared:

As movement director — or director of movement — I am there to collaborate with a director. I’m there to assist in realizing their vision of the piece physically. A lot of directors I work with are very good at mining the intention of the text, but they don’t have the same confidence with placing that into space.

I strongly suggest visiting both Murphy’s website and the Shondaland site and watching the videos available to get a good idea of his teaching style, and how he uses movement to help the actors realize the director’s concept.  Also make sure to look at the list of the numbers of films he has worked on along with the actors he has helped.

Here’s a screenshot of Murphy working with the cast of Bridgerton taken from the video called Behind Bridgerton: Inside the Scene: A Dance Story, published on June 6, 2024, in an article written by Mia Brabham Nolan. https://www.shondaland.com/shondaland-series/bridgerton/choreographer-jack-murphy-explains-how-rage-runs-deep-in-a-bridgerton-ball

In closing: I am pleased to share that my blog “A Burning Desire to Choreograph” was reprinted in Stance on Dance: https://stanceondance.com/2026/02/02/burning-desire-to-choreograph/