Getting to Know Derick Grant--Part 1

by Nicole Harris

Somewhere around 2004 I took students of mine from Impulse Dance Center to a Manhattan Dance Project workshop where I met tap teacher Derick K. Grant.  I was instantly enamored with his laid back yet individualized teaching style and when I found out he taught regularly in New York City I promised to begin showing up at places he was.  A few months later I walked into his class at Steps on Broadway in New York City while I was in town visiting my sister and knew just who I was.  "You're that girl from Boston.  You said you were going to being stalking me and here you are!"  Since then I have been lucky enough to study fairly extensively with Derick and I consider him to be one of the biggest influences on my tap dancing today.  Last year he and I sat down to talk about his career, his choreography and his view on life.

NH: What was the first thing you ever choreographed?

DG: Lord have mercy, the first thing?  Well, let’s say the first official thing was a solo. It was called “Drums.” I was a rookie in the Jazz Tap Ensemble and I was challenged to choreograph a piece. I got to work with Jerry Kalaf, who was the musical director. It was the first time where I worked with live music, and had to like come up with arrangement, and make a dance. That was pretty cool. I was probably about 19. 

NH:  What are your biggest challenges as a choreographer?

DG:  For me being entertaining. I found that most of the tap choreography was very green. My main problem was getting people to dance while they tap, ‘cause most choreography that is used in shows is used with the purpose of telling a story. And most choreography that is used in tap dance are musical compositions. So finding a balance where you can use the body as a narrative, as an actor, but then use the sounds coming from those same movements, as a musical composition, is hardcore. 

NH:  Who are some of your favorite choreographers?
DG:  I’m going to have to say Jerome Robbins or Bob Fosse.  I started to study ballets because I realized that ballets were bodies of work that represented choreographers, and those pieces would live long after the choreographers died. And that in terms of being a choreographer, that’s kind of like the point, that’s like the painter making the painting. You want to have a piece that can live beyond you. You know? So then I started checking out the ballets, seeing what they had in common, and then what made them different from each other in terms of style and storytelling. And I had some success, I mean it was a rocky road because I don’t know a ton about ballet, so I probably missed a lot of the subtleties; they all kind of looked the same to me after awhile. I mean I know what’s a pretty turn, what’s a pretty leap, but that’s about the extent of it.  With Fosse and Jerome, you can see it in the body, like that’s a tap dancer there.  It was easy for me to respond and to understand that.

Special Thanks to Melissa Dollman for her assistance in getting this interview transcribed.  We love you!

Getting to Know Tony Waag-- Part II

by Nicole Harris

As Tony Waag's TAP CITY Festival kicks off today, I wanted to take a moment to share with you another part of my interview with Tony from this winter.  Keep an eye out this week for more information about Tony, TAP CITY and Friday's performance (which I'll be dancing in!)

NH:  Who are some of your favorite choreographers?
TW:  Brenda Bufalino, Jerome Robbins, Bob Fosse, I love Fred Astaire's stuff with Hermes Pan.  I have a really hard time with the word favorite because I really do like variety.  I could say anything from Busby Berkeley to Balanchine.

NH:  Are you doing any performing right now?
TW:  No, not really.  Every once in a while.  I felt bad about that for a while but then I realized that I'm just taking a break.  I didn't feel like performing for a while, so now when I do I totally love it.  I don't NEED to perform, although I might feel the need to perform again.  Eventually there's a conflict.  There just isn't time.  You can't do everything.

NH:  What about choreography?
TW:  No, I would say I'm kind of revisiting choreography.  I have concepts that are going around it my head but I don't get into the studio much.  I have a piece in Thank You, Gregory.  I had never put a solo of my own on anyone else before.  We made it into a duet and I got a kick out of it, seeing my choreography on these two guys.  I changed it a little bit, but it was really just dipping back into it.  You know, you're never really done with a piece.  I'm never satisfied.

NH:  I hear you've been teaching an Absolute Beginner class?
TW:  I just started teaching again and I'm having a ball because it's just so...  I'm fascinated with it, really.  I feel like I'm looking at it completely different than I have before.  You look at these people and think, why can't they figure this out?  And then you think, well maybe if I try this...  After just three or four classes someone that you thought was hopeless has improved by 50%.

