Bubba Carr brings big emotional impact through movement

Bubba Carr is one of those names in the Atlanta dance community and beyond that you are aware of, proud of, and evokes an excitement to see his work. Carr has worked on big shows (think Emmy’s, Grammy’s, So You Think You Can Dance) and with big names (Cher!) and has now brought his movement expertise to our beloved country oasis, Serenbe Playhouse. He choreographed their current production of Hair: An American Tribal Love-Rock Musical and shared his thoughts on coming to the woods, his influences for the movement, and what moments brought him to tears.

Q. You have worked on some very big projects and with some very big people, like Cher, not a to drop a name or anything. What drew you to choreograph Serenbe Playhouse’s production of Hair?

A. Ouch you just dropped a big name on my foot. Lol. I have worked on some very large scale productions and with some legendary entertainers but at the core I am an artist and enjoy creating on any scale. When I met Brian [Clowdus] last year through mutual dancer friends to chat about doing “Mid Summer Night’s Dream”, I thought the idea of mounting a show in the middle of the woods was really cool. I said yes immediately and had a great time. So when he asked me to choreograph “Hair” this year, my favorite musical film, I jumped at the chance.

Q. There is a wildness to this play and the characters are fighting for so many freedoms (sexual, political, civil) in the 1960’s. What was it like to work on a production that was ripe with the kinds of things that fuel dance?

A. Well I was born in the 60’s and my dad served in Vietnam so that aspect of the show was something that touched me deeply. When I first met with Brian and he explained his vision for the show, my mind started whirling with possibility. In particular the “3500” number became quite emotional for me. Envisioning war and the extreme physical quality that I wanted and needed the cast to reach, invigorated my cells and made my eyes leak several times. Hearing their voices ripping through the air while I built the number made me full of sorrow and gratitude. There have been several rehearsals that have had quite raw moments.

Q. The controversy surrounding this play (the handling of the flag, sexual content, and nudity) when it originally debuted could have the same effects even on a contemporary audience. How did you handle and translate those moments that tip-toe the line of making an audience turn on you or feel uncomfortable?

A. Well…I’ve never shy’d away from controversy in my whole career. I also know that I am in the south and there is a thin line. Brian explained to me he wanted to push boundaries. I feel that if audiences are coming to see a production of “Hair”, most of them know what to expect anyway so their palate is ready to receive what is being served. I did the original production of “Naked Boys Singing” in LA so I had some experience with people onstage nude but didn’t know how it would be in this outdoor scenario. I will tell you that seeing the cast shed their outer layer and clasp hands in solidarity inspires awe in me. The nudity becomes secondary to the reason behind the action. I’ll also say that the image of Claude wrapped in the American flag singing “The Flesh Failures” is one of the most powerful images I’ve ever seen and fills my chest with tension and brings me to tears every time.

Q. Have you ever had to worry about the outdoor elements while choreographing a production? And how did that factor into putting moves to the music?

A. I have not had to be concerned with the elements of nature before and during this production I think mother nature must have wanted to play the part of Ronny because she sure did make it challenging once we got into tech week. But we all pushed through to make it to opening night and that first weekend we must have pleased her and she forgave us with a beautiful four days.

Q. What was the one image or idea that you held in your mind that influenced your work on this production?

A. Not sure if there’s one but I wanted to create movement that fit the energy of the show. I wanted it to be free, interactive, extreme at times but natural…I didn’t want it to look like dance but just movement. I told the cast in our first meeting that I was going to give them a lot of movement and I wanted them to do it like “they” would do it and not to try to do it like a dancer. They have succeeded in the most pleasant of ways.