And Ruben envisioned bringing that spirit of the factory to life, but also showing the actual physical work that is done, because the play is set in the break room. It’s like, “the factory hums contentedly.” Or “the workers continue to move as the machinery starts to slowly break down.” That’s all. It’s only alluded to in stage directions. And then he called me back five years later and was like, “Hey, so, the show is going to go to Broadway, and I want you to come back.” How do you conceive of your role?
I’m the guy.” So, it was not your normal audition process. He explained what he wanted to do and how he envisioned it. I was introduced to Ruben through a friend, another choreographer, Darrell Grand Moultrie. Photo by Matthew Murphy, Courtesy Boneau/Bryan-Brown How did you get involved in Skeleton Crew? Dance Magazine spoke to him about his unique role and what it means to be using hip hop to tell stories on Broadway. He blends popping, locking and other hip-hop styles to dance us through each of Skeleton Crew’s six transitions, embodying the spirit of the factory and of the city of Detroit itself, almost like a silent narrator.
Osakalumi, who previously appeared on Broadway in Fela! and Equus, has been with Skeleton Crew since its 2016 Atlantic Theater production and has a host of other credits, from Across the Universe to the Drama Desk–winning Jam on the Groove.
The man doing the weaving: Bessie winner and Broadway veteran Adesola Osakalumi, who joins the elite ranks of artists (like Savion Glover and Tommy Tune) double-billed on Broadway as both performers and choreographers. Set in Detroit in 2008, the show, directed by Ruben Santiago-Hudson, follows a group of auto workers navigating the impending closure of their factory.īut not only does Skeleton Crew have dance, it opens with dance, and dance is the thread that weaves the fabric of the show together. You couldn’t be blamed if you showed up to Skeleton Crew, a play by Dominique Morisseau starring Phylicia Rashad that just opened on Broadway, not expecting any dance.
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