NYC-ARTS takes a look behind the scenes at Broadway Dance Lab: a place where dance makers can test new ideas and work in different styles. It is a dance “think-tank” that offers choreographers a place to work and a company of professional dancers, without charge and without the pressure to deliver a commissioned performance. It was founded by Broadway choreographer Josh Prince.

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CURRENTLY THERE ARE NO OTHE PLACES IN NEW YORK CITY THAT EXIST LIKE BROADWAY DANCE LAB.

WE PROVIDE SPACE FOR CHOREOGRAPHERS AND A DANCE COMPANY TO CHOREOGRAPHERS SO THAT ALL A CHOREOGRAPHER HAS T DO IS WALK IN THE ROOM AND BEGIN.

♪♪ WE DO NOT PLACE DEMANDS IN THE LAB ON WHAT YOU ARE TO WORK ON WHAT YOU ARE TO EXPLORE.

IT IS TRULY A CREATIVE PLACE FOR YOU AS A CHOREOGRAPHER TO COME IN WITH THE BEST TOOLS AT YOUR DISPOSAL AND JUST START.

JUST PLAY.

FOLLOW YOUR IMPULSES IF THAT'S WHAT YOU FEEL LIKE DOING AND SEEING WHERE THAT LEADS, O COMING IN WITH A PRE-PLANNED IDEA AND SEEING IF IT WORKS, S THAT THEY HAVE NO CONCER WHATSOEVER BUT THE ARTISTI PROCESS.

I, AS AN ARTISTIC DIRECTOR, DO NOT DICTATE WHAT A CHOREOGRAPHER WORKS ON SO I COULD REACH OUT T MARCELO GOMES, FOR INSTANCE, FROM THE BALLET WORLD AND HE COULD COME IN AND WANT TO DO SOMETHING HIP HOP.

I KNOW THAT SOUNDS SOMEWHA OUTRAGEOUS TO SOME PEOPLE, BUT THIS IS THE FREEDOM THAT WE'RE LOOKING TO OFFER OUR ARTISTI COMMUNITY.

THIS WAS REALLY, FOR ME, AN INCREDIBLE INVITATION TO SAY 'HEY, WE ARE GIVING YOU TH STUDIO FOR FOUR HOURS EACH DAY AND YOU CAN CREATE WHATEVER YO WANT AND IT'S FINE IF YOU DON'T SHO SOMETHING.

IT'S FINE IF YOU DO SHOW A LITTLE PIECE OF IT IF YOU WANT TO JUST TALK TO YOUR DANCERS YOU CAN.

AND TO HAVE THAT BLANK CANVAS, YOU ARE ABLE TO BE MUCH MORE CREATIVE

IT'S NOT EASY BEING A WELL-KNOWN DANCER AND BECOMING A CHOREOGRAPHER AFTER.

IT'S DEFINITELY VERY HARD, BECAUSE I THINK THAT THE EXPECTATIONS ARE VERY HIGH I THINK PEOPLE THAT COME TO SE ME IN A PERFORMANCE EXPECT THE SAME KIND OF LEVEL OF MY CHOREOGRAPHY AND I AM FINDING MY VOICE.

I AM FINDING MY VOCABULARY I AM EXPERIMENTING, AND THIS I WHAT BROADWAY DANCE LAB HA GIVEN ME ♪♪

BROADWAY DANCE LAB IS THE ONLY PLACE THAT EMPLOYS DANCER AT A COMPETITIVE SALARY TO RETAIN THEIR SERVICES.

WE ALSO GIVE THEM INSURANCES IF A DANCER GETS INJURED, THAT CAN BE A VERY COSTLY THING FOR THEM THEY HAVE DOCTOR'S APPOINTMENT AND PHYSICAL THERAPISTS AN RECUPERATION CAN BE VERY, VERY EXPENSIVE FOR THEM SO, IF I'M A CHOREOGRAPHER IN ROOM WITH MY DANCERS AND I KNO THEY DON'T HAVE WORKMAN'S COMP INSURANCE, AM I GOING TO ASK THEM TO TRY SOMETHING THAT MIGHT BE A LITTLE BIT DANGEROUS?

