Category: Current Events

Bridgerton, Jack Murphy and Movement’s Important Role

JoAnne Tucker / / Current Events, Dance History, dance on television

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/

Finding Balance in a Challenging World

JoAnne Tucker / / Art, Current Events, Personal Life

One of the last pieces that I created for The Avodah Dance Ensemble was called Balancing Act.  I was fascinated with the different ways we catch ourselves when we are losing our balance and how we can support each other to find balance.  The motivation for creating the piece was mainly from a physical point of view, although there were certain emotional challenges that I was facing at the time.  I didn’t explore any; I just approached the choreography with a physical fascination.

I love this picture from the piece. In this moment the dancer is grounded to the floor with her one leg while the rest of her is reaching out… looking … exploring what’s around her, with both arms testing the space, her focus up and one leg in the air reaching for a giant step forward.  Try this … balance on one foot with your head facing the ceiling!  Natrea Blake did an outstanding job in the piece.

Photo by Tom Brazil

If I were to create this piece today it would come totally from an emotional place.  The events of the past year pose daily hurdles for me to keep my balance and stay informed with what is happening in the world without sinking into a deep depression.  A quick Google search of the relationship between the news and mental health showed that I am not alone.  In today’s blog, I’ll share what is helping me to stay aware of what is happening, while maintaining a healthy outlook. I welcome you to add a comment as to the tools you are using.

  1. Setting limits. I set boundaries as to how much time I will spend keeping up with the news.  I find I can no longer spend even a half hour listening to news.  I am best to read headlines on the computer and then a few paragraphs of an article.  I also rely on a few daily email journalists on Substack to skim what they are sharing.
  2. Being creative each day is essential. For me, spending some time painting is very calming. When I am painting, all my focus is on the picture.

A painting I just completed of a Pitahaya in full bloom.

  1. My new project of creating a dance film about resistance is helping. Even though I am realistic that my goal will be to finish it and share it on this blog, it feels good to be doing something related to my concern for democracy in the United States.
  2. Challenging myself to do something new.  And then feeling good about accomplishing it.  Leaf cutter ants are both amazing and a problem in Costa Rica. Overnight an army of these ants can destroy a tree, making a parade back to the nest carrying a part of a leaf.  Recently when I was walking the property I discovered I had three different areas affected.  I solved the problem through both pellets and painting a dot on the leaves as the ants marched by. The ants carry either the pellet or the leaf with the poison dot back to the nest.  I only spent 15 minutes focused on painting leaves or putting out pellets, and there are no more ants doing damage today.  Of course, I will need to keep a daily watch and most likely repeat this several more times in the next few months.
  3. Reaching out to friends, particularly in person, and enjoying time together with only limited conversation related to the news.
  4. In the evening watching fun movies that cheer me up.

 

These are some of the things that are helping to keep my spirits up.  I want to hear what you are doing.  Please share in the comment section so we can all benefit.

Burning Desire to Choreograph – A Dance of Resistance

JoAnne Tucker / / Current Events, Holocaust Repertory, Personal Life

For the past few months, I have found myself missing working with dancers the way I did for over 30 years with The Avodah Dance Ensemble.  At first my recent focus was on creating a work inspired by the labyrinth in my garden.  I haven’t abandoned the idea and still envision a piece that can be performed on the labyrinth and filmed.  It will also be developed into a performance piece for the stage.  But in the past few days another idea has been driving me, and that is what I want to focus on in this blog.

