Dance duo Cost n’ Mayor (Austin and Marideth Telenko) are known for their scroll-stopping, energetic style and picture-perfect synchronization. Their past dance and choreography credits include gigs with major brands like Disney, Panera, and Kate Spade, as well as global artists like Chelsea Cutler and J Balvin. Now, the pair has undertaken a new project: creating and choreographing an off-Broadway show, 11 to Midnight, which follows a young couple and their five friends through the final hour of a New Year’s Eve party.
“It happens more or less in real time,” says Marideth. “You get to watch this group of friends experience the very magical and electric hour before their new year.” The main couple, played by the Telenkos, are at a crossroads in their relationship. Throughout the show, they reconnect with each other, drawing support from their friends. “It’s about going through different seasons of life with the person you love,” says Austin.
Both Telenkos have backgrounds in street-style dancing with a strong theatrical influence. The showis a loose blend of these styles, layered with acting. “It’s a very magical world we’ve created. It’s unpredictable,” says Marideth. She and Austin have woven together a diverse mix of styles and tones to create each piece of the production. “There are super-high-energy numbers, very emotional numbers, even acting-heavy numbers,” she adds.
Fans might be surprised to learn that clowning informed some of the movement in 11 to Midnight;the show is produced by circus, dance, and multimedia company Hideaway Circus, founded by Josh and Lyndsay Aviner. Upon seeing the Telenkos’ comedic, storytelling choreography, the Aviners recognized its similarities to clown and mime techniques. The group decided to try blending the types of movement once everyone was on board for the project. “I think we found this really cool intersection between the dance we do and circus,” says Marideth. “It sets this show apart.” She and Austin worked with award-winning clown and associate director Spencer Novich to make soundscapes for their storytelling acts and to weave comedy into their movement style.
The Telenkos had never hosted an open call before 11 to Midnight. “We didn’t know if we’d get 30 people or 300 people,” says Marideth. They ended up receiving over 500 video auditions. Originally, the duo had planned to narrow this group down to 50 dancers, but the pool of talent was so impressive that they brought 80 to New York City for in-person evaluations.
Achieving the right group chemistry was important, says Austin, because each character has a distinct personality. Each round of the audition corresponded to one character, with some dancers attending multiple rounds. Then, the Telenkos chose and rearranged sample casts before they made their final decisions. Marideth says that deciding on the show’s five main cast members and two swings was “potentially the hardest thing we’ve ever done.”
Since the beginning of the rehearsal process, Austin says the characters have evolved. He and Marideth were excited to explore their cast’s creative choices in making the roles their own. The result, they say, is even better than the original material.
Collaboration has been baked into the production from the beginning. Unlike with most shows, the creation of 11 to Midnight has been shared with Cost n’ Mayor followers since the start. Fans have been able to watch footage of casting, choreography, and more. The Telenkos say that this makes the end result more meaningful for those who have been following along. “I hope that there’s an ownership that every fan feels toward the show,” says Marideth, “because they really did help make it.”
