Warren Carlyle Reveals the Art and Evolution Behind His Tony-Nominated ‘Kiss Me, Kate’ Choreography

The anticipation surrounding the 2019 Tony Awards was palpable, especially for choreographer Warren Carlyle. His nomination for Best Choreographer for the dazzling revival of Kiss Me, Kate sent ripples of excitement through the Broadway community. The news was so significant that actor Hugh Jackman, a longtime collaborator, flew Carlyle from his tour stop in Northern England to New York City to join the pre-award festivities. Carlyle, still processing the surreal recognition, shared his insights in an exclusive interview with HollywoodLife, delving into the thoughtful decisions and innovative moves that earned him this prestigious nod.

Carlyle’s approach to choreographing Kiss Me, Kate was anything but conventional, despite the show’s traditional roots. He approached it not as a revival of a classic, but as an original piece, free from the constraints of past productions. “I didn’t approach it like it had been done before,” he explained. “I started on page one and just thought, how am I going to make it good? I didn’t worry about what came before. I just worried about making a piece of theater for today — something that I would like to see, some of my generation would like to see.” This fresh perspective was crucial, especially given that two decades had passed since the last revival, meaning a new generation of theatergoers was ready to experience the beloved Cole Porter musical.

His intention was to craft choreography that was both grand and inherently fun, infused with a modern sensibility. One significant departure from previous iterations was a heightened emphasis on equality and playful competition between men and women. Carlyle found immense joy in this dynamic: “It has more equality than the last production, so the competition between men and women, that to me was like, ‘Oh, this is going to be fun.’ Because anything the men do, guess what? The women are going to do better.” This playful rivalry became a core theme, particularly evident in numbers like “Too Darn Hot,” which he describes as a powerful celebration of women and their sexuality. The number progressively builds in energy and complexity, mirroring the social context and diverse styles that define contemporary dance. It evokes the golden age of MGM movie musicals, yet feels distinctly modern in its execution and message.

Beyond the larger ensemble numbers, Carlyle also meticulously crafted character-driven pieces. “Tom, Dick, or Harry,” for instance, offered a canvas for cheeky, nuanced movements where the dancers’ pelvic isolations contrasted with their facial expressions, creating a humorous and engaging visual narrative. And of course, no discussion of classic Broadway choreography, especially in a show featuring a hoofer, would be complete without highlighting the essential role of tap dance.

The Astonishing Innovation of Corbin Bleu’s Upside-Down Tap

One of the most talked-about moments in Carlyle’s Kiss Me, Kate choreography involves star Corbin Bleu tapping upside down on the ceiling – a jaw-dropping feat that left audiences roaring. Carlyle recounted the surprising origin of this iconic moment, which initially began with a much simpler vision. “When I was preparing the show, I wrote on my script, ‘Warren, don’t try too hard here,’” he confessed. After a series of intense, percussive numbers like “Tom, Dick, and Harry,” “Too Darn Hot,” and “Always True to You,” he envisioned the subsequent section as a mere “charm number.” In rehearsals, it was indeed charming and elegant. However, something shifted when he saw the choreography on stage within David Rockwell’s innovative three-layer set.

The set itself sparked new ideas. “The ladies need to dance on every single level, so that changed it right there,” Carlyle realized. Then, observing Corbin Bleu, a gifted hoofer, he felt an imperative to incorporate tap dance, for the women to “speak his language.” The choreography evolved further. One evening, sitting in the third row, Carlyle noticed an overlooked architectural element: the underside of the balcony. It clicked. “Ah! So now I know what I have to do — I just have to put that man’s feet there, I don’t know how I’m going to do it, I just have to get his feet to tap dance on the ceiling.” This seemingly impossible idea, born from keen observation and a desire to utilize the entire theatrical space, became a reality just five days before opening night. Carlyle simply approached Bleu and instructed, “you just got to flip upside down, put your feet on there,” and the seasoned performer, embodying true Broadway spirit, executed it perfectly.

Mastering the Rhythms of Tap Dance

Tap dance, with its intricate rhythms and precise footwork, is notoriously challenging. Carlyle acknowledges this difficulty but embraces it fully, especially when it serves the narrative and character. He revealed his unique method for “cleaning” tap choreography, ensuring absolute precision from his dancers. “I do because with tap, you experience a line up, I line up certain steps,” he explained. “It goes like guh-guh, guh-guh, guh, guh. You’ve all got to be together at the same time. There are rhythmical markers, and they’re all going to hit the one at the same time. Six, seven, eight, one. So everyone knows, you have to hit on one. What happens is the audience doesn’t necessarily hear the sounds in between, but you hear the one. So I’ve learned over the years, that’s how I personally clean it.” This meticulous attention to the “one” ensures a cohesive, powerful percussive impact that resonates with the audience.

Despite its inherent complexity, Carlyle doesn’t shy away from tap. Instead, he uses it strategically when it’s most appropriate and effective. For Corbin Bleu’s character, Bill Calhoun, tap became his primary mode of expression, his “language.” This led to another innovative decision: introducing Bill Calhoun into “Too Darn Hot.” Traditionally, this character would spend 45 minutes offstage in the dressing room during this number. However, Carlyle saw an opportunity to showcase Bleu’s exceptional talent. “I didn’t want to do that Corbin and I think his language is really good,” he stated. “I also, selfishly, thought if we kind of goosed the language to have a new idea — of course I gave him the new idea of here he comes with his hoofer language! And then James T. Lane joins him and then suddenly you have a really good period for the Nicholas Brothers. Then, I can locate the audience clearly in the ’40s with that.” This move not only highlighted Bleu’s tap prowess but also created a direct historical link to iconic tap duos, firmly placing the audience in the musical’s era while injecting fresh energy.

