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/