We discussed dancing in Mexico in my last article but not all foreign countries are the same. I want to give you two other examples of dancing abroad. First we'll discuss Japan. Needing an expert on Japanese productions, I interviewed Minnie Madden. Throughout Tokyo and rural Japan, Minnie has choreographed twelve different productions. She has also produced and directed nine other shows.

Don: Briefly tell me about the type of show done in Japan.

Minnie: I've hired anywhere from 6 to 16 dancers for a particular show, so the Japanese shows range from a small lounge show to a small production show. Because of the language barrier we use an incredibly large volume of dance. You see, everything must be visual, even the acts I hire will be visual acts; jugglers, magicians for example. Obviously no American comedians, only visual acts.

Don: I've heard the difference between a show in Tokyo and a show in rural Japan is night and day?

Minnie: Night and day, totally night and day. Tokyo is a major city, the money for dancers is better, the facilities are better, the production values are better. The buyers in Tokyo are major buyers. You don't have to sell them on the show, they want the show and they know what they're doing. Outside of Tokyo we jokingly call the boonies. One dancer to another we say the show is out in the boonies or country. The show is on a much smaller scale. Although the people are just as nice, they can't charge their public as much as the city and they can't afford the large production values but more importantly, they can't pay the dancers as much.

Don: Where do you cast?

Minnie: Mainly in Las Vegas, sometimes in LA. An experienced dancer who has gone to Japan before will submit their picture and résumé to me if they want to do another show in Japan.

Don: I understand that the producer from Japan is looking for a certain type of dancer, not always your choice but their choice.

Minnie: Right! This is unfortunate, but their greatest interest is in youth. If I'm producing for Japan I can get myself in trouble if I hire someone who's 33 years old even if they're wonderful at what they do and look great. I'm not kidding, they check the passports.

Don: Really!

Minnie: They just have a thing about age. As an American it's shocking because we're into excellence and the talent of a dancer and would much rather have the experience and the veteran performance that an 18 year old can't possibly have.

Don: Same for men?

Minnie: Men, it doesn't matter. No, their age doesn't matter, their height doesn't matter. They just want the show to have an American look. It isn't prejudice, it's the show they're buying. When they purchase a British show or a Chinese show, they want that look. When they hire a French Revue, they want the dancers to be French looking. Don't misunderstand, I've never had any problem hiring Blacks or Hispanics, they just want a clean-cut American look. I'm glad about this because if they didn't, I don't think I would take the contract because that kind of thinking is unacceptable to me.

Don: OK, back to the type of show. Fast moving, glitz, lights, heavy dancing, what else?

Minnie: Heavy dancing! OK, lets do Tokyo versus the boonies, what we'll call the boonies. In the boonies they want the look to be more important than the show. They want the young, tall, very pretty, boobs and feathers show, even if it's not topless. When they think of a Vegas revue they think boobs and feathers. In Tokyo this is not true. In Tokyo, you can do much more contemporary things, much more street dancing. They don't care about the feathers and all that stuff. They live in a contemporary city, they've seen more and they want good hot dancing.

Don: Audition time! I'm a dancer going to your call, I want to wear the right thing, I want to look the right way and I want to know what you expect of me.

Minnie: Let's take the men, that's simple. You should show up in jazz shoes, jazz pants, not jeans! I've seen guys show up in jeans a lot. Even if you can stretch in them, it just gives off an attitude like you don't care. For girls, I think it's important that they wear character heels but bring flats. There are many styles of dance, some of which are better performed in flats, so whether it's tennis shoes or jazz shoes, bring them.

Don: What about hair and makeup?

Minnie: I don't think women need stage makeup at an audition, just full makeup, or what I call TV makeup. Don't assume the producer knows what you'll look like on stage. So many times the agent and the hotel owner will be at the audition and will have the final say on who's hired. I've been at auditions where producers from Japan picked girls who were less attractive, but were in full makeup wearing nice leotards, fishnets and heels. Other girls wore light makeup and jazz pants that didn't show the body. The latter girls were stronger dancers and prettier, but they weren't made up and didn't get the job. I remember this vividly because they all had this look of shock on their face. You see, dancers make the mistake of assuming everyone has a dancer's perspective. Entertainment buyers and agents don't have a dancer's perspective and the Japanese definitely don't have a dancer's perspective.

Don: It's strange that dance is the last thing thought about at the audition, but let's get to it. What about dance?

Minnie: Strong! Strong jazz - almost all jazz. Every once in a while a tap number will be put in but almost entirely jazz. Let me stress something else. SELL. You must sell the audition. Though I have a lot of say in who's hired, the producers from Japan will always have the final word and they will always choose the smiling and selling dancer over the moody artistic one. They don't buy that. I will teach the combination until you get it. I'm not big on a dancer having to have the combination in 5 minutes. I know you're nervous and I know you'll do better in a rehearsal. To me, picking up the combination fast is not a good judge of dance ability.

Don: Minnie, what about contracts and payment?

Minnie: Everyone gets a contract stating basically dates, money and work expected of you. You'll be paid in U.S. dollars, receive transportation, room and board. In 19 productions, everyone has always been paid. The agents I've worked with in Japan are reputable. My people always get paid and that's the reputation I want.

Minnie Madden has a wealth of knowledge about working in Japan. Her point of view is not just as the producer. Being a dancer she is always conscious of the needs of dancers. She had many other things to say in our interview that I will edit in the near future and relay under the categories of Work, Money and Lifestyle.