SLAUGHTER ON 10TH AVENUE
This sexy, dramatic and saucy movie dance sequence pairs Gene Kelly and Vera Ellen with the incredibly gorgeous music by Richard Rogers with musical themes so familiar that everyone will recognize and adore them. Slaughter on 10th Avenue refers to a jazz ballet, danced by Gene Kelly and Vera Ellen within the 1948 movie Words and Music, a bio pic of Rogers and Hart. The music was written by Richard Rogers for the original ballet choreographed by George Balanchine in 1936 for the musical comedy On Your Toes. Gene Kelly re-choreographed the ballet into the timeless dramatic love story you see here. (Click on the image below to watch Kelly's amazing version.)
The full sequence is 7 and a half minutes but the real grandeur is at the 4:08 mark as Gene Kelly and Vera Ellen appear at the top of a bistro's staircase. Their strut down the stairs, Kelly's knee jerks and Vera Ellen's hip twists have such style that they reinvented the jazz dance lexicon.
The full sequence is 7 and a half minutes but the real grandeur is at the 4:08 mark as Gene Kelly and Vera Ellen appear at the top of a bistro's staircase. Their strut down the stairs, Kelly's knee jerks and Vera Ellen's hip twists have such style that they reinvented the jazz dance lexicon.
Fast forward to 4:08 to watch the dramatic staircase entrance.
Vera Ellen's choreography is unusual and extremely difficult. Her dance training comes primarily from ballet with her beautiful posture and long straight legs. But the style of dance steps created for her here is totally different as her knees are bent throughout, her feet wide apart and with her feet and knees turned out. The result is awkward and sinuously sexy and unlike anything else she ever performed. Reportedly this was her favorite part.
The style of the piece has Gene Kelly written all over it. His incredibly strong legs of steel can accomplish feats of unusual ability. You see it clearly in the section of the dance where both characters jump up onto the bar. In essence, Kelly choreographs Vera Ellen's role in this dance in his own masculine style of movement. He had especially strong knees and wasn't afraid to walk on them. The front of the knee is bony. Major nerves run right under the skin. That makes being on your knees really painful. Kelly does it all the time in his dances. I must say that to make Vera Ellen do the same in bare legs is a bit sadistic.
Created by Richard Rogers while he partnered with Lorenz Hart, the music is so compelling and beautiful with tremendous crescendos that literally drill the audience to their seats in a magnificent climax. The Slaughter on 10th Avenue score is one of the most brilliant American scores in its beauty and significance. It is truly the star of this creative and dramatic theatrical vehicle.
The style of the piece has Gene Kelly written all over it. His incredibly strong legs of steel can accomplish feats of unusual ability. You see it clearly in the section of the dance where both characters jump up onto the bar. In essence, Kelly choreographs Vera Ellen's role in this dance in his own masculine style of movement. He had especially strong knees and wasn't afraid to walk on them. The front of the knee is bony. Major nerves run right under the skin. That makes being on your knees really painful. Kelly does it all the time in his dances. I must say that to make Vera Ellen do the same in bare legs is a bit sadistic.
Created by Richard Rogers while he partnered with Lorenz Hart, the music is so compelling and beautiful with tremendous crescendos that literally drill the audience to their seats in a magnificent climax. The Slaughter on 10th Avenue score is one of the most brilliant American scores in its beauty and significance. It is truly the star of this creative and dramatic theatrical vehicle.