The fourth-period bell at Davie High sets off a coordinated burst of chaos. In the theater, Chad Edwards directs students through scene blocking, while across the hall, the muffled sounds of vocals led by Brittany Darst drift from the chorus room. Moving between groups of performers, senior Raegan Kreul adjusts choreography, demonstrates steps, and offers corrections.
While faculty members typically lead the creative direction of a show, this spring’s production of “Guys and Dolls” marks a shift in tradition: Kreul has taken on the massive task of serving as student choreographer, trading her spot in the ensemble for a place at the front of the room.
For those who know her, Kreul’s transition to leadership felt like a natural progression. Davie High dance teacher Caitie Reece notes that Kreul has been immersed in musical theater since her sophomore year. Her journey into choreography began as a freshman at East Forsyth High School, where she interned under Reece during a production of “Six.”
“She is more than qualified dance-wise, but having the opportunity to see how I work with different types of students and experience levels allowed her to pick that up,” Reece says. “Having the chance to do it all on her own now is a really good opportunity for her.”
As for the Davie High Drama Department, allowing a student to take control of the play’s choreography is a leap. According to theater instructor Chad Edwards, while the faculty usually takes care of the dancing, he decided to give a student the opportunity since he has seen firsthand Kreul’s creativity and leadership over the last three years at Davie.
“We always want to give students the chance to shine,” Edwards says. “Raegan has demonstrated leadership and creativity in the past, and we were excited to allow her to tackle this tough choreography.”
Kreul considers her process of setting choreography deliberate, shaping each dance around the performers in the scene. She challenges experienced dancers by incorporating intricate footwork and stylistic details that push their technical boundaries. On the other hand, she helps the less experienced feel comfortable by breaking down complex sequences into foundational steps and providing one-on-one coaching to build their confidence.
Her creative style adds a distinctive touch to the vintage setting of “Guys and Dolls,” which is set in the 1950s. She has developed distinct styles for each group to convey the story through dance. The Crapshooters, who are gamblers, have a “hip-hop” touch in Kreul’s style, which is achieved by incorporating slides and fast movements, including those of their hats, into her choreography. As for the Hot Box Girls, their dances lean into classic theatrical energy, complete with spins and kicks galore. Kreul believes that the various styles she has incorporated have made this year’s production more engaging for the cast.
While Kreul has enjoyed bringing her creative vision to the stage, the role has also brought its share of challenges. Her biggest challenge has been managing her tight schedule, as the rehearsal times of the musical and her dance company class clash.
“I thought I had to decide between the classes,” Kreul says. “But since I love both and am very passionate about both, I’m able to switch back and forth.”
Though the “bell-to-bell” pace is often exhausting, Kreul says seeing everything finally “click” makes the work worth it.
“I always have a vision for all my dances, and I always want them to succeed,” Kreul says. “I’m incredibly excited for people to finally see the work I’ve been pouring myself into for months come to life on stage. I hope everyone can see the vision the way I do.”
Lila Moore contributed to this article
