Anthony Hopkins Joined TikTok to Do the #toosieslide

Actor Anthony Hopkins might be forever etched into the public consciousness for his famous turn as the cannibalistic serial killer Hannibal Lecter in The Silence of the Lambs.

But his latest role is much, much lighter: recreational TikTok dancer.

Yes, it seems that even the 82-year-old Hopkins isn’t immune to the allure of TikTok.

In his first video—his attempt at the Toosie Slide, set to Drake’s song of the same name—Hopkins is loose and funny and smooth. Before he signs off, he challenges Sylvester Stallone and Arnold Schwarzenegger to post themselves doing the dance.

Though neither men have responded to his challenge yet, Schwarzenegger has taken to TikTok to tout the importance of flexibility…well, sort of.

Check out his attempt at the straddle splits below. He’s surprisingly—or should be say deceptively—limber for 72. (Wait for it.)

While we’re not entirely sure what internet magic has motivated these men to let loose, we definitely don’t hate it.

Who’s next on our TikTok dream dance list? We’re rooting for Christopher “More Cowbell” Walken, an excellent dancer in his own right, to get in on the action.

The post Anthony Hopkins Joined TikTok to Do the #toosieslide appeared first on Dance Magazine.

For Mother’s Day, I Introduced My Mom to the Mother-Daughter Team Behind Jazzercise

Long before I was born, my mom was a dancer. Growing up in the ’50s and ’60s, she studied jazz and tap before heading off to college. She soon launched her career in computer programming, and thought her dancing days were behind her—until the ’80s came along.

The community center where she lived, near Louisville, Kentucky, started offering classes in a dance-based fitness craze: Jazzercise. Suddenly, my mom was slipping back into a leotard and pair of tights she’d held onto—remember, this was decades before athleisure—and meeting her girlfriends after work for a jazz dance exercise class. The career woman had reconnected to her dance roots and would continue taking classes for another decade.

But not everyone in those classes had dance experience. In fact, that was the point.

Recently, my mom and I had the Zoom meeting of a lifetime: Jazzercise CEO and founder Judi Sheppard Missett and her daughter, Jazzercise president Shanna Missett Nelson, hopped onto a video call to chat about the company’s humble beginnings and how Jazzercise is still kicking today—51 years later, with 8,500 franchises in 25 countries.

Before Jazzercise was born in 1969, “I was teaching strict jazz dance classes,” says Missett, now 76. She’d spent many years dancing with Gus Giordano in Chicago. “He was a huge mentor.” Despite her professional experience, she wondered why people weren’t sticking with her classes—so she asked them. “They would say, ‘Well, it’s a little too hard,’ and ‘We don’t want to be professional dancers. We just want to look like one.’ ”

Missett transformed her classes. “I decided to turn them away from the mirror and I’d be their mirror,” she says. She simplified the choreography, set it to popular music, and kept a jazz warm-up. Throughout class, she was nothing but encouraging.

When she moved to Southern California, the community embraced her classes. “It was like the body beautiful out here,” she says, and before long, she was teaching 25 to 30 classes per week. Out of necessity, she started training others to help with the teaching load.

udi Sheppard Missett and Shanna Missett Nelson stand onstage and wave.

Judi Sheppard Missett and Shanna Missett Nelson at Jazzercise’s 50th-anniversary celebration last year.
Courtesy Raindrop Marketing

If you’ve seen the viral YouTube compilations of Missett teaching, you know that she’s an extremely animated instructor. (There’s no shortage of phrases like “Come on and shake that cute, little booty of yours” and “Find that boogie body.”) So I asked her if that was integral to training new Jazzercise teachers. “We still want our instructors to be animated and energetic and to motivate,” she says. And, yes, she’s aware that she’s a bit of an internet celebrity. “Those VHS things have gone viral about a thousand times. That’s an example of where we started. We’re still motivational, but in a different way.”

Oddly enough, the U.S. military helped spur the expansion of Jazzercise since many women from San Diego’s military families were Missett’s students-turned-instructors. “Then they were transferred to other parts of the country or other parts of the world, and that’s how it spread nationally and internationally.”

