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    The Arthropologist

    SYTYCD star Neil Haskell talks stuntin' in advance of Bring it On: The Musical'sHobby Center run

    Nancy Wozny
    Jan 22, 2012 | 5:30 pm
    • Cheerleading rules in Bring It On: The Musical
      Photo by Michael Lamont
    • Taylor Louderman and company performing in Bring It On: The Musical
      Photo by Craig Schwartz
    • Neil Haskell, from left, Kate Rockwell, Taylor Louderman and Janet Krupin inBring It On: The Musical
      Photo by Michael Lamont
    • A scene from Bring It On: The Musical
      Photo by Craig Schwartz
    • Adrienne Warren and artists in "Do Your Own Thing" from Bring It On: The Musical
      Photo by Craig Schwartz

    Yes, it's true, I was a back-up cheerleader in sixth grade for the girls' junior varsity field hockey team. It doesn't get any worse than that. I never even got to shake the pompoms.

    But the humiliation left me with an odd fascination for all things "Ra Ra": cheerleading, drill team, color guards, marching bands and the like. There's a tremendous amount of creativity happening on the nation's football fields. It's America's national folk form.

    Lucky for me, I landed in Texas, land of high-level cheerleading and birthplace of the drill team. Lucky for you, Theater Under the Stars is presenting Bring it On: The Musical, chock full of cheer candy, at The Hobby Center, Jan. 24 through Feb. 5.

    The creative team includes Jeff Whitty (Avenue Q), Lin-Manuel Miranda (In the Heights), Pulitzer Prize and Tony Award-winning Tom Kitt (Next to Normal) and Andy Blankenbueler (In the Heights). It's an A-list Broadway team if I've ever seen one.

    Haskell has carved a successful post-SYTYCD career for himself, performing in 9 to 5 on Broadway, Alter Boyz off-Broadway, the national tour of West Side Story and two films.

    Sure, there's some crossover between cheerleading and dance, however some serious acrobatic skills are required for this show and any decent cheerleading squad. That's where So You Think You Can Dance (SYTYCD) Season 3 second-runner-up and All-Star Alum Neil Haskell comes in.

    Haskell, my buffalo brother, was a competitive gymnast before turning to dance. High bar was his specialty. You can bet that upper body strength is coming in pretty handy in his role as Steven in Bring it On, where he gets to throw women in the air. Oh, he catches them too.

    "Steven dates the head cheerleader, but then jumps to the next hottest girl, that kind of guy," says Haskell over the phone from Denver, where the show is drawing raves. "He just might get a girl at the end. You will have to come and see."

    I first spied Haskell on Broadway in Twyla Tharp's acro-heavy The Times They are A-Changin', where Haskell's comfort flying in the air was in full view. The show bombed, but Haskell went on to TV heartthrob fame.

    Week after week, he stunned audiences with his polished technique and effortless back flips. With his princely good looks and the fact that the costume department could never seem to find a shirt for the young lad, he became a dance idol.

    Unlike his SYTYCD peers, Haskell has actually carved a post-SYTYCD career for himself, performing in 9 to 5 on Broadway, Alter Boyz off-Broadway, the national tour of West Side Story and two films. "It's such a joy to be on stage," he says. "I enjoy teaching, but I want to perform as long as I can."

    Although Haskell has kept his flips in check, Bring it On takes a whole new set of chops.

    "Stunting [fancy word for cheer tricks] is completely different than partnering in dance," he says. "The hand holds, the way you lift a girl and the way you catch a girl flying through the air, it was all new to me. I had to learn how to balance someone else in the air. They brought in a cheer consultant for us new to stunting. There are several national champion cheerleaders in the cast. It's a great mix of dancers and cheerleaders."

    "It's definitely a physically demanding show," Haskell says. "There's some scary moments, but anytime you seeing a girl falling, there's a guy falling underneath her."

    Although audiences may gasp at the height of the flying cheerleaders in the show, Haskell says it's all very safe. "We do a stunt call right before each show and go over all the hand holds," he says. "Each show is unique, and I find ways to push myself. It's definitely a physically demanding show. There's some scary moments, but anytime you seeing a girl falling, there's a guy falling underneath her."

    Plus, Haskell gets to show off his regular old dance skills, of which there are many. "There's some great hip hop choreography in the show, too," he adds.

