All the world’s a stage – choreographing immersive productions with Jennifer Weber

Sometimes, choreography can transcend its production.

Jennifer Weber was armed with a mammoth task. Not only would she be choreographing a revival of one of the world’s most-loved musicals – famed for its iconic dance moves and sequences – but that revival would be an immersive experience, helmed by the gold standard proprietors themselves, Secret Cinema.

But Weber was more than prepared. Her signature hip hop style has become synonymous with larger-than-life teens who move with swagger and strength. The newly single Juliet’s finger pointing in & Juliet, and the viral Six Chicks hand-on-hips, all have theatre fans flocking to try them themselves.

“I try to make choreography that makes people feel good when they do it,” Weber begins, “I believe the way you dance impacts the way you feel, so I tend to work on shows that are very big and joyous and fun, and if the cast feels like that when they’re doing it, then the audience is going to feel like that and want to join in.”

On the WhatsOnStage TikTok account alone, a video of the cast of 13 Going On 30 in rehearsals performing Weber’s choreography has over 13 million views. It was an overnight sensation, launching a new dance trend. “It was the greatest honour,” Weber laughs, rightfully proud of the achievement, “I think there’s something about the way that I make work that makes people feel welcome. And that’s something I really appreciate.”

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FIRST LOOK AT 13 GOING ON 30 THE MUSICAL! See inside rehearsals of the world premiere musical before it arrives in Manchester! #13GoingOn30 #Musicals #NewMusicals

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It all stems back to hip hop, which she describes as “pedestrian,” explaining, “It comes from the people, so it doesn’t feel unattainable…” Except for the parts in the movement where dancers spin on their heads and contort their bodies, we laugh.

“I try to mix the impossible with the possible, the old school with the new school and find ways that like everyone can connect to the movement and connect to the story and connect to the characters and feel like they’re part of it. That’s what dance does so well. It’s like a common heartbeat. It brings everyone together.”

Crucially, the heartbeat can exist “in the theatre, in an arena, or online. It’s about creating community, and that’s the beauty of it.”

Community is central to the immersive production of Grease, arriving in London for a second summer season. In Battersea, Rydell High extends across an epic playing space as audiences can go on fairground rides, attend school dances and choir practice, eat hot dogs at the Frosty Diner (paired with one of 6000 milkshakes served last summer) and catch a movie at the drive-in, while the characters interact and the show plays out around you.

“When I was first doing Grease, I didn’t quite understand the scale of it,” the choreographer laughs, “Then all of a sudden we showed up at the venue and everyone’s jaw just dropped.”

She had to consider how long it would take to walk from one location to another while dancing and how the audience would play a part in the moves: “Grease is a show that audiences love so much and know so well. In what other world could you count on 2,500 people to join in with you on choreography?”

“There’s a magic of scale where everyone getting in on it just makes it so much bigger and so much more exciting and so much more alive. You really feel like you are at Rydell because you are at Rydell.”

This production has allowed the use of Patricia Birch’s original choreography. “The way I think of it is like a sample,” Weber says, “We’re sampling the most famous moments of Grease, you know, the hand jive (of which 1.6 million were performed last year throughout the run) or the iconic Grease lightning chorus arm movement, that is stuff everybody knows and that the audience can do with us.” But it is blended with all sorts of tricks, like flips from cars: “It’s paying tribute to the original while keeping it completely contemporary and fresh.”

It has been widely embraced by the fans, who often learn the choreography in preparation for attending and are often dressed for the part.

“I was so impressed,” Weber smiles, “You think you’re going to see just Danny and Sandy, but no, it was Teen Angel, it was the beauty school dropout angels, it was Eugene and Patty. We saw everything from grandparent age, Danny and Sandy couples, to little kids dressed up. I have a real soft spot for queer Danny and Sandy couples. We really saw every type of person finding their journey and dressing up and becoming part of it.”

Weber herself has caught the bug from this experience, and when pressed about another title she’d love to work on, she goes coy. “I feel like I shouldn’t say,” she smiles, “I think I have to keep it a secret.” There is something she is currently working on, and she is thrilled by the progress.

Away from that, Weber asks excitedly whether I’ve seen the news of a 13 Going on 30 remake (of course, and we agree the Six Chicks choreo should be included), and recommends watching Is God Is in the cinema (Weber saw Aleshea Harris’ 2018 play and was equally as impressed with the film).

“I just think creativity inspires lots of things, whether it’s on screen or live, like there are so many exciting projects and people, and I think it’s just such a great time for things to be bubbling.”

And bubbling they are, in Jennifer Weber’s world. 13 Going On 30 will have its North American premiere later this year, and she comments: “We have our sights set on more productions as soon as we can make them happen.” But before that, Grease will return for more summer nights.