Getting to Know Michael Vernon

by Nicole Harris

I have to admit, there are very few forces in the world that can make me voluntarily take ballet class. Michael Vernon is one of those forces. I met Michael at a Manhattan Dance Project workshop many years ago. Every year we would bring our students out to take class with Michael and the rest of the faculty. (psst! Keep an eye out for interviews with other MDP faculty too!) Sadly for me (although luckily for the students there) Michael became the Chair for the Department of Ballet at Indiana University right around the same time that I moved to New York, but whenever he's back in town I do my best to get over to Steps on Broadway (where he is on the faculty) to get in a few pliés.

Sarah Friswell, who has taken many of Michael's classes at Manhattan Dance Project over the years, chatted with Michael about his life as a choreographer, dancer and teacher.

SF: Who are some of your favorite choreographers? MV: George Balanchine, Jerome Robbins, and Frederick Ashton.

SF: What’s your hometown?
MV: London, England

SF: What made you realize you wanted to be a choreographer?
MV: It was just a natural transition about the same time as I started dancing. My first teacher was a choreographer with choreographic classes so I grew up with it.

SF: What has been your favorite piece that you’ve choreographed and why?
MV: A piece with music by Philip Glass called “Endless Night”. I loved the music and loved the quotation by William Blake where the piece got its name.

SF: Do you have any unique fixes for “choreographer’s block”/what do you do when you get stuck while choreographing?
MV: Just push through it. Either stop and think or go slowly. It’s like anything. You sometimes fall back on something that you know works and you can always change it later. Listen to the music. You can always come back. No steps are really set in stone as they say.

SF: Do you prefer to work with a small group or a large group?
MV: It depends. That’s hard to answer. It depends on the ballet. You can get a great effect with big groups. Small groups you can work with detail and get to know the dancer so much better.

SF: What do you do first: choreograph steps then find music or find music and then choreograph steps?
MV: Music first.

SF: What is your favorite thing about being a choreographer?
MV: The form of expression. One is born into this sort of life and it’s satisfying. It’s the whole process of working with dancers, music, and a concept and putting it together on stage.

SF: You have an incredible background in ballet. Have you ever choreographed anything other than ballet?
MV: I studied Graham, Cunningham, tap, jazz, historical dancing, musical theater in the UK and was in a Broadway show. I use a balletic background, sometimes pure ballet and sometimes based on ballet.

SF: Do you prefer choreographing, teaching, or a combination of the two?
MV: I love teaching, I’m not saying I’m a good teacher, and I enjoy choreographing, I’m not saying I’m a good choreographer. But I believe they go hand in hand.

SF: What has been the most memorable experience of your career so far?
MV: Studying with Margot Fonteyn and Nureyev in the same building with the Royal Ballet at its heyday.

Photo Courtesy of Indiana University.

Getting to Know Jeff Shade

Jeff Shade is a staple in the Steps on Broadway faculty. His tap and theatre dance classes are filled with his high energy and positive attitude. Jeff's dedication to the dance and his classes has generated quite a student following of all ages, styles and levels. His resume is filled not just with teaching but performing and choreographing across the country. Gaby Mervis, who spent the summer in New York City on an internship took his class and fell in love. She was once again kind enough to chat with Jeff about his work and to share some of her conversation.

GM: How and/or why did you start choreographing?
JS: CHOREOGRAPHY was always part of my family! I am the youngest of six - - and I have four older sisters, who are all dance teachers. It just seemed like we were always "making up dances." I started choreographing professionally, as I started to perform less - - and when opportunities came up - - I happily said YES!!!

GM: Do you prefer performing or choreographing?
JS: When I was younger - - I loved performing much better -- for sure. Now - - I love having "something to say" - - and creating dance to say it!

GM: What was it like working with Bob Fosse?
JS: Working with Bob Fosse was a DREAM COME TRUE! As a youngster growing up in Pittsburgh - - I was fascinated by the sound of this name, his movies, and any touring company that came through the city. His work resonated with me - - and I appreciated his attention to detail and theatricality. Mr. Fosse was a father figure to me - - for sure. His approval was important - - and his support of my love of the dance remains with me today.

GM: Do you prefer to choreograph tap pieces or theater pieces and why?
JS: I love choreographing the wide-spectrum of dance pieces. Sometimes, a story or feeling is best told with the percussive sounds of tap shoes - - and other times - - well - - it's bare feet for a concert/contemporary feel or jazz or character shoes for a more traditional jazz or musical theater dance feel!

