Michael Kidd(1915-2007)

Liretrailer3 min 03 s

Smile (1975)

Michael Kidd est né le 12 août 1915 dans l'état de New York, États-Unis. Il était acteur. Il est connu pour Les sept femmes de Barbe-Rousse (1954), It's Always Fair Weather (1955) et Hello Dolly! (1969). Il était marié à Shelah Hackett et Elizabeth Mary Heater. Il est mort le 23 décembre 2007 en Californie, États-Unis.

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Film

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Film

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Film

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Film

Great Performances
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Série télévisée
- advisor
- 1996
Janet Jackson: When I Think of You
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Clip musical
- choreographer
- 1986
Baryshnikov in Hollywood
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Téléfilm
- choreographer
- 1982
Movie Movie
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- Baxter's Beauties of 1933 musical numbers staged by
- 1978
Actor
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Téléfilm
- choreographer
- 1978
Hello Dolly!
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- choreographer
- dances and musical numbers staged by (uncredited)
- 1969
Music from Shubert Alley
Émission spéciale télévisée
- choreographer: Whip Dance
- 1959
The Bell Telephone Hour
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Série télévisée
- choreographer
- 1959
Bing Crosby's White Christmas USO All Star Show
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Émission spéciale télévisée
- choreography
- 1958
Merry Andrew
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- choreographer
- 1958
Guys and Dolls
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- dances and musical numbers staged by
- 1955
Les sept femmes de Barbe-Rousse
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- choreographer
- dances and musical numbers staged by (uncredited)
- 1954
Where's Charley?
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- choreographer
- 1952
Another Dawn
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- choreographer (uncredited)
- 1937

Naissance
- 12 août 1915
- Brooklyn, New York, États-Unis
Décédé(e)
- 23 décembre 2007
- Los Angeles, Californie, États-Unis(cancer)
Conjoints(es)
Membres de la famille
Autres travaux
(5/90) Music video: Helped to choreograph the Janet Jackson video "Alright".
Offres publicitaires
- 4 Articles

Anecdotes
Credited Charles Chaplin as one of his biggest influences. He cited Chaplin's instinct for pathos and comedy as the foundation for his own efforts to sculpt characters and connect emotionally with his audiences through dance.

Citations
Dancing should be completely understandable -- every move, every turn should mean something, should be crystal clear to the audience. And if you can make them laugh or cry, move them emotionally, make them respond to the dancer as a real person doing something believable within your theatrical framework, well, you've done a job.