When Jazzercise started, the fitness landscape was barely existent, aside from weight-lifting gyms and a few quickly passing fad workouts. There wasn’t much in the way of big–box gyms and boutique studios, and it was decades before other dance-based workouts like Zumba would hit the scene. Jazzercise filled a void for women. “We sort of pioneered that whole aspect of giving women permission to move, and to feel good about themselves in a physical way,” says Missett.

But Jazzercise has moved far past its days of teased hair and brightly colored leos. Missett says, “We wouldn’t be around for 50 years if we hadn’t changed.” Along the way, it’s diversified its offerings to include classes like strength training, HIIT, kick-boxing, fusion and Dance Mixx, a dance cardio class based off the original Jazzercise workout. As president, Missett’s daughter Shanna Missett Nelson is the 21st-century face of Jazzercise, overseeing programming and its digital arm Jazzercise on Demand, where she’s also an instructor.

About five times a year, the mother-daughter duo gets together to choreograph a new collection of songs that are then distributed to its franchises. They remain the sole choreographers. To carry on the family tradition, Jazzercise will be streaming a free Mother’s Day–themed class on May 10, led by Nelson and her dancer daughters, Skyla and Sienna.

Shanna Missett Nelson and Judi Sheppard Missett stand with knees bent, while Nelson's two teen daughters jump in the air behind them.

Shanna Missett Nelson, president of Jazzercise, Inc. with her mother and Jazzercise founder, Judi Sheppard Missett. Nelson’s daughters, Skyla and Sienna, are competitive dancers.
Courtesy Raindrop Marketing

At its core, Missett says that Jazzercise is still about helping people experience an art form. “We always try to stick close to our dance roots,” she says, recalling how when she started, she got flack from some fellow professional dancers. “You’re bastardizing the art form,” they’d say.

But she saw things differently. “I would tell them: ‘No, I’m teaching people to appreciate the discipline that it takes for a dancer to do what they do. And then when people go to a concert, they’ll be able to really appreciate what they’re seeing because they are experiencing some of that themselves in class,’ ” says Missett. “People know what a chassé and a relevé and all of those things are. And I’m proud of that, because my joy is dancing. I’m proud that I’ve been able to communicate that to a lot of other women.”

Throughout our double-mother-daughter Zoom call, my mom beamed while hearing Missett’s stories, which made me beam. And after all these years, she got the opportunity to thank Missett for creating a space for women to move—and for bringing the joy of dance back into her life.

The post For Mother’s Day, I Introduced My Mom to the Mother-Daughter Team Behind Jazzercise appeared first on Dance Magazine.

How “Penny Dreadful: City of Angels” Got 104 Dancers Swinging For an Epic Dance Scene

At first glance, “Penny Dreadful: City of Angels” does not seem like a show that would employ a choreographer. The SHOWTIME series—a spinoff of supernatural Victorian London thriller “Penny Dreadful”—follows a Latino family through a pre–World War II Los Angeles rife with racial and political tension.

But in episode three, “Wicked Old World,” airing this Sunday, viewers are introduced to dance hall The Crimson Cat in what can best be described as an explosion of movement. Three of the show’s main characters, portrayed by Natalie Dormer, Johnathan Nieves and Sebastian Chacon, ably take to the dance floor in swing-infused choreography that feels both expertly delivered and improvisatory. The way they move tells the viewer a lot about the characters, and the wild, joyous energy of the 104 dancers populating the space is the best introduction the key location—which will reappear throughout the season—could ask for.

The man behind the moves is Irish choreographer Tommy Tonge, who got involved with the original “Penny Dreadful” when it was filming in Dublin. We spoke to Tonge about the process of getting everyone up to tempo.

On the role dance plays in the show

“It’s set in 1938, but it’s almost a commentary on today,” Tonge says. “While the previous show dealt with actual monsters, this show deals with the monster within—there’s a lot of the darkness in human nature, and what people are capable of, given the wrong kind of power. So the role that dance plays in this show is lightness, joy, celebration, in testing, bleak times. It is a celebration of life.”


