The breakout star of “Bob Fosse’s Dancin’” talks why Broadway must do better by nonbinary actors, starring in “Cats,” knowing Taylor Swift—and their Sally Bowles dream.
. It was kind of hard, wondering, ‘Who am I? I don’t see someone like me.’ Now I get to do that for someone, and J. Harrison Ghee gets to do that for someone, and Justin David Sullivan does too. All of us are on stages representing something that was never represented before. Any nonbinary kid that comes to see us gets to go home thinking, ‘I could do this one day.’”The issue of awards’ categories is “such a tricky one,” said Krouse.
“The goal isn’t always to reach and grab for them; Fosse’s choreography is very much about the intentions behind movements. We want the audience to watch us and ask, ‘What are they feeling?’ One sequence, ‘Joint Endeavors,’ is all about sex. I’m thinking, ‘Am I going to hook up with this person? Do I want a relationship with this person? Is it a hookup, a transaction? I love getting into the characters, and I love, in ‘Spring Chicken,’ being able to sing on stage for the first time.
“It was a hip-hop class, which is funny because I don’t consider myself a hip-hop dancer. After that class, the studio owner, Wanda Manville, grabbed me and said, ‘I’m putting you down for ballet, jazz, tap, you’re doing all of it.’ I said, ‘OK,’ and that’s where it took off.”There was bullying at school. But I was kind of a bitch back. I didn’t really care. They would say stuff, and I’d be like, ‘Oh, I can go at this all day.’Growing up, Krouse “definitely felt queer. I knew that specifically.
Krouse went on to study dance at Juilliard. “I loved Balanchine, but a lot of Juilliard was against Balanchine because it was seen as an aesthetic. Juilliard didn’t want us to add flourishes. They said we could add those after the basics. I understood that, and got a lot stronger. But I didn’t love Juilliard to be honest. They believe you became artists by breaking you down.”playing Tumblebrutus while still a student, doing eight shows a week, juggling both school and production.
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