GM: When is your birthday?
JS: My birthday is June 29th! The best gift I ever received..............THE DANCE!

GM: Where did you grow up?
JS: Pittsburgh, PA - - in the inner city!

GM: Besides working with Fosse, what was your early training like?
JS: I was lucky that my four older sisters were dance teachers - - by the time I was born. They taught me all I know about tap dancing - - and certainly instilled the LOVE OF THE DANCE!!!!! I learned to twirl the baton and to acrobatics, too! Please check out "twirling me" at www.jeffshadedance.com. You will have a good smile!!!!

GM: What were the pros and cons of going to college for dance?
JS: I think there are many ways to explore the art of dance. I think each person needs to evaluate his/her interests and where he/she will blossom best - - in the dance. Of course - - many people have interests that go beyond dance. I, for one -- LOVE SCHOOL - - and never majored in dance. I have a BS in business from Duquesne University, an MBA is marketing from Columbia University, and an MA in dance therapy from Lesley University! School is cool!

GM: How has your tap background influenced your theater dance and vice versa?
JS: Tap certainly has given me a rhythmic appreciation for music. Theater dance has given me a great appreciation for dance-based story telling. Combine them - - and LIFE IS GOOD!

GM: How do you record your choreography?
JS: If there is time - - I video the choreography. With some productions - - I am only permitted to video tape a rehearsal - - with no music - - and only counts. Those are the rules of several unions.

GM: In general, do you show your work to people while you are developing it?
JS: It is impossible not to show work "in progress" when working with a director, musical arranger, and producers. It is part of the collaborative process. When it comes to concert or "all dance" work -- some times I do - - and some times I don't. When I do - - it's usually to give the dancers the feeling of performance – that "Oh - - someone will be watching this!"

GM: Can you tell us about "Cagney?"
JS: CAGNEY is a new musical based on the life of James Cagney! It was conceived by Bobby Creighton -- who is currently in THE LITTLE MERMAID on Broadway! I had a great time working with director, Bill Castellino, to create the many dances for CAGNEY! The styles of the dances ranged from vaudeville-esque type dances to full out hoofin tap dances! I think the show is great! It is a wonderful story of a son of an immigrant family making good in tough times -- and there are three scoops of red, white, and blue!!!! YANKEE DOODLE!

GM: Of all the projects you have worked on, which was the most enjoyable for you?
JS: The show that I wrote, directed, and choreographed, called PLAYGROUND: THE ADVENTURES OF A RESTLESS SPIRIT is certainly the most valued. The process was rich, and the product is one that is provocative - - taking people on the journey of a person on the verge of ending his life - - but presented with "options" for making life rich and creative.

GM: What classes do you teach at Steps on Broadway?
JS: I love teaching - - or as I call it, SHARING THE DANCE! I teach theater dance at beginner, intermediate and advanced levels - - and I teach all levels of tap (mostly Broadway styles).

GM: Do you prefer choreographing short exercises for your students in class or full-length dances for the stage?
JS: Both! I think the "practice" of choreographing short combinations in class helps hone my creativity muscle for creating a full-length piece. Teaching also helps me to be a better communicator! I love SHARING THE DANCE!

GM: What exactly does a dance therapist do?
JS: DANCE THERAPY uses dance and other art forms to foster the process of psychotherapy. Allowing the embodying of a process is the final frontier in growing towards full personal fruition. Dance therapy has influenced my teaching style and my choreographic approach greatly!

GM: How do you think dance builds self-esteem?
JS: If dance is delivered in a loving and accepting environment -- one that reflects back to the dancer a sense of I AM HAPPY YOU ARE HERE, YOUR SPIRIT IS BEAUTIFUL, AND YOU ARE A UNIQUE ENTITY IN THIS WORLD - - that will build self-esteem - - how a person feels about him or herself in general. BEING A GOOD DANCER or SUCCESSFUL may be useful in building self-confidence in the "category" called dance or profession! SELF-ESTEEM is the much richer sense of a healthy I AM.

GM: What was your most memorable moment as a dance therapist?
JS: Oh! There are so many, and it has been a humbling privilege to be a collaborator with people in the mix of making their lives better. ...and, if not a collaborator, a true honor to witness someone grow through what are often very rough times.

