Dance Lessons From Broadway Pros

It no surprise that a young dancer can shine in this particular show. A collection of classic Gershwin tunes set to a brand new story about gangsters, dames, and cads in the 1920s, Nice Work is directed and choreographed by Kathleen Marshall. She’s made her reputation on period pieces like this one—Anything Goes, Wonderful Town —and her showstopping dance numbers especially demonstrate that “old-fashioned” stories can feel exciting in the 21st century.

Hartwell has the explosive energy and bright-eyed showmanship that Marshall’s choreography needs: As an uptight Prohibition officer in an early number, he slices the air with severe arm swirls and sharp pop jumps. Later, in the rollicking celebration of “Lady Be Good,” he delivers showgirl-shaming kicks, spot-on turns, and lunges in which his long legs seem to stretch to both sides of the stage.

Yet despite his achievements—and years of training in acting and dance—Hartwell says he relies on his collaborators for valuable lessons.

In Memphis Hartwell also understudied four roles, and he had to develop a strategy for mastering all that material. “I printed out the score and script four times and put them in four different binders, using different color highlighters with Post-it notes in different colors for stage directions,” he says. “Onstage, I could see which color was highlighted right in my head.”

Now, Hartwell is studying the habits of the stalwarts who surround him in Nice Work. “This is a seasoned, mature cast, like a band of brothers: I try to soak up as much information as I can from being around them,” he says. “They’ve done so many shows and know how to handle themselves for the long run. They never complain about being tired, even though they have newborn babies and are doing eight shows a week. I’ve always felt like I have to crank out 200 percent in a wild performance. They’ve shown me I can give my best, and that’s more than sufficient—versus killing myself.”

Meanwhile, working with Marshall has been an education in preparation and specificity. “The team didn’t have a lot of time in terms of rehearsal, but Kathleen is a master,” Hartwell says. “She spent tons of time in preproduction and brought clips and research to show us her vision and style. Then, in rehearsal, she knew exactly what she wanted and wasted no time.”

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Lauren Kay is a writer and dancer based in New York City
Photo of Hartwell (mid-air) by Joan Marcus