SO, MY PHILOSOPHY IS, WE SECUR THESE DANCERS WITH COMPETITIVE SALARIES AND INSURANCE IN ORDE TO ALLOW THEM TO FEEL TH FREEDOM TO TRY ANYTHING.

♪♪ I DON'T THINK IT CAN B UNDERESTIMATED, THE EFFECT THA WORKING WITH ALL OF THES MULTIPLE CHOREOGRAPHERS HAS ON THE DANCE COMPANY ITSELF AND THAT COMPANY OF YOUN DANCERS -- SO ONE WEEK, THEY HAVE MARCELO GOMES THE NEXT WEEK THEY'RE WORKIN WITH ANDY BLANKENBUEHLER, A TONY AWARD WINNER, WHO MAY COME I AND WORK ON SOME PRE-PRODUCTIO FOR A NEW MUSICAL HE'S DEVELOPING ♪♪ WORKING WITH CAMILLE BROWN, WH MAY WISH TO DO AS MANY TWO MINUTE SEQUENCES AS SHE POSSIBLY CAN.

AND ALL OF THESE DANCERS ARE HIRED SO THAT THEY CAN DO AS MUCH OF THAT AS POSSIBLE AND PROVIDE AS MUCH OF THAT FOR EACH CHOREOGRAPHER AS POSSIBLE.

♪♪ I, FOR ONE, HAVE SEEN THE DANC WORLD AROUND ME BE VER SEGREGATED YOU ARE EITHER A BROADWA CHOREOGRAPHER OR A MODER CHOREOGRAPHER OR A BALLE CHOREOGRAPHER.

BY GATHERING TOGETHER THE DANC COMMUNITY AT LARGE, THAT WE CA STRENGTHEN THE PRODUCTS THAT W SEE ON THE STAGE

I THINK THAT, AS DANCERS, W TRAIN OUR BODIES TO -- OVER TH YEARS, MANY, MANY YEARS, TO BE ABLE TO DO THAT CERTAIN STEP O TO BE ABLE TO BE THE PERFECT JULIET OR THE PERFECT SWAN QUEEN.

AND I THINK THAT YOU DO NEED TIME AS WELL TO DEVELOP YOURSELF AS A CHOREOGRAPHER THE FIRST THING IS THE BRAID WE GO -- I DON'T KNOW.

YOU DON'T KNOW WHAT THE FUTURE HOLDS.

YOU CREATE SOMETHING THAT YO ARE FEELING AT THE MOMENT.

IN THIS CASE, I WANTED TO MAKE THE STORY.

PERHAPS IT COULD, YOU KNOW BECOME A PLAY.

IT COULD BECOME A MUSICAL.

IT COULD BECOME -- IT COULD STAY AS A BALLET.

♪♪ BUT WHAT I KNOW IS THAT WE WER ALL INVESTED FOR THOSE HOURS BEING CREATIVE IN THE STUDIO AND THAT'S REALLY WHAT I WIS PEOPLE WOULD SEE MORE IN OUR ART FORM

THE PROCESS OF THOSE MAYB ONE OR TWO DANCERS HAVE PUSHED THEMSELVES TO SUCH LIMIT THA THEY DIDN'T KNOW THAT THEY COULD DO THAT IS A REALLY INCREDIBL POINT THAT I THINK THAT BROADWAY DANCE LAB HAS DONE OF COURSE IT'S NICE IF SOMETHING HAS A FUTURE OF COURSE SOMEBODY, IF THEY SE IT AND THEY LIKE IT -- BUT IT'S ALSO OKAY IF NOT, BECAUSE I KNOW THAT THE DANCER AND I HAVE DONE SOMETHING AND WE HAVE WORKED TOWARD SOMETHING

I CANNOT TELL ANYONE WHERE WE WILL BE IN TEN YEARS, BUT TH ARTS COMMUNITY, FROM THE BALLE WORLD TO THE BROADWAY WORLD, NEED A PLACE LIKE THIS SO IT'S MY FIRM BELIEF THAT AL IT TAKES IS THE AWARENESS THAT IT'S HERE NOW, THAT WE'RE HERE TO STAY, THAT WE NEED YOUR SUPPORT, AND IT WILL FIND IT WAY.

