Catch Me If YOU CAn
My focus with Catch was to marry the inner character development with creating the shape and movement of the world. This show also allowed me to showcase a variety of dance genres. The Chicago Critic said, "Choreographer Karen Shuman deserves a standing ovation for taking a huge amateur company of various skills and experiences and giving every performer a purpose and a place. The dancing crackles with verve and attitude that feels completely in character and never superfluous to the central story. Bravo!"
Little Mermaid
With Little Mermaid I played with emotion and tone. I used my training in Jamaican folk dance to influence movement as well as exploring the anthropomorphizing of sea creatures. I spent time creating texture and action that matched character, i.e., ;slithering the eels, low and bumpy for deck hands, short jabs for Sebastian. Blending both the audience expectation of character from the movie with my original movement created a beautiful underwater world.
Evita
In Evita, I combined Latin movement with jazz. I found inspiration in how groups of animals moved to create energy and character. For instance, a video of a flock of flamingos became the basis for the Artistocrats while a troop of chimps blended with cadence became the Officers.
ChiCAgo - Teen
When I choreograph teens or kids, my focus is first on teaching how to move in a way that protects the body and builds muscle memory. Because Chicago has such a specific vocabulary of movement, the process was multi-layered. I taught specifics of style, helped them listen to the musicality of the piece, and helped them work within their understanding of how their bodies move. My choreography paid homage to Fosse without using any of his specfic choreography. I blended my style with the movement of the 20's and taking inspiration from the original.
