Camille A
Camille A
Camille A
Catherine Knierim
Laura Ellis
28 May 2021
To have one’s work be called ‘great’ signifies that you have talent. To have one’s work
be called “unmatchable,” “electric,” and “stellar… gripping, rugged, and visceral,” by Theater
Pizzazz, the New York Times, and Dance Network respectively signifies that you are leaving
behind a powerful legacy.1 Camille A. Brown is known for being many things: a dancer, a
mentor, a company director, a choreographer, a production director, and most of all, someone
who gives their all to whatever they are creating. Her choreographic style combines both social
dance with various styles of technique, and though this is similar to other modern
choreographers, her unique choreography still stands out across all her pieces, especially in how
she uses both movement and musical composition to continue storytelling. Though her legacy
will be extensive, her biggest impacts on the dance world are her impacts on American theatre
and how she has opened doors and exceeded every expectation and limitation.
Having choreographed over fifty works, Camille’s pieces for various theater shows,
whether they are on Broadway, television, or other stages, demonstrate how notable her
influence has been in American theater performances. She has choreographed performances
ranging from comedy pieces such as Angry, Raucous, and Shamelessly Gorgeous, to tragedies
like A Winter’s Tale, to pieces about modern issues in the Unites States like The Box: A Black
Comedy, which is about a father and son and their struggles within the prison system, to the well-
1
“Theatre- Camille A. Brown,” accessed May 20, 2021, http://www.camilleabrown.org/theater.
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known rock opera, “Jesus Christ Superstar Live in Concert.” 2 The diversity of topics of the
productions demonstrates the full extent of her choreographic abilities, how she is able create
unique choreography fitting for whatever the subject matter is and whatever emotion is called
for. Her ability to do this so well stems from using social dance, which she views as a way of
reflecting “the human experience,” and is therefore able to better connect to the audience.3 Her
work has been recognized by many; Camille was even nominated for a Tony for Best
Choreography in 2019 for her work in the musical Choir Boy. Her legacy expands beyond her
choreography in the world of theatre; she has also proved that no glass ceiling can hold her back.
In an interview, Camille said, ‘“it’s just so strange how women, black women, black
people, are placed in certain things… It’s about breaking through that and getting people to see
that we’re dimensional. Women are dimensional,”’4 and both she and her works have shown
exactly that. In an industry that for much of its history was predominantly made up of white
American woman. Camille’s work ethic and choreographic abilities have made her stand apart
from other choreographers. Furthermore, her refusal to be defined by one thing, has showcased
her individuality and capabilities, explaining that, ‘“especially black choreographers, it’s easy for
them to get pigeon-holed. Like they only do ‘black shows,’ but I can do Mary Poppins.”’5 She
has inspired generations of past, current, and future performers and choreographers. Camille has
already accomplished so much, and the world is excited to witness what she does next.
2
“Theatre- Camille A. Brown.”
3
Risa Sarachan, “Choreographer Camille A. Brown: A Queens Girl Who Now Creates Dance Everywhere,”
Forbes, January 8, 2019, https://www.forbes.com/sites/risasarachan/2019/01/18/choreographer-camille-a-brown-a-
queens-girl-who-now-creates-dance-everywhere/?sh=215fdd09fa4c.
4
Ruthie Fierberg, “Camille A. Brown Is an Unstoppable New Voice in Broadway Dance—Here’s Why,” Playbill,
February 3, 2019, https://www.playbill.com/article/camille-a-brown-is-an-unstoppable-new-voice-in-broadway-
danceheres-why.
5
Ibid.
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