> NEXT ON OUR PROGRAM, A VISIT TO THE NEW YORK HISTORICAL SOCIETY ON THE UPPER WEST SIDE CURRENTLY ON VIEW IS THE VER POPULAR EXHIBITION 'SUPERHEROE OF GOTHAM.

FROM WONDER WOMAN TO SUPERMAN, TO BATMAN AND OTHERS, THIS EXHIBIT CELEBRATES THE ENDURIN APPEAL OF THE COMIC BOOK HEROE WHO WERE BORN HERE AND CONTINU TO HOLD THE FASCINATION OF THE PUBLIC VINTAGE COMIC BOOKS, COSTUME AND A GLIMPSE OF THE 1966 BATMOBILE ARE JUST A FEW OF THE ITEMS DOCUMENTING THIS CULTURAL PHENOMENON.

♪♪

ATOMIC BATTERIES TO POWER TURBINES TO SPEED.

READY TO MOVE OUT ♪♪

THE EXHIBIT SUPERHEROES I GOTHAM INCLUDES THREE DISTINCT GALLERIES.

IN THE FIRST, 'BORN IN NEW YORK,' WE INTRODUCE THE SI SUPERHEROES THAT WE AR CONCENTRATING ON THE CHARACTERS OF SUPERMAN BATMAN, WONDER WOMAN, CAPTAI AMERICA, SPIDERMAN AND IRON MAN.

WE ALSO LOOK AT THE INFLUENCE OF NEW YORK CITY ON THE CREATORS.

IT WAS, YOU KNOW, TALL SKYSCRAPERS AND ELEVATED SUBWA LINES, SO IT WAS A LOT O ACTION AND SO SOMETHING LIKE ACTION 1 COMICS IN WHICH SUPERMAN DEBUTS, MAKES SENSE IN THAT WAY.

IN THE SECOND SECTION, 'A WIDE AUDIENCE,' WE LOOK AT HOW MEDI TECHNOLOGY AND THE REALL INCREASING POPULARITY OF INDIVIDUAL SUPERHEROES MELDE REALLY NICELY.

IN 1940, SUPERMAN WENT TO RADI AND THEN THE VERY NEXT YEAR, 1941, AN ANIMATED CARTOON WA CREATED AND A TON OF MONEY WAS PUT INTO THAT AT A TIME WHEN $5,000 OR $10,000 WAS USUALL SPENT ON A CARTOON, $50,000 WA SPENT.

IT'S REALLY AN INDICATION OF HOW POPULAR SUPERMAN WAS AND ALS THAT THE PEOPLE INVOLVED I FINANCING IT KNEW THAT THEY HA A WINNING CHARACTER IN SUPERMAN.

CONGRATULATIONS, LOIS THAT WAS A GREAT SCOOP

YES, CHIEF, THANKS TO SUPERMAN

AND THEN, OF COURSE, TV -- REALLY GREAT EXAMPLE IS 'BATMAN' '66, WHEN ALL THE NETWORKS HAD ANNOUNCED THE YEAR BEFORE THAT BY '66 ALL TELEVISION SHOW WOULD BE BROADCAST IN COLOR.