    Bring it On: The Musical shares the same cheerleading vibe as the movie, but the similarities stop there. "It's really a separate entity," he says. "The music is awesome, and the whole creative team is so talented."

    And now, he sings, too. "I sang in the choir when I was growing up. But I got a vocal coach while I was in New York."

    The reaction to the show has been enthusiastic. "In Denver, we had whole cheerleading squads show up. They loved the show. If you love dance, you will love this show. We are flipping girls 25 feet in the air."

    As for the "what's next" question, Haskell is not ready to think beyond this show. "It's our hope and our goal to take Bring it On to New York."

    Go Team Bring it On!

    Let shirtless Neil and America's current favorite dancer Melanie Moore melt your heart:

    unspecified
    news/entertainment

    Movie Review

    Star TV producer James L. Brooks stumbles with meandering movie Ella McCay

    Alex Bentley
    Dec 12, 2025 | 2:30 pm
    Emma Mackey in Ella McCay
    Photo courtesy of 20th Century Studios
    Emma Mackey in Ella McCay.

    The impact that writer/director/producer James L. Brooks has made on Hollywood cannot be understated. The 85-year-old created The Mary Tyler Moore Show, personally won three Oscars for Terms of Endearment, and was one of the driving forces behind The Simpsons, among many other credits. Now, 15 years after his last movie, he’s back in the directing chair with Ella McCay.

    The similarly-named Emma Mackey plays Ella, a 34-year-old lieutenant governor of an unnamed state in 2008 who’s on the verge of becoming governor when Governor Bill (Albert Brooks) gets picked to be a member of the president’s Cabinet. What should be a happy time is sullied by her needy husband, Ryan (Jack Lowden), her agoraphobic brother, Casey (Spike Fearn), and her perpetually-cheating father, Eddie (Woody Harrelson).

    Despite the trio of men competing to bring her down, Ella remains an unapologetic optimist, an attitude bolstered by her aunt Helen (Jamie Lee Curtis), her assistant Estelle (Julie Kavner), and her police escort, Trooper Nash (Kumail Nanjiani). The film follows her over a few days as she navigates the perils of governing, the distractions her family brings, and the expectations being thrust upon her by many different people.

    Brooks, who wrote and directed the film, is all over the place with his storytelling. What at first seems to be a straightforward story about Ella and her various issues soon starts meandering into areas that, while related to Ella, don’t make the film better. Prime among them are her brother and father, who are given a relatively small amount of screentime in comparison to the importance they have in her life. This is compounded by a confounding subplot in which Casey tries to win back his girlfriend, Susan (Ayo Edebiri).

    Then there’s the whole political side of the story, which never finds its focus and is stuck in the past. Though it’s never stated explicitly, Ella and Governor Bill appear to be Democrats, especially given a signature program Ella pushes to help mothers in need. But if Brooks was trying to provide an antidote to the current real world politics, he doesn’t succeed, as Ella’s full goals are never clear. He also inexplicably shows her boring her fellow lawmakers to tears, a strange trait to give the person for whom the audience is supposed to be rooting.

    What saves the movie from being an all-out train wreck is the performances of Mackey and Curtis. Mackey, best known for the Netflix show Sex Education, has an assured confidence to her that keeps the character interesting and likable even when the story goes downhill. Curtis, who has tended to go over-the-top with her roles in recent years, tones it down, offering a warm place of comfort for Ella to turn to when she needs it. The two complement each other very well and are the best parts of the movie by far.

    Brooks puts much more effort into his female actors, including Kavner, who, even though she serves as an unnecessary narrator, gets most of the best laugh lines in the film. Harrelson is capable of playing a great cad, but his character here isn’t fleshed out enough. Fearn is super annoying in his role, and Lowden isn’t much better, although that could be mostly due to what his character is called to do. Were it not for the always-great Brooks and Nanjiani, the movie might be devoid of good male performances.

    Brooks has made many great TV shows and movies in his 60+ year career, but Ella McCay is a far cry from his best. The only positive that comes out of it is the boosting of Mackey, who proves herself capable of not only leading a film, but also elevating one that would otherwise be a slog to get through.

    ---

    Ella McCay opens in theaters on December 12.

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