ARNOLD WAYNE JONES | Life+Style Editor
When you step into a room with Kurt Froman, you’re so struck just by this gay man’s boyishly handsome face, it crosses your mind the only thing better than chatting with him is if there were two of him. And, to an extent, there are.
Froman, a Fort Worth native, is an accomplished dancer and choreographer. And so is his twin brother. They even pursued the same dream: Leaving Cowtown as teenagers to attend the School of American Ballet in New York.
But for this Froman at least, the similarities end there. Even though they used to dance together, Froman has never felt competition with his twin —“I always think we are so obviously different,” he says — though he admits having a doppelganger who was equally proficient at the same endeavor put him through “a delayed adolescence. We did everything together.”
At least until 2002. That’s when Kurt “left school to do Movin’ Out on Broadway.”
The dance musical, directed and choreographed by Twyla Tharp, was a huge hit and helped Froman establish his break out. Since then, he’s done more Broadway (Pal Joey), TV (Saturday Night Live — he played a Versace boy) and, most notably, the film Black Swan, in which he played the male dancer’s understudy and served, behind the scenes, as associate choreographer. His principal responsibility: Teaching Oscar winner Natalie Portman and Mila Kunis how to move like ballerinas.
“I am a huge fan of Darren Aronofsky,” he says of Black Swan’s director. “To get to work alongside him and [Portman and Kunis] was an amazing undertaking.” (He even had input into the script, developing a dancer who is losing their grip.)
But Billy Elliot, which opens next week at the Winspear as part of the Lexus Broadway Series, represents something new for him: His first national tour.
“When I heard it was coming to Broadway, I sent [them] a reel,” Froman says. “I said, ‘This is a show I definitely want to be a part of.’”
Based on the 2000 film, it tells the story of a working-class British boy who, at the height of unease during the Thatcher regime, makes the unpopular decision to study ballet — something that does not sit well with the men in his community, and gets him labeled a sissy. Elton John co-wrote the songs, including “Expressing Yourself,” an anthem to individuality. The show won 10 Tony Awards in 2009, including the first-ever threefer, with all the boys who alternated playing Billy sharing the best actor trophy.
As resident choreographer, Froman’s job is a daunting one. Most people who travel with shows as a director or choreographer merely keep the vision accurate and help replace the occasional actor whose contract ends. (Froman also understudies the Older Billy role.) But this Billy has five Billys. It’s not just that the role is physically demanding; it’s that all of the boys are at incipient puberty and grow out of the role quickly. Still, teaching the kids is sometimes easier than the adults.
“There’s no ego there,” he says. “They have everything to learn and nothing to unlearn. They need me to make them look the best they can.”
The one-two punch of Billy and Swan this year, though, has been eye-opening for Froman. He sees the depth to both, from “the neverending mindfuck of being a great dancer always subject to being replaced by someone younger [in Swan]” to the passion that drives Billy, Froman can personally relate to what’s being portrayed. Now that he’s in his 30s, many dancers younger than he are coming up the ranks. So, his work with Billy aside, he’s looking forward.
There’s still a lot more he’d like to do: “I’m excited for the next phase of my life, what’s next on the horizon,” he says. “I’d like to have kids.”
And maybe, like Billy, they’d be as interested in dance as Dad.
This article appeared in the Dallas Voice print edition June 3, 2011.