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“It was pulling me, and I couldn’t ignore it,” reflects Shannon Lewis on her evolution from performer to choreographer. After an impressive career that included ten Broadway productions, Lewis discovered her passion was shifting away from performing. She is now making her Broadway debut as a choreographer for the musical Just in Time, centered on the life of Bobby Darin. In a discussion with Gold Derby, she shares insights on choreographing for Jonathan Groff, navigating the unique challenges of staging, and her ability to create choreography quickly for shows like Saturday Night Live.
Lewis has built a successful reputation as a performer, showcasing her talents in acclaimed productions such as Fosse, Contact, and Sweet Charity. Over time, however, she began to envision broader artistic possibilities that compelled her to step into a choreographic role. “As a dancer, I excelled at embodying another person’s vision,” she notes. “While fulfilling, there was always a voice in my head urging me to explore my own ideas.” This desire led her to seek choreographic roles, gradually surpassing her performing endeavors.
Her stage experience has proven invaluable in understanding the mindset of actors and dancers. “Having that background helps me communicate effectively with them,” Lewis reflects. “I wouldn’t change my time as a performer; it’s not a new chapter, but a natural progression and growth of my artistry.”
Understanding the psychology of the performer was essential for capturing the essence of Just in Time. The narrative unfolds in 2025, with Groff portraying himself before being transported back in time to embody Bobby Darin. “The movement has a modern, edgy flair, and Jonathan brings his unique twist to the character,” Lewis explains. “As the story advances through time, we bring in specific elements that reflect Bobby Darin’s signature style.”
The musical encompasses significant moments from Darin’s life, including the iconic production of “Splish Splash,” where Groff performs in a bathtub. “This song was pivotal in his rise to fame, so it was critical from a storytelling standpoint to emphasize his evolution,” Lewis describes. Groff’s portrayal of Darin evolves from songwriting to achieving prominence through radio play, culminating in a vivid showcase reminiscent of classic television performances.
The choreography mirrors this progression, building to a climactic performance that captivates the audience. “I drew on the vibrant energy of the Hullabaloo era for inspiration,” Lewis shares, reflecting on how these influences enriched the overall aesthetic of the number. She creatively integrated a dance break into “Splish Splash,” enhancing the original structure.
The intimate setting of the Circle in the Square Theatre adds complexity to staging dance breaks. With two relatively small performance areas, audience engagement is constant, prompting Lewis to innovate. “We approached it knowing we were not using a traditional proscenium stage,” she affirms. Much of her choreography revolves around three female characters known as The Sirens. “Their presence guides the audience’s attention,” she notes, emphasizing the importance of focus within the space.
Beyond stage productions, Lewis has also contributed choreography for Last Week Tonight With John Oliver and Saturday Night Live, including the comedic “Gladiator Twosical” sketch. “No other job compares to the whirlwind that is SNL,” Lewis says, describing the rapid pace of production. “Typically, I receive the script just 20 hours prior, and sometimes I don’t get the music. Often, I assemble a trusted group of dancers, but I don’t see their work until we meet on set early that Friday.” Her Broadway experience aids her in making conceptual decisions rapidly to meet the show’s demands. “You aim for that improvisational quality,” she adds, “keeping it fresh and dynamic is key to the performance’s spirit.”
For the parody featuring Gladiator II, Lewis had to adapt two versions of a choreographed sword fight with prop swords of varying weights. She was uncertain how Paul Mescal would manage the differing dynamics in each shot. Trusting in the essence of improvisation, she streamlined the choreography from a complex three-shot setup to a straightforward single shot, confident in Mescal’s abilities. “On set, it was fantastic to see him masterfully handle it all in one take, creating a choreography moment we hadn’t anticipated,” she enthuses, celebrating the unpredictability and joy of the creative process.
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