I am very glad to be living in Costa Rica rather than the United States right now. However, that doesn’t mean I am not VERY concerned with what is happening in the United States, and I do want to take some kind of action to support the growing call for change.  Surprisingly I am inspired by the writing of David Brooks in The New York Times.  Brooks was one of my husband’s favorite columnists.  Brooks is a moderate, centrist, and conservative unlike me.  I consider myself a liberal and strong Democrat.   Yet the past two articles that he wrote resonated with me.   For example, in an April 17th column he stated:

Trump’s behavior has aroused great moral indignation. It has aroused in people’s hearts a sense that something sacred is being trampled here — democracy, rule of law, intellectual freedom, compassion, pluralism and global exchange. These things are worth fighting for.  https://www.nytimes.com/2025/04/17/opinion/trump-harvard-law-firms.html

Then in an April 24th column he wrote:

[W]e are the beneficiaries of a precious inheritance. Our ancestors bequeathed to us a judicial system, great universities, compassionate aid organizations, great companies and scientific genius. My mission statement would be: America is great, and we will fight for what has made America great. https://www.nytimes.com/2025/04/24/opinion/trump-administration-energy-strength-weakness.html

After reading the second column, the urge to use my talents to respond was triggered.  A dance of resistance.  And I have a clear vision of how it will begin.  There is a moment in the piece I created in 1976 called I Never Saw Another Butterfly, based on poems written by children in the Terezin concentration camp, where the dancers link arms and lunge forward moving strongly on the diagonal. That is how my new piece will begin.

Kezia Gleckman Hayman and Beth Millstein demonstrating linking the arms together in a rehearsal.
The Avodah Dance Ensemble performing I Never Saw Another Butterfly at a high school: the lunge with arms linked.

I Never Saw Another Butterfly was the first piece I choreographed for a Holocaust Remembrance Day ceremony. It was soon joined by Kaddish, which is set to the opening eight minutes of Leonard Bernstein’s Kaddish Symphony.  Primo Levi’s poetry inspired a third piece, Shema, several years later.  These three pieces were an important part of Avodah’s repertory using dance to bring awareness to the Holocaust and were performed in settings such as a Catholic Boys School in Jersey City, an Interfaith Conference, and a Community College in Philadelphia, in addition to many schools, universities, synagogues and Jewish community centers.

My new piece would see dancers (maybe 20 or 30) coming from different directions of the stage and slowly linking arms in several lines building a strong force of energy to become a unison statement to lunge forward and continue to progress in unison with choreography yet to be designed.

In the past when I decided on a theme, one of my first steps was to research all I could find on the subject. A few days ago, I googled dances of resistance.  Wow did I get a lot of information.  I encourage interested readers to do the same and see how dance has for centuries been a tool to bring a community together and to make strong statements of resistance.

I was also curious to see if there were examples of linking arms together for resistance and change, and indeed there are.

One is an event that created a human chain connecting Monroe Carell Jr. Children’s Hospital at Vanderbilt to the Tennessee State Capitol, which took place April 18, 2023. The purpose was to support changes in gun laws to make public spaces safer.  https://news.vumc.org/2023/04/19/linking-arms-for-change-images-from-the-event/

A title of a book that was published in 2001 called Linked Arms: A Rural Community Resists Nuclear piqued my curiosity. The book describes how a rural group used civil disobedience to defy the nuclear industry and governmental authority, preventing the building of a nuclear dump in western New York.  While I don’t know if the group linked arms as part of the demonstrations, my hunch is they did, hence the title of the book.

On May 1, 2025, The New York Times reported that after a speech in Philadelphia by Bernie Sanders, “dozens of demonstrators locked arms and sat down at an intersection near a highway entrance for about 30 minutes before police began to make arrests.”

Artists have long been responding to injustice, political upheaval, and social causes with their talents.  This is an important time for all of us to be active.  I close with some recent words from Mikhail Baryshnikov’s International Dance Day Message (April 29, 2025):

It’s often said that dance can express the unspeakable. Joy, grief, and despair become visible; embodied expressions of our shared fragility. In this, dance can awaken empathy, inspire kindness, and spark a desire to heal rather than harm. Especially now—as hundreds of thousands endure war, navigate political upheaval, and rise in protest against injustice—honest reflection is vital. It’s a heavy burden to place on the body, on dance, on art. Yet art is still the best way to give form to the unspoken, and we can begin by asking ourselves: Where is my truth? How do I honor myself and my community? Whom do I answer to? Link to article.