Renowned choreographer Jamal Sims found himself facing a unique challenge when he worked on two projects simultaneously, both of which have earned him Emmy nominations. In addition to planning ABC’s “Beauty and the Beast: A 30th Celebration,” he was also involved in Disney+’s “Encanto” at the Hollywood Bowl. Sims reflects on the intense schedule, saying, “I would leave rehearsal from Beauty and the Beast and go down the street not even a mile and go into the rehearsal for Encanto right after. Usually, you can decompress after. I didn’t have that.”
Although challenging, Sims found that the music in each project helped him get into the right mindset. He acknowledges the stark differences between the two shows, remarking, “They are such different sounding shows… The minute those songs come on, you are in Encanto.”
With “Beauty and the Beast,” Sims aimed to reinvent a classic musical that audiences are already familiar with in various iterations. When discussing his Emmy-nominated work on the number “Be Our Guest,” featuring Martin Short as the French candelabra Lumière, Sims explains the creative process. Working from a concept developed in part by executive producer Jon M. Chu, the scene starts with gloved hands reaching up from below a giant table, portraying the dancing cutlery as Belle, played by musician H.E.R., watches on.
Sims recalls the challenges of filming the scene, saying, “Funny enough, they were sitting on these little saucers that have wheels on them, so some of [the performers] would have to slide to the other side to do another part… I wish we could have filmed what was happening underneath, because that was the show, what was happening underneath the table when all those props were going around.” They also had to ensure they didn’t accidentally hit Martin Short during the intricate choreography.
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While Sims has gained recognition for his work on “Grease: Rise of the Pink Ladies” with an Emmy nomination for outstanding choreography for scripted programming, he expresses mixed emotions about the recognition. Paramount+ canceled the series, a prequel to the beloved 1950s-set musical, and removed it from its platform, causing disappointment for Sims and the entire cast and crew. Sims praises the series for its original songs and musical numbers, saying, “I don’t think there’s ever been a show that has as many original songs and musical numbers in 10 episodes.”
In “Grease: Rise of the Pink Ladies,” Sims pays homage to the iconic moves of Patricia Birch, who choreographed the 1978 movie and directed its 1982 sequel. Sims feels that the show’s cancellation reflects the current state of the industry and the challenges artists face when their art is not given the opportunity to reach a wider audience.
On the other hand, Sims had a different experience with “Encanto,” as he was already familiar with the material from working as the choreographer for the animated version. He relished the opportunity to expand on the original choreography for the live stage performance. The opening number, “The Family Madrigal,” captivated the audience with its vibrant colors and introduced them to the principal characters. Sims emphasizes the importance of creating an exciting atmosphere and notes that the live performance received an incredible response from children in attendance.
In conclusion, Jamal Sims has had a dynamic and varied career, working on projects such as the “Step Up” movies and choreographing for “RuPaul’s Drag Race.” His recent Emmy nominations for his work on “Beauty and the Beast: A 30th Celebration,” “Grease: Rise of the Pink Ladies,” and “Encanto” highlight his versatility and talent as a choreographer. Despite the challenges and bittersweet moments, Sims remains dedicated to his craft and passionate about creating memorable and impactful performances.
