Warren Carlyle, represented by WME (New York) and BBA (London), is a Tony Award–winning British director and choreographer, born in Norwich, Norfolk. His notable credits include the Tony Award–nominated The Music Man, starring Hugh Jackman and Sutton Foster, Harmony: A New Musical, and Kiss Me, Kate, alongside numerous other productions. With more work on Broadway on the horizon and a project in development back in the UK, Carlyle continues to work across both sides of the Atlantic. Known for his curiosity and love of collaboration, he discusses in this interview how he approaches each show with fresh ideas and a deep passion for the arts.
Warren, congratulations on all your incredible work and career so far. Where did your career origins begin and how did you pursue your passions?
My career began a long, long time ago in Norwich, Norfolk in the UK. I attended the Central School of Dancing from the age of ten and right from day one I was HOOKED. I just loved to dance. I studied all styles, tap, modern and ballet. I was lucky enough to attend both the Bush Davies Schools and Doreen Bird College.
My career began a long, long time ago in Norwich, Norfolk in the UK. I attended the Central School of Dancing from the age of ten and right from day one I was HOOKED. I just loved to dance. I studied all styles, tap, modern and ballet. I was lucky enough to attend both the Bush Davies Schools and Doreen Bird College.
You have certainly made a mark on Broadway. After winning the Tony Award for Best Choreography for After Midnight in 2014, how has your approach to choreography evolved?
I honestly always just feel lucky to be in a rehearsal room. It is my favourite place in the world. I do have a rule in pre-production work. Nothing you have seen before. Nothing you have done before. It helps me keep pushing forward in my own work and creativity.
Your recent projects, like Pirates! The Penzance Musical and Harmony, sound fantastic. What excites you most about choreographing shows with such diverse themes?
Choreographing shows in different styles is like eating a balanced diet to me. I am curious by nature. I love being a student and studying moments in history and different styles of music and dance. I try to never do the same thing twice. I also love to collaborate.
Choreographing shows in different styles is like eating a balanced diet to me. I am curious by nature. I love being a student and studying moments in history and different styles of music and dance. I try to never do the same thing twice. I also love to collaborate.
The revival of The Music Man must have been a thrilling experience, especially with stars like Hugh Jackman and Sutton Foster. What was your creative process like for that production?
The Music Man was a joy from start to finish. A literal dream come true. We had the greatest cast ever and one of the most beloved Broadway shows in history to bring to life.
The Music Man was a joy from start to finish. A literal dream come true. We had the greatest cast ever and one of the most beloved Broadway shows in history to bring to life.
I worked on the show for five years in total. It was the one thing that kept me alive during the pandemic. I worked on the dances three days a week in a private studio. It was one of the first Broadway shows to return after COVID. Watching those audiences laugh and cheer was very healing for all of us.
Does your creative process differ for a revival when there is previously established choreography and direction, compared to a new piece of theatre?
My process is pretty much the same whether I am dealing with a new show or a revival. I work very slowly, moment by moment. I work on the music and the script. When I am doing a revival I have a dance arranger with me and we create all new dance music. This helps to freshen the show and helps me make something new. New work is always more challenging. You do not have anyone else’s shoes to walk in. There is no road map. This can be both exciting and terrifying.
My process is pretty much the same whether I am dealing with a new show or a revival. I work very slowly, moment by moment. I work on the music and the script. When I am doing a revival I have a dance arranger with me and we create all new dance music. This helps to freshen the show and helps me make something new. New work is always more challenging. You do not have anyone else’s shoes to walk in. There is no road map. This can be both exciting and terrifying.
You have also directed and choreographed the world arena tour Hugh Jackman The Man. The Music. The Show. How does touring on such a grand scale differ from staging a show in a traditional theatre?
It is completely different. A literal different arena. Scale is everything. Making sure you give visual access to 20,000 people is very important. Getting the right camera team and video content team is very important. It is like painting on a giant canvas. Huge but intimate. Delivering moments of wow. Making sure that every seat in the arena is a good seat.
I have now directed Hugh Jackman in 93 cities around the world and directed the Radio City Rockettes at Radio City Music Hall. It is a completely different skill but something I love doing.
With all of these accomplishments, what advice would you give to aspiring choreographers and directors looking to make their mark in the theatre world?
The best advice I can give anyone is just to say yes. It is such a powerful word. It has helped me get into some very interesting rooms and some very interesting situations. It has allowed me to keep creating even when things are difficult sometimes. Just say yes.
The best advice I can give anyone is just to say yes. It is such a powerful word. It has helped me get into some very interesting rooms and some very interesting situations. It has allowed me to keep creating even when things are difficult sometimes. Just say yes.
What are your own reflections on your career so far and the legacy of the work you have created?I feel so happy and so grateful to keep doing what I have been doing since the age of ten in Norwich, Norfolk. I hope to keep contributing to this art form. I care deeply about artists and want to make work that is worthy of their talents.
What was the first piece of theatre that had a big impact on you?
I saw Crazy for You in the West End. It was love at first sight. I thought it was one of the most beautifully choreographed pieces of theatre I had ever seen. It really excited me. I am also a huge fan of Agnes de Mille. Oklahoma! and Carousel were both groundbreaking pieces of theatre where dance was used to tell the story and move the plot forward.
I saw Crazy for You in the West End. It was love at first sight. I thought it was one of the most beautifully choreographed pieces of theatre I had ever seen. It really excited me. I am also a huge fan of Agnes de Mille. Oklahoma! and Carousel were both groundbreaking pieces of theatre where dance was used to tell the story and move the plot forward.
What keeps you inspired?
Art, music, other artists. I try to see as much theatre as I can.
Art, music, other artists. I try to see as much theatre as I can.
What is next on the horizon for you? Any exciting projects in the pipeline?
I have three really exciting original plays all headed towards Broadway and four musicals in development. I am very, very excited for the next few years. Watch this space…
I have three really exciting original plays all headed towards Broadway and four musicals in development. I am very, very excited for the next few years. Watch this space…
Where can people keep up to date with your work?
The best way to stay in touch with me is @warrencarlyle on Instagram. Please follow along!
The best way to stay in touch with me is @warrencarlyle on Instagram. Please follow along!
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