Lorin Latarro's Choreography: Modernizing Chess & Empowering Dancers

Julia Wagner · 2026-03-18

Let's talk about what happens when a brilliant choreographer takes on a classic musical and makes it feel brand new. Lorin Latarro recently worked on a production of 'Chess,' and let me tell you, she didn't just recreate steps from the 80s. She reimagined them for today's audience. It's like when you find an old piece of furniture and restore it with modern touches. The soul remains, but the function transforms. That's exactly what she did with this iconic show. ### The Challenge of Modernizing a Classic When you're dealing with a musical like 'Chess,' you're walking a tightrope. Fans have expectations, but new audiences need something fresh. Latarro approached this by asking one simple question: 'What would this movement feel like if it were created today?' She didn't throw out everything that came before. Instead, she built upon it, using contemporary dance vocabulary while honoring the original's spirit. Think of it as updating your favorite recipe—keeping the essential flavors but adjusting the spices for modern palates.  ### Empowering the Female Ensemble One of the most talked-about moments came during 'One Night in Bangkok.' Traditionally, this number has certain... let's call them dated elements. Latarro flipped the script entirely. She focused on strength, agency, and collaboration. The female dancers weren't just background decoration—they became powerful, central figures driving the narrative forward. Here's what changed: - Movement vocabulary shifted from purely decorative to expressive and athletic - Costuming allowed for full range of motion and personal expression - Choreographic choices emphasized ensemble unity rather than individual objectification - Dancers contributed ideas and helped shape their characters' physicality It wasn't about being 'sexy' in a traditional sense. It was about being powerful, present, and in control of their own bodies and stories.  ### The Six-Hour Dance Move Now here's something that might surprise you. There was one particular sequence that took six hours just to prepare. Not to learn, not to rehearse—just to prepare. We're talking about a complex lift sequence that required precise timing, absolute trust, and meticulous safety planning. The dancers spent those hours: - Mapping every inch of the stage - Measuring distances between marks - Practicing the catch and release at quarter-speed - Building the muscle memory needed for flawless execution As Latarro put it, 'The most breathtaking moments on stage are often the ones that required the most invisible work off stage.' That's the reality of professional dance—what looks effortless to the audience represents hours of calculated preparation. ### What Dance Professionals Can Learn Whether you run a studio, teach classes, or create your own choreography, there are valuable takeaways here. First, modernization doesn't mean abandoning tradition. It means finding the timeless elements and presenting them through a contemporary lens. Second, empowerment starts in the rehearsal room. When dancers feel heard and respected, that confidence translates to the stage. Their technique improves, their performance deepens, and the entire production benefits. Finally, patience with process pays off. That six-hour preparation for one move? That's the difference between amateur and professional results. It's the commitment to doing things right, not just fast. ### The Bigger Picture What Latarro's work really shows us is that choreography isn't just about steps. It's about storytelling, character development, and creating moments that resonate emotionally. When dancers feel empowered, they perform better. When movements are thoughtfully crafted, audiences connect more deeply. For studio owners and teachers, this means considering not just what you teach, but how you teach it. Are you building confidence along with technique? Are you preparing dancers for the real demands of professional work? These questions matter because dance education shapes the next generation of performers. And if we want to see more innovative, empowering work on stage, we need to foster those values in the studio first.