Jessica Estopare and her dad Jeff Satz celebrated with a father-daughter dance set to a medley. As the song ends, she often suggests the groom tap the dad on the shoulder for the next dance, so the father can give away his daughter a second time. You, my brown-eyed (turn, hug, sway) girl, do you remember (jump, face each other, point to each other) when we used to sing (jump, face front, point to self) sha la la (jam turning).
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She prints out exact notes for the band or DJ on how to introduce the parents, the groomsmen and bridesmaids, and the bridal couple according to specific bars of music and lyric cues, plus detailed notes for any choreographed dances.įor example, she recently worked on a father-daughter dance set to “Brown-Eyed Girl.” Each line corresponds to a movement by the dad or the bride: If dancing is not an option, she’ll instruct the father (or the groom) on how to promenade the bride around the floor, always posing at the end for a Hallmark moment. She’s retired from dancing, but offers lessons to the wedding party if they want special dances, entrances set to a song, or processionals and recessionals. She also toured with the Bob Hope USO in Vietnam. In the 1960s and ’70s Kelley danced professionally at the Starlight Theatre and with the Golddiggers on the Dean Martin Show. Why? Because I’m all about a show and zip, zap, get ’er done.” Sara Peppes Ward and her father Greg Peppes danced to “Daddy’s Little Girl” // Photo by Rachel Solomon I want it to move bam-bam-bam so there’s no awkward moments.
“I throw ideas at them and make suggestions.
She also asks what kind of mood they’re going for-tearjerker or happy and fun or both. She always asks what kind of music they want, what are the bride’s dress and shoes like, how big is the dance floor, where will the band or DJ be stationed, and where will guests be seated. She began choreographing weddings at the request of her former dance students. “I like to get everything done in the beginning so people can relax and just party, including guests who can’t stay long.” She’s been to plenty of receptions where the mother-son and father-daughter dances consisted of simply swaying back and forth to overlong songs, where dinner was interrupted by endless toasts and anniversary dances, and where the cake was cut so late that some guests had already left. That’s the philosophy of Liz Kelley, who owned a south KC dance studio for 35 years and now works part-time as a wedding choreographer, consultant and music editor.
They’re also a show that deserves to run smoothly, quickly and be entertaining. Weddings are a sacred ritual, the joining of two families, a beautiful ceremony.
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