How One Choreographer Brought Transylvania to Life on Stage

Julia Wagner · 2026-07-17

When you think of Transylvania, you probably picture foggy castles and howling wolves. But for choreographer Sara Edwards, it meant something entirely different: a chance to create movement that tells a story. Edwards recently worked on a production of *Young Frankenstein* at Sacramento Music Circus, and her approach offers valuable lessons for dance studio owners, choreographers, and dance educators across the country. I had the chance to dig into her process, and honestly, it's the kind of insight that makes you want to grab a notebook and rethink your own creative habits. ### The Challenge of Choreographing a Cult Classic *Young Frankenstein* isn't your typical musical. It's a parody of the classic Frankenstein story, full of quirky characters, slapstick humor, and over-the-top moments. Edwards had to find a way to honor the original film's iconic scenes while making them work for a live stage. "You can't just copy what you see on screen," she explained. "You have to translate it into movement that feels natural for the performers and engaging for the audience." That translation process is something every dance teacher faces when adapting a piece for a recital or competition. You start with a concept, then figure out how to make it physically possible—and emotionally resonant—for your dancers. ### Bringing the Character to Life Through Movement One of the biggest challenges was creating choreography for the character of Igor, played by a comedic actor with a distinctive walk. Edwards worked closely with the performer to develop a physical vocabulary that was both funny and believable. - **Start with the character's personality:** Are they stiff? Sloppy? Regal? Let that guide every step. - **Use props and costumes as extensions of movement:** A cape, a cane, or even a fake hump can inspire new ways to move. - **Don't be afraid to be silly:** Comedy in dance often comes from exaggeration and timing. For dance studio owners, this is a reminder that choreography isn't just about steps—it's about storytelling. When you teach your students to embody a character, you're giving them tools that go far beyond technique. ### Creating a Cohesive Ensemble Edwards also emphasized the importance of making every dancer on stage feel integral to the scene. In a large musical, the ensemble can easily get lost in the background. She used spatial patterns and group formations to ensure that even the smallest roles contributed to the overall energy. > "Every person on that stage is part of the story," she said. "If they're not committed, the audience will feel it." That's a powerful lesson for any dance instructor. Whether you're working with a group of five or fifty, each dancer matters. Encouraging commitment and presence can transform a good performance into an unforgettable one. ### Lessons for Dance Educators and Studio Owners So what can you take away from Edwards's experience? Here are a few practical tips: - **Adapt, don't imitate:** When working with existing material, find your own interpretation. Your dancers' strengths should shape the choreography. - **Embrace humor:** If the piece calls for it, don't shy away from physical comedy. It can be a great way to engage audiences and help dancers loosen up. - **Collaborate with your cast:** Edwards spent time with her performers, learning their quirks and abilities. Do the same with your students—they'll feel valued and you'll get better results. - **Focus on storytelling:** Every movement should serve the narrative. Ask yourself: what is this step saying? ### Final Thoughts Sara Edwards's work on *Young Frankenstein* is a reminder that choreography is about more than just steps. It's about creating a world, building characters, and connecting with an audience. Whether you're running a dance studio in a small town or choreographing a regional theater production, these principles can elevate your work. Next time you're stuck on a routine, think about Edwards. Think about Transylvania. And remember: sometimes the best choreography comes from letting the story lead the way.