Cassie Abate is the Head of Musical Theatre Dance at Texas State University, USA, where she mentors choreographers and continues to direct/choreograph at theatres all across the country.

• INTRODUCTIONa. Tradition: An Art Form Passed Downb. Within These Pages: How to Utilize the TextPART 1: THE ART1. CHAPTER 1: Where to Start1.1. The Musical Theatre Choreographer1.2. The Evolution of Dance on Broadway1.2.1. The African, Caribbean, and East Indian Influence1.2.2. The European Influence1.2.3. The Director/Choreographer and the Concept Musical1.2.4. Contemporary Musical Theatre Choreographers1.3. Choreographing in a New Era of Musical Theatre2. CHAPTER 2: Research2.1. The World of the Piece2.1.1. Historical Context2.1.2. Culture2.1.3. Visual Landscape2.1.4. Words, Words, Words2.2. The Life of the Piece2.2.1. Listening2.2.2. Style2.2.3. Movement Vocabulary2.3. The People of the Piece2.3.1. The Role of the Ensemble2.4. The History of the Piece2.4.1. Source Material2.4.2. The Creators2.4.3. Previous Productions2.5. Revivals: Making Something Old New Again2.5.1. Copyright and Licensing2.6. ACTIVITY: Visual Lookbook2.7. ACTIVITY: Movement Reel3. CHAPTER 3: Storytelling Through Movement3.1. The Musical Structure3.2. Roles of Choreography in the Musical3.3. Script Analysis: Creating a Movement Arc3.4. Movement Events3.5. ACTIVITY: Movement Roadmap4. CHAPTER 4: Interpreting the Score4.1. The Basics4.1.1. Meter and Rhythm4.1.2. Time Signatures4.1.3. Staves and Clefs4.1.4. Key Signatures4.1.5. Expressions, Articulations, and Dynamic Markings4.1.6. Other Important Markings4.1.7. Musical Passages and Transitions4.2. Music Through a Dance Lens4.2.1. What you Hear Versus What You See4.2.2. Musical Changes, Counting, and Cutting4.2.3. Physical Interpretation4.3. ACTIVITY: Discovering the Cut4.4. ACTIVITY: Drawing the Musical Phrases4.5. ACTIVITY: Scoring the Score5. CHAPTER 5: Musical Staging5.1. Earning the Song5.2. Music as Action5.3. Stage Moods5.4. Partners5.5. Movement While Singing5.5.1. Motion5.5.2. Crosses: When and How5.5.3. Gestures5.5.4. Stillness5.5.5. Stylization5.5.6. Physical Comedy5.6. The Mini-Build5.7. Sample Staging Outline: Solo5.8. Sample Staging Outline: Duet5.9. ACTIVITY: Notating in the Script6. CHAPTER 6: Production Numbers6.1. Beat Breakdown6.2. How to Create a Build6.2.1. Types of Builds6.2.2. Groupings6.2.3. Eliciting Applause6.2.4. Buttons6.3. Nuts and Bolts6.3.1. Focus6.3.2. Level and Direction6.3.3. Repetition and Visual Variation6.3.4. Individual Versus Unison6.3.5. Balance: Symmetrical Versus Asymmetrical6.4. Formations6.4.1. Lines6.4.2. Curves6.4.3. Other Formations6.4.4. Multiple Formations6.5. Movement Patterns6.6. Diagrams6.7. ACTIVITY: Analyzing the Build6.8. ACTIVITY: Building the Build7. CHAPTER 7: Creating Steps7.1. Process7.1.1. The Five Parts of Dance7.1.2. Intention7.1.3. Style7.1.4. Economy7.2. Creation7.2.1. Research7.2.2. Abstraction7.2.3. Physical Metaphor7.2.4. Dance Journaling7.2.5. Movement Prompts7.2.6. Efforts7.2.7. Objectives and Drives7.3. Fundamentals7.3.1. Initiation and Framing7.3.2. Shapes and Transitions7.3.3. Choreographing the Eyes7.3.4. Rhythm, Speed, and Syncopation7.3.5. Contrast, Isolation, and Accent7.3.6. Pauses, Freezes, and Sounds7.3.7. Dancers as Objects7.3.8. Crowd Movements7.4. Utilizing the Design7.5. Notation7.6. ACTIVITY: Steps Notation8. CHAPTER 8: Adapting to Various Spaces8.1. Types of Spaces8.2. Site Specific Theatre8.3. Benefits and Challenges8.4. Tricks of the Trade8.5. Formations8.6. Movement Patterns8.7. Creating Focus8.8. Musical Staging8.9. Storytelling8.10. ACTIVITY: From Proscenium to the RoundPART 2: THE PRACTICE9. CHAPTER 9: Assembling Your Team9.1. Members of the Choreographic Team9.1.1. Dance Captain9.1.2. Assistant Choreographer9.1.3. Associate Choreographer9.2. Pre-Production9.3. Auditions9.3.1. Audition Breakdown9.3.2. Dance Calls9.3.3. Audition Combination9.3.4. In the Room9.3.5. Making the Cut9.4. ACTIVITY: The Dance Audition Combination10. CHAPTER 10: Collaboration10.1. Design and Production Meetings10.1.1. Creative Discussions10.1.2. Design Meetings10.1.3. Break Out Meetings10.1.4. Production Meetings10.2. Collaborating with the Director and Music Director10.2.1. The Director10.2.2. The Music Director10.2.3. The Dance Arranger10.3. Collaborating with the Design Team10.3.1. The Set Designer10.3.2. The Costume Designer10.3.3. The Lighting Designer10.3.4. The Sound Designer10.4. The Stage Manager10.5. The Director/Choreographer10.6. ACTIVITY: Question Lists11. CHAPTER 11: Rehearsals11.1. Types of Rehearsals11.1.1. Staging Rehearsals11.1.2. Cleaning Rehearsals11.1.3. Run-Throughs11.1.4. Spacing Onstage11.1.5. Sitzprobe and Wandelprobe11.1.6. Technical Rehearsals11.1.7. Previews11.2. Running Rehearsals: How to Lead11.2.1. Working with Performers11.2.2. Giving Notes11.3. ACTIVITY: Rehearsal Timeline12. CHAPTER 12: All the Other Things12.1. Transitions12.2. Contact and Intimacy12.3. Improvisation12.4. Child Performers12.5. Special Skills12.6. Curtain Call12.7. Photo Call12.8. Rehearsing Understudies and Swings12.9. Accessibility12.10. Activity: Tracking Transitions13. CHAPTER 13: Nice Work If You Can Get It13.1. Finding Work13.2. Creating Your Own Work13.3. Displaying Your Work13.4. ACTIVITY: Choreography ReelAPPENDIX: Suggested Reading