AND THEN IN THE THIRD GALLERY, WE'RE LOOKING AT INSPIRATION AND INFLUENCE, WHETHER IT' INDIVIDUAL ARTISTS, FINE ARTISTS, CARTOONISTS, WHO WERE INSPIRED AND INCORPORATE SUPERHERO IMAGERY INTO THEIR WORK OR YOUNGER ARTISTS WHO WERE DEFINITELY INFLUENCED AN INSPIRED BY THE TRADITIONS AND ARTISTS THAT WENT BEFORE THE BUT HAVE TAKEN IT THEIR OWN WAY.

SOME ARTISTS, LIKE PHILI PEARLSTEIN -- WE HAVE A PAINTING IN THE EXHIBIT OF HIS FROM 1952.

CLEARLY HE LOVES SUPERMAN, S HE'S DEPICTED IN HIS PAINTING.

I THINK THE MOST EXCITIN ARTIFACT IS SOMETHING PEOPLE WILL SEE BEFORE THEY EVEN GE UPSTAIRS TO THE GALLERY.

AND THAT IS THE BATMOBILE FROM THE 1966 TELEVISION PROGRAM.

AND THERE ARE THREE REMAININ THAT ARE AUTHENTIC ONE WAS USED ON SET AND TH OTHER TWO WERE USED PRIMARIL FOR PROMOTIONAL TOURS.

IN THE GALLERY THERE ARE COSTUMES SUPERMAN FROM THE 1950s TV SHOW, A WONDERFUL CATWOMAN COSTUME THAT JULIE NEWMAR WORE ON TH 1966 BATMAN SHOW THERE'S ALSO AN EMPHASIS O COMMUNITY BECAUSE THE PEOPLE WHO WERE INFLUENCED BY EARLIER GENERATIONS WERE OFTEN FANS AN IN FANDOM AND FANZINES AND COMIC CON, THOSE ARE ALL PART OF THE STORY THAT NEEDS TO BE TOLD.

I THINK WE CAN ALL RELATE TO SUPERHEROES.

I THINK THAT WE WANT TO BE THE SOMETIMES.

WE DEFINITELY ADMIRE THEM.

IT'S JUST A COMFORT TO KNOW THAT THERE ARE CHARACTERS THAT WE CAN AT LEAST LOOK TO TO SAVE THE DAY.

HOLY MEMORANDA, FOLKS MAKE A NOTE NOT TO MISS IT

GOOD THINKING, ROBIN.

> AND NOW, ANOTHER CURATOR'S CHOICE

WELCOME TO THE AMERICAN FOL ART MUSEUM MY NAME IS VALERIE ROUSSEAU, CURATOR FOR THE ART OF THE 20th AND 21st CENTURY.

WE ARE IN FRONT OF A VER TYPICAL PIECE OF OUR COLLECTION.

THIS IS THE ENCYCLOPEDIC PALAC BY MARINO AURITI, AN ITALIAN IMMIGRANT WHO SETTLED IN KENNETT SQUARE, PENNSYLVANIA, AROUND 1938 AND THERE HE OPENED A SHOP WHERE HE WAS AN AUTO BODY MECHANIC AND FOR ABOUT THREE YEARS, I THE BACKYARD OF HIS GARAGE, HE WORKED ON HIS ARCHITECTURA MODEL.

MARINO AURITI EXPLAINED HI PROJECT IN A HIGHLY DETAILED SIX PAGE STATEMENT OF PURPOSE.

HE SAID, 'THIS BUILDING IS A ENTIRELY NEW CONCEPT IN MUSEUMS, DESIGNED TO HOLD ALL THE WORKS OF MAN IN WHATEVER FIELD DISCOVERIES MADE AND THOSE WHICH MAY FOLLOW EVERYTHING FROM THE WHEEL TO THE SATELLITE.

THE MODEL IS SEVEN FEET HIGH AND IT'S ON A SCALE OF 1 FOR 200 THE WHOLE COMPLEX IS A OFF-WHITE AND BRONZE WOO COMPOUND CENTERED AROUND A TOWER COMPOSED OF EIGHT SUPERIMPOSED CIRCULAR SECTIONS TOPPED BY METAL SPIRE.