Embracing Diversity and Elevating Broadway Dance Standards

The dance team and cast of Kiss Me, Kate are notably diverse, a deliberate choice by Carlyle that reflects his personal ethos and modernizes a show first staged on Broadway in 1948. When asked if this diversity was purposeful, Carlyle’s answer was unequivocal: “My world is like that. That’s what apartment building looks like in New York, that’s what the street looks like in New York, that’s actually what my life looks like. I’m lucky that I live in a very diverse, a very equal world. I really do. My world of creation is like that, too. I just pick the best dancers. I don’t pick the best colors. It’s kind of glorious. I see creatures.” For Carlyle, inclusivity isn’t an agenda; it’s a natural extension of his reality and an artistic principle that allows him to select talent based purely on skill and artistry.

Carlyle also believes strongly in pushing the boundaries of modern dance on Broadway, viewing it as a continuous evolution akin to the Olympics. “Every other year at the Olympics, people are jumping higher, they’re swimming faster, they’re throwing heavier things, and dance is the same thing,” he asserted. Having worked on shows like So You Think You Can Dance, he has witnessed firsthand the ever-rising standard of dance technique. This experience instilled in him a profound sense of responsibility as a “gatekeeper of Broadway.” He feels compelled to provide choreography that not only challenges the exceptional dancers of today but also deeply excites audiences.

The accessibility of dance through television programs like World of Dance has created a more discerning audience. Millions are now exposed to incredible feats of dance from their living rooms, raising their expectations for live performances. “They can’t watch that show and then go to Broadway and have something that’s less than that,” Carlyle noted. He is acutely aware that today’s Broadway audience is “very well-educated now with dance.” Choreography can no longer simply feature a “double pirouette”; it “has to be eight. It has to be this unreachable, gorgeous thing.” This philosophy drives his creative process, ensuring that Kiss Me, Kate delivers choreography that meets and exceeds contemporary standards.

The Nuance of Kelli O’Hara’s Performance: When Voice Becomes Dance

One interesting aspect of the Kiss Me, Kate revival is the role of its leading lady, Kelli O’Hara. While she is spectacular in the show, she doesn’t feature in a traditional, full-scale dance number, which is somewhat unusual for a Broadway star of her caliber. Carlyle shed light on this deliberate choice. Initially, O’Hara’s character would simply sit on the set in the opening, a grand, static presence. However, Carlyle and the creative team wanted to present a more youthful and integrated portrayal. “We added late in the day a little dance in the opening, but it’s really interesting that she didn’t really dance,” he explained. “But, actually we wanted a more youthful look at her, we wanted her to be part of the company, and actually dance was the way that we did that. The dance captain comes over and does like a little jive with her, a little underhand turn, and that was really it.” This subtle incorporation ensured her character felt connected to the ensemble without requiring extensive dance training from the celebrated soprano.

Similarly, in the charming dressing room duet “Wunderbar,” a waltz is featured, but Carlyle consciously avoided framing it within a classic, formal aesthetic akin to The King and I. He sought a more youthful and natural feel. He expressed his admiration for O’Hara’s performance, noting how she embraced a “rough and tumble” quality for Kiss Me, Kate, a departure from roles audiences might have seen her in over her two-decade career. “It’s interesting with Kelli — it’s something I’ve never seen her do before, we’ve been watching her for 20 years and she always dances,” he reflected. “And she’s so rough and tumble in Kiss Me Kate, I really kind of love it. I love watching her throw herself into it. Everything she does in the show is based in truth. All the comedy is based on absolute truth.”

When asked if he wished Kelli O’Hara’s character had more traditional dance in her story, Carlyle offered a beautiful perspective: “I think that she doesn’t need to because her version of dancing is that voice. That’s how she expresses how she feels, is those beautiful soaring high notes, and those beautiful trails and runs.” For a performer of O’Hara’s vocal prowess, her voice itself becomes a dynamic, expressive instrument, capable of conveying emotion and narrative with the same power as dance.

Warren Carlyle’s work on Kiss Me, Kate is a testament to his belief in the continuous evolution and temporary guardianship of art. He views Broadway as a precious entity that artists hold for a time, shaping it before passing it on to the next generation. “Broadway is a beautiful piece of art. You can’t really own it, you can hold it for a couple of decades and then it’s just someone else’s turn to have it,” he mused. “That’s how I feel about Broadway, that’s how I feel about choreography. I’m so lucky because it’s my turn, I’m so lucky and I’m going to not screw it up. I’m going to do the best I can every single day.” This dedication to excellence and innovation ensures that his choreography not only honors the classics but also propels Broadway dance into an exciting future, constantly challenging perceptions and delighting audiences with “unreachable, gorgeous” new ideas.

You can experience Warren Carlyle’s Tony-nominated choreography in Kiss Me, Kate on Broadway, now!