Peter Darling, a name synonymous with innovative and captivating dance in theatre, might not consider himself a “whiz” with children, humorously stating he views them as “very small adults.” Yet, his trophy cabinet tells a different story. This British choreographer’s unique approach earned him a 2009 Tony Award for Billy Elliot and a 2012 Olivier Award for the original West End production of Matilda The Musical. His ability to draw extraordinary performances from young casts is undeniable, making his work truly a form of Darling Dance that resonates with audiences worldwide.
Currently, Darling’s acclaimed Matilda The Musical, based on Roald Dahl’s beloved novel, graces Broadway’s Shubert Theatre with a fresh ensemble of young talents. Under the direction of Matthew Warchus, the musical follows Matilda, a gifted child who uses her burgeoning telekinetic powers to navigate a world populated by comically dreadful grown-ups. Dance Teacher magazine previously engaged Darling in a conversation, delving into his creative choreography and his effective strategies for guiding young performers.
Dance Teacher: Were you already acquainted with Roald Dahl’s universe before embarking on choreographing Matilda?
Peter Darling: Dahl’s work has always resonated with me. I find a kindred spirit in its blend of abrasiveness and humor, grounded in genuine themes. His stories aren’t sugar-coated fantasies; they grapple with reality. Even within fantastical narratives like James and the Giant Peach or Charlie and the Chocolate Factory, the underlying emotions and struggles are profoundly real.
DT: How did you translate the essence of the book into dance? What was your initial step in this creative process?
PD: Quentin Blake’s illustrations for Dahl’s books were a significant starting point. His drawings possess a distinctive spiky, elongated quality that I found inspiring. I also immersed myself in a primary school for a week, observing children to identify a universal movement trait. What struck me was their constant fidgeting. Even when trying to be still, there’s always a subtle twitch or adjustment. This inherent restlessness became the foundation for the children’s movement vocabulary in the show.
DT: In rehearsal settings, do any of the more assertive children ever offer choreography suggestions?
PD: Rarely. My choreography for children often involves intricate movements. Therefore, I don’t typically rely on them as initial movement creators. However, their capacity to absorb and replicate complex choreography is truly remarkable.
Instead, I prefer to develop the core movement ideas with adult dancers. I employ task-based exercises. For example, I might instruct two dancers to stage a fight. Then, I dissect their improvisation into individual movements, select elements I find compelling, and piece them together, sometimes reversing roles. I start with realistic scenarios and then abstract them into dance. I very seldom instruct, “Let’s all execute a perfect rond de jambe.” My focus is on capturing the raw energy and darling dance spirit of childhood.
DT: Having auditioned countless children, you’ve mentioned you quickly discern who is right for a role. What are you specifically looking for in young performers?
PD: I look for the ability to attack movement with energy and commitment, and the capacity to convey emotion through movement. I want to see that their physicality is connected to their intellect and intention. It’s about finding children who can embody the darling dance of the character, not just mimic steps.
When teaching dance to children, providing a narrative context is invaluable. It helps them understand the why behind the movement. In life, movement is rarely arbitrary; it’s driven by motivation. Similarly, in a musical, dance should always stem from a character’s intention. My role is to observe how children react and move when I give them a clear intention.
DT: What advice can you offer for addressing tendencies towards overacting or “mugging” for attention in young performers?
PD: I often use the simple phrase, “I don’t believe you; I need to believe you.” It’s astonishing how effective this is with children. They possess an innate awareness of when they are being inauthentic. The key is to guide them to genuinely apply the intention behind their actions, rather than merely performing what they think is expected. Children, unlike adults, haven’t yet developed ingrained habits of artificiality. Therefore, you can often strip away superficiality much more readily than with adult actors. DT
Performance photo by Manuel Harlan, courtesy of Boneau/Bryan-Brown, INC.