“It speaks to the period, too,” he adds. “It was a social event on the calendar. Either you went to the movies or the dance hall. On the dance floor is where people connected.”

A crowd of dancers dressed in suits and dresses suitable for 1930s and '40s America improvise on the dance floor, a brass band just visible along the back wall.
104 dancers performed in this scene at The Crimson Cat.

Justin Lubin, Courtesy SHOWTIME

Getting the period right

Tonge started by researching the history of Los Angeles in the 1930s before diving more specifically into the development of swing dance. He also took a crash course in various Latin dance styles. “It’s predominately a Latino community that comes to The Crimson Cat. I wanted to invest in really learning the disciplines and the different rhythms.”

One character’s storyline led to a particularly influential piece of history. “One of the sons, Mateo, feels disenfranchised and is lured in by the glamour of the Pachuco culture—the beautiful clothes, the big zoot suits,” Tonge says. “I wanted their movement to feel earthy, grounded, rooted; there was always a masculinity that ran through it. If you look at how a lot of Latin dances have evolved to today, you really accent the hips and are up on your toes, and it’s very articulated. But it derives from early Latin dances that are into the floor, heels lowered, the arms are athletic, loose—nothing too sharp.”

But the movement style that appears in the show has a decidedly contemporary flavor. “We decided to take a little artistic license and stretch things creatively,” he says. “I wanted it to feel like you couldn’t identify where swing, Lindy, Pachuco, mambo, other Latin dance styles began or ended. It has heavy influences, but it’s a little more current in the sound, and so the movement had to reflect that.”

“Out in the world, these characters might have been poor, segregated, disrespected, disenfranchised, but in here, this is a safe space, ” he adds. “You can forget about all that, you can just dance and connect with people from your culture. I approached the movement as similar to that—it didn’t feel so restricted, different ethnicities and styles went into a big melting pot.”

Creating to bespoke music

Usually when working in film or television, a choreographer will be handed a piece of music to work with—or even just given a length of time and the type of genre or feeling the production is looking for, with the music not composed or added until post-production.

But with “City of Angels,” Tonge says, “I was in the recording studio when it was being recorded.” The music was specifically arranged for the dance. “To be in there, on the ground level building it from the bottom up was really amazing.”

Tommy Tonge, dressed in a flannel shirt and Converse sneakers, walks around Natalie Dormer and Johnathan Nieves, both dressed in period-appropriate suits, as they clasp hands mid-swing. A camera is visible to the left, and extras in similar attire look on.
Tommy Tonge looks on as Natalie Dormer and Johnathan Nieves rehearse between takes.

Justin Lubin, Courtesy SHOWTIME

Working with actors—plus 104 dancers

Tonge worked with Sebastian Chacon, the actor who plays Fly Rico, three times a week for six weeks before they began filming his dance sequences. “I took the approach of, It’s not enough for him to pretend to be the best dancer in The Crimson Cat,” Tonge says. “He had to be the best dancer in The Crimson Cat.” Johnathan Nieves, who plays Mateo, had a similar training schedule. “The actors were all so engaged. They took it seriously and invested so much into it.”

Meanwhile, Tonge was also choreographing for the 104 dance extras he’d personally auditioned for the show. He had one week with a “skeleton crew” of 10 dancers to workshop his ideas, during which he also started getting the actors used to having more bodies moving around them. After that, he had one week with the full cast of dancers—though they were divided into groups and came in on different days to keep things manageable—before everyone came together for a full day of camera rehearsal.

“All the departments came together, and the crew came in and mapped it out so everyone could see what we were getting ourselves in for,” he laughs. They shot the sequence over three days. Because of the amount of prep work they’d done (“The movement went through a very specific approval process with the producers,” Tonge says), very little, if anything, had to be tweaked by the time they got to shooting. “It was big and ambitious, and there was a lot at stake, but there was a calm about it because of the preparation.”

“That was the most challenging, logistically, but it’s also the most rewarding,” he says, “because you get to look at it and say, Okay, it works! I hope…”

The post How “Penny Dreadful: City of Angels” Got 104 Dancers Swinging For an Epic Dance Scene appeared first on Dance Magazine.