THERE ARE FOUR ARCHED MAIN ENTRANCES SURMOUNTED BY THE FLAG OF ITALY, OF FRANCE, OF TH UNITED STATES AND SPAIN.

AURITI'S ATTENTION TO DETAIL AND FUNCTIONALITY ARE ASTOUNDING YOU HAVE, FOR INSTANCE, ABOU 800 WINDOWS MADE OF CLEA CELLULOID AND SWINGING METAL DOORS.

AURITI'S OWN PHILOSOPHY AND SETS OF VALUE ARE INSCRIBED ONTO TH PALACE YOU CAN READ THOSE DIFFERENT SENTENCES RELATED TO HIS OWN PERCEPTION OF HOW WE SHOUL BEHAVE AS CITIZENS, AS NEIGHBORS.

I DON'T THINK THAT HE WANTED T BUILD IT TO BE JUST A MODEL.

HE WANTED TO REALLY REALIZE THAT ARCHITECTURE AND IF THIS ARCHITECTURE WOULD HAVE BEEN BUILT, IT WOULD HAVE SPREAD OVER 16 CITY BLOCKS AND BEEN 136 STORIES HIGH.

MANY OF THE SELF-TAUGHT ARTIST THAT WE HAVE IN OUR COLLECTION STARTED TO CREATE AT A SPECIFI TIME OF THEIR LIFE IT'S OFTEN LIKE A TURNING POINT.

THEY EXPERIENCE SOME SORT OF PSYCHOLOGICAL CHANGES IN THEIR LIFE THEY GOT INJURED THEY COULD NOT WORK ANYMORE.

IN THE CASE OF AURITI, HE LEFT ITALY TO ESCAPE THE FASCIS ITALIAN PARTY.

A BIT BEFORE HE PASSED AWAY, H SAID HE WOULD BE HAPPY IF THIS PIECE WOULD BE IN A MUSEUM FOR FUTURE GENERATIONS AND IT TOOK 33 YEARS FOR THE PIECE TO BE SECURED AT THE AMERICAN FOLK ART MUSEUM

> WE HOPE YOU'VE ENJOYED OUR PROGRAM THIS EVENING FROM THE TISCH WNET STUDIOS AT LINCOLN CENTER, I' PHILIPPE de MONTEBELLO GOOD NIGHT AND SEE YOU NEX TIME

NEXT WEEK ON 'NYC-ARTS.

A PROFILE OF THEATER FOR A NEW AUDIENCE, WHOSE MISSION IS T REDEFINE CLASSIC WORKS FOR THE STAGE AND NURTURE PROMISIN ARTISTS.

WAS IT NOT TO REFRESH THE MIND OF MAN AFTER HIS STUDIES?

GIVE ME LEAD TO READ

> AND A VISIT TO THE CLOISTERS, A BRANCH OF THE METROPOLITAN MUSEUM OF ART WHICH IS DEVOTED TO THE ART AN ARCHITECTURE OF THE MIDDLE AGES.

> FUNDING FOR 'NYC-ARTS' I MADE POSSIBLE BY ROSALIND P.

WALTER JODY AND JOHN ARNHOLD.

ELLEN AND JAMES S. MARCUS.

ELISE JAFFE AND JEFFREY BROWN.

TUESDAY EVENING HOUR, INC., IN MEMORY OF MARJORIE GRIMM THE MILTON AND SALLY AVERY ART FOUNDATION AND ELROY AND TERRY KRUMHOLZ FOUNDATION THIS PROGRAM IS SUPPORTED IN PART BY PUBLIC FUNDS FROM TH NEW YORK CITY DEPARTMENT O CULTURAL AFFAIRS IN PARTNERSHI WITH THE CITY COUNCIL.

ADDITIONAL FUNDING PROVIDED BY MEMBERS OF 13.

'NYC-ARTS' IS MADE POSSIBLE IN PART BY FIRST REPUBLIC BANK.

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