Ensemble Choreography: Inside the Process with Julio Fuentes
- Victoria Reid
- Apr 15
- 3 min read
Updated: Apr 17
We had an absolutely fabulous session this month with Julio Fuentes as part of our online series. Fresh off his choreography work on The Wizard of Oz at the Citadel Theatre in Edmonton and heading straight into Footloose at the Mayfield, we were thrilled to catch him from his home in Toronto for an in‑between‑shows choreography chat.
This recorded session is a rich resource for musical theatre, dance, and drama educators, both an affirmation of the work we do as teachers, choreographers and directors, and a spark for new insights, reminders and “ah‑ha” moments that reconnect us to our why. Personally, it gave me a fresh perspective on the choreography work I’m doing with students on Frozen: The Musical.
I had the pleasure of moderating this conversation with Julio, and listening back, I found myself just as fascinated the second time. Julio shared generous insights into his process, his choreographic practice, and his passion for ensemble work. It was truly inspiring.
A Few Standout Quotes from Julio
“That’s the wonderful thing about dance: the only way to acquire it is to show up. You can’t YouTube or TikTok your way through it. You have to be in the space, let your body experience it, let your body go through it—and that’s the beautiful thing about it.”
“Dance is optional to a lot of theatres. For me, it’s non‑negotiable. If you’re going to do musical theatre, you have to dance. You can be a capital‑D dancer or a lowercase‑d dancer, but you can’t remove dance from the genre. It’s structural, not ornamental.”
“Love the process. Even if it’s a love/hate relationship. Love the process, because that’s where you find all the good stuff. That’s where you find the things that hold and also the things that don’t.”
“As a creative, I am very interested in what young audiences think about musical theatre. A lot of them love it, but many still think it’s corny or cheesy. I really think it’s because the choreography is dated and not exciting to them. We eat with our eyes first. Even if the material is older, you can still stage it and choreograph it in a way that feels relevant and feels exciting.”
“That’s one thing that I always tell my ensemble: every single one of you matters. Each one is a killer, not a filler. You all play a part.”
“I believe in yes, being in a safe environment, but also really putting in the work with joyous rigor. Joy and intensity can coexist.”
“The ensemble is literally the life of the world. Imagine it being just the set and the lead actor—there’s no life. No matter how impressive the set, lighting, or technology is, the ensemble is the life of the show.”
Watch or Listen to Julio’s Session
Lesson Connections: Bringing Julio’s Ensemble Warmups into Your Classroom
Julio emphasized the importance of lowering pressure, so students and ensemble members feel encouraged to offer ideas and affirm that their presence matters. He shared several warm‑ups that help set this tone right from the start of rehearsal.
Here are some of the games and exercises he shared:
Number Call‑Out
Students walk freely around the room.
Call out a number; students must quickly form groups of that size.
They create a connected shape or structure, building comfort and collaboration.
Tableaux Call‑Out
Students walk around the room.
Call out an object/shape (e.g., “airplane”).
Students form that object in small groups or as a whole class, encouraging communication and creative problem‑solving.
Ball Games
Toss a ball; every time it’s caught, the whole group claps.
Add variations such as squatting when catching to build coordination and focus.
Additional Warm‑Up Ideas
Here are more ways to energize your theatre, musical theatre, or dance classes beyond traditional physical warmups, activities that build ensemble, connection, creativity, and readiness for choreography and movement.
The Invisible Prop Challenge
Call out an object (umbrella, suitcase, giant sandwich).
Students mime using it in a way that reveals character.
Add layers: “Now the prop is heavy… now it’s magical… now it’s broken.”
Great for warm‑ups before choreography that requires acting‑through‑movement.
Follow-the-Energy
A non‑verbal leadership and ensemble exercise.
One student begins a simple movement pattern.
Without speaking, the group follows.
Leadership shifts organically when someone introduces a new movement.
Encourages awareness, bravery, and group flow.
Musical Phrases in Motion
A bridge between dance and musicality.
Play a short instrumental track.
Students move freely, but must change their movement quality every time the music shifts (tempo, instrumentation, mood).
Helps students listen to music rather than just dance on top of it.
The “Yes, And” Movement Game
Borrowed from improv, adapted for dance.
One student begins a movement.
The next student adds on with “yes, and…” energy.
Continue around the circle until a full phrase is built.
Reinforces positivity, risk‑taking, and ensemble trust.
Comments