GM: Can you tell us about "House of the Roses"?
JS: "House of the Roses" is very cool volunteer dance company that does outreach to VERY ENERGETIC YOUTH! Sometimes the youth are part of a community center, or in homeless shelter, or have a mom or dad in prison. Dance volunteers go ON LOCATION to some really life affirming dance and drumming with these amazing young people! The goals are to build self-esteem and self-confidence, foster a sense of community, and give opportunity for positive labels (I am a dancer, I am creative, I am a performer, I am a team player, I AM HERE!). "House of the Roses" is inspired by the simplicity of Saint Therses the Little Flower -- who invites us all to "do the ordinary with extraordinary love." That is quite an invitation! YES! I started the program several years ago -- but left when I went home to Pittsburgh to be the primary caregiver for my mother. The organization goes on today - - and the WORK continues to be done!

GM: Who are some of your favorite choreographers?
JS: Mmmmmmmmmm Bob Fosse, Michael Bennett, Jerome Robbins, and Ohad Naharin.

Getting to Know Jonathan Lee

Often referred to as "Sunday Funday" by the staff, Sundays at Steps on Broadway are a little less busy and a lot more laid back than weekdays. One of the highlights of the day is Jonathan Lee's 2:00 Beginning Hip-Hop Class which is always overflowing with dancers and non-dancers alike, fun and cutting edge choreography and a contagious energy.
Danielle Thibault, a student and hip-hop instructor at Impulse Dance Center in Natick, MA agreed to talk to Jonathan about his career as a performer, choreographer and teacher.

DT: What attracts you to hip hop more than styles such as ballet or modern?
JL: What attracts me to hip hop is the music. I love all different styles of dance but hip hop gives me the freedom to express myself more freely.

DT: Out of all the things you've done, such as working with famous performers, being in commercials, theater productions, taking class, and teaching -- which is your favorite and why?
JL: I love performing out of all the things that I do, whether it be in front of the camera or on stage. It's like breathing I can't live without it!!

DT: What was it like to work with people such as Britney Spears and Madonna? JL: I enjoyed working with Britney and Madonna. I was so blessed to work with such huge pop stars.

DT: Who has been your biggest inspiration in life and why?
JL: My biggest inspiration is my faith in God. Through good and bad, He has always kept me grounded.

DT: When did you start dancing?
JL: I started dancing when I was able to walk but I started taking class when I was 8 years old. =-D

DT: When teaching a class, what is your goal for the students entering?
JL: When I teach, I want my students to have a good time. Even though they may not get every step the first time I want them to feel and know that they eventually will.

DT: Have you always known that you wanted to dance? If so, did you always see yourself doing hip hop?
JL: I didn't know that I always wanted to dance but I knew I always wanted to entertain. I enjoyed being the ham. Hip hop and dance in general has really catapulted that into a reality.

DT: How did taking other styles of dance influence your choreography in your hip hop classes?
JL: I feel other dance styles have made me a better and stronger dancer, choreographer, and teacher. Nowadays, there is so much fusion going on that you have to well versed in all disciplines.

DT: What do you find the hardest part of teaching? And what is the best part?
JL: The hardest part of teaching is being patient with myself and my students. I tell my students if they are patient with themselves I am patient with them as well. The best part is being able to share my craft with people and hoping that after taking class they walk away feeling inspired and better about themselves.

DT: Did you go to college for dance?
JL: I did not go to college for dance but I did go to school for music.

DT: Who are some of your favorite choreographers?
JL: One choreographer that I have to give it up to is Mr.Wiggles, who is one of my mentors. I like Tabitha and Napoleon, Alvin Ailey, Bob Fosse, and Jerome Robbins. There are so many. People have so much to offer.

Getting to Know Ray Hesselink

Earlier this month I spent a week at Tony Waag's TAP CITY tap festival. While I was there I was lucky enough to dance with, watch and talk to a large number of outstanding tap dancers and choreographers, many of whom have expressed interest in participating in
Connect 2 Choreography.
I have been lucky enough to take class with Ray Hesselink at Steps on Broadway in New York City and can always count on his quick smile and overflowing enthusiasm to brighten my day. When trying to find someone to interview Ray I immediately thought of Kelsey Griffith, a former student with strong tap skills and an affinity for musical theatre. Kelsey is now studying dance at Muhlenberg College and was happy to share her and Ray's conversation with us.

KG: How and/or why did you start choreographing?
RH: Choreography really started when I started teaching classes. As I was creating for class (exercises and combos), I started to realized….hey, I’m kind of good at this. Then I really started to create full length pieces. From that, I started finding I really enjoyed story-telling and comedy. Musical theater seemed to be my niche.

