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Alex
Magno |
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Well, the next day, I spoke with Alex and told him
what I did, and he told me I should have gone because knowing me,
I'd get the tour, and then somehow, I'd get him in as well. But it
was too late… A few days later, they called back and told me that
they were having an audition here in Los Angeles and that I was to
go and meet her brother Christopher for the call backs. So I went
and I got the job. It was great.
And later, when they were having
difficulties with the first choreographer they hired, Madonna called
me to talk about Alex again. I told her that he would be great and
that she should hire him. And if she didn't like him, she could fire
me as well. I basically put my job on the line for him. I felt he
was worth it. She was surprised by my confidence and hired him. What
was hard for me was that I wasn't allowed to assist him in the creativity
of anything which we usually always did. So it was a strange dynamic
once we started working with Alex but it all turned out ok. And I
always feel good about the decisions I made…
Who was the main choreographer while you were on Madonna's "The
Girlie Show Tour" - Alexandre Magno, Keith Young, etc.?
CARRIE ANN INABA: There were a few: Alex Magno,
Keith Young, Jeffrey Hornaday. Which choreographer
did you work with on your opening "Pole Routine?"
CARRIE ANN INABA: Mostly it was Madonna and I. She
knew what she wanted and I was the only one who knew what I
could do and how to do it. So we collaborated. She did want
this one really difficult Erte kind of pose where I would hang
with my back to the pole, with one arm, and arch with one leg
in passé. It was too difficult to transition out of to incorporate
into the routine so, it didn't happen. I felt bad about that.
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US ASIANS:
How did this routine come to being created? Did Madonna have the initial
idea and then flew out the stripper that inspired the concept?
