Christopher Page-Sanders
Photo by Martha Wirth
We asked Last Stop on Market Street Choreographer/Movement Director Christopher Page-Sanders a few questions about MTC’s February production.
As the Choreographer/Movement Director for Last Stop on Market Street, what do you do?
I have the task of bringing the musical numbers in this work to life with movement and a palpable physical energy.
Can you tell us about the choreography and movement of Last Stop on Market Street?
Since this piece is truly a small ensemble character-driven work, each song has a life and journey of its own that is also wrapped inside of CJ’s journey of self discovery, and so I had to find a movement vocabulary for each song. Since each song is extremely different and plays with a wide range of musical genres, it’s was an extremely groovy journey for me that allowed me to play with all of the tools in my choreographic tool box. A theme throughout this show is finding the beat of life and listening to that inherit beat, our heartbeat, and sending the vibration of love out to a world in need of it. CJ learns the power of love and the beauty of an open heart chakra. So choreographically this show is ALL about a groove- in the rehearsal hall, I found that there always had to be some type of groove step. Hopefully when the audience sees it, they leave wanting to dance. This style of choreography is a unique fusion of dance that ranges from social vernacular dances to various forms of jazz, which as a technique began as social vernacular dance. But within ALL of that, there are a few fun surprises.
What are some of your favorite dance infused moments of Last Stop on Market Street?
That’s a hard question, I feel like there is always one step, or even one small moment that I connect with in each number. With “Beat of Life” though I just had a blast creating and I remember it just being a WHOLE VIBE in the rehearsal room. One that was palpable and one that everyone could feel.
How does the choreography help tell the story?
It pushes the emotional moment a step further, it helps to create the environment that CJ and Nana are living in. It also continues to tell the story from a heightened perspective, not always reality—sometimes we are in his mind, which opened up a whole other way of seeing his journey.
Who are some of your favorite choreographers?
Inspired by many, but most definitely: Kyle Abraham, Camille A. Brown, Ron K. Brown, Darrell Grand Moultrie, and Dwight Rhoden— for many different reasons.
What words of wisdom has a past teacher or mentor shared with you that you still live by today?
A college professor once told me, “Be in the moment. Live in the moment.” That stays with me to this very day, you miss so much of life when you aren’t invested in the life (and moment) that you are living. Also my Aunt Ruth telling me and my husband to “take care of each other.” What would happen if we lived in a world where we TOOK CARE with our family, our loved ones, our friends, our neighbors, our children… if we took more care—what would this world look like?
Last Stop on Market Street rehearsal, Jan 2022. Photo by Sarah Rugo.
About Christopher Page-Sanders
Christopher Page-Sanders is originally from St. Louis, Missouri, and is happy to return to Metro Theater Company after previously being a teaching artist for MTC's Summer Program ARTSINTERSECTION for many years. He is the co-founder and co-artistic director of NU-World Contemporary Danse Theatre (Denver, Colorado). As a director and choreographer, some of his favorite credits include Billy Elliot (COCA Presents), Black Nativity (Aurora Fox Arts Center), Five Guys Named Moe (Vintage Theatre Productions), The Gringo (Fly North Theatricals), Polkadots! The Cool Kids Musical (The Rep's Imaginary Theatre Company), and The Scottsboro Boys (Vintage Theatre Productions). In the span of his career, he has been grateful to dance around the world, teach and inspire young artists, and create alongside some extraordinary human beings. He is a recipient of the Colorado Henry Award, receiving Best Choreography for his choreography in The Scottsboro Boys (Vintage Theatre Productions).
Photo by Ryan Landell