Tutu the Superina

1998

Yes, I choreographed an animated cartoon about a ballerina superhero. At the time, the industry was tasked with creating more girl-empowering content. Co-creator Bill Burnett opened up this fantastical world where my cinematic choreographic style could morph with the ridiculous possibilities of cartoons. If dancers can do extreme things, Tutu the Superina could do even more, and fight injustice while doing so: her radar hair bun could pick up crimes in the making; her spaghetti legs could become boa constrictor-like, squeezing the bejeezus out of villains; her pointe shoes became lethal weapons (this I had to demonstrate on video and in person for the Hollywood director who needed convincing of a dancer’s violent strength and potential).

The process of getting a cartoon made, from inception to storyboarding, directing, character design, sending it to Korea to be drawn, to voicing, soundscoring to the fi nal premier took one year. In that time I conceived and birthed my first child, a daughter, who is a superhero in many different ways than Tutu. Also, she has knees, which Tutu does not.

Proper recognition for the buzz saw tutu goes to my dear friend, costume designer Fritz Masten.

I don’t love Tutu’s ditzy voice and, again, lack of knee joints, but at least I had influence in choosing her black hair and her loud voice strongly calling out for quiet.