KG: Was there something in particular that prompted a shift from performing to choreographing?
RH: Even though I love performing, I found that I love to bring out the best in others either through teaching, directing or choreography (or just being a good friend). Choreography was starting to become more fulfilling for my soul rather than doing a regional production of “Singin’ in the Rain” in middle America. There is nothing better than being creative.

KG: Do you find that your work has been influenced by any other dancer(s) and/or choreographer(s)? …if yes, how?
RH: Oh YES!!! First off, my DVD (and youtube) collection of old movie musicals are a HUGE inspiration. I’m very visual and I have a great memory. When I start to choreograph, I always have a huge database in my mind that I tap into.

Some of my favorite inspirations: Eleanor Powell, Ann Miller, Fred Astaire, Jack Cole, Jerome Robbins, Gwen Verdon, Carol Haney, Chita Rivera. Also, my dear friend and mentor, Miriam Nelson (she’s turning 90 this year). She has her own tap DVD out as well.

KG: How do you record your choreography?
RH: I film everything on a little camera and/or video camera. Every week I download and save my information. For class exercises, I sometimes film or write them down. I have files and files of material.

KG: How do you start a new work? …music first? …choreography first? (etc.)
RH: Music/lyrics first. Next, if it’s musical theater, I need to know how the dance progresses the plot. Then, I create character driven movement that fits the music and furthers the story.

KG: How has your training influenced your work as a choreographer?
RH: I’ve learned from my great teachers how to teach my dancers the choreography in a way that it’s speedy and they can absorb the material. I often find choreographers have a difficult time counting and teaching transitions. I always make sure that I cover both. Oh, and to add tons of humor to my teaching. I try to make my rehearsal environment fun and creative.

Also, I have a music background (I entered UCLA as a music major for piano). Choreography became my new music.

KG: Does your experience as a tapper influence your choreographic process at all?
RH: Tapping to me is pure music. When I choreograph tap, I create my own melody of rhythm to compliment the song. When I choreograph non-tap, my pieces are VERY rhythmic and musical.

KG: How do you combine theater and dance technique to create such compelling and entertaining character-based choreography?
RH: I have an overactive mind. I’m always watching people and writing down things that make me laugh (I carry a notebook with me). These little “flaws” or character traits intrigue me. I try to think outside the box and not be predictable. I also strive for simplicity. When I’m stuck, I go back to what the essence of the story is, and then I always find my answer/solution. Also, ultimately I want to entertain….I want the audience to feel something….anything.

KG: What was the first thing you ever choreographed?
RH: My first piece was a piece by Nat King Cole called “Exactly Like You”. It had a lot of influences by friends/teachers. As I choreographed more I started to discover my own voice and trust in it.

KG: Has your choreographic style changed significantly since that first work?
RH: Yes, I’ve gotten better. I really trust myself. At first, I kept asking my dancers “is this good?” Now, I know if it works (or doesn’t work). I always spend at least 3 hours a week in a rehearsal studio creating choreography. Sometimes I arrive and I’m exhausted….but I force myself to create. I always know I have a bottomless well to tap into. I have an unlimited supply of steps and ideas. Creating every week is so important for me.

KG: How was it working as part of the team for Broadway’s Billy Elliot: The Musical?
RH: I feel so blessed to have worked on Billy Elliot. The kids are unbelievable and so talented. It’s an experience I will always cherish (and continue cherishing). It’s also amazing to feel that I have so much influence on many aspects of the show (from training to recommending kids that booked the show).

KG: What, exactly, does a “Tap Dance Consultant to Choreographer” do?
RH: Tap Dance Consultant basically is someone who assess the abilities of the kids. I give the creative team an idea if the child can perform the role or how much training they need to be able to do the part. With David Alvarez, I had 3 months to teach him (twice a week). I had to get him from not tapping at all to being an intermediate level tap dancer. David is a hard worker. His achievements were astounding. I’m very proud of him.

KG: How and/or when did you become involved with Tap City and Chicago Human Rhythm Project?
RH: I got invited to teach at both. A major jump into the tap world was doing Derick Grant’s Imagine Tap! People started to recognize my name because of that show outside of teaching in NY.

KG: Do you have any plans for future work?
RH: In September I will be on Faculty at Juilliard teaching tap dance. Currently, I am looking for shows to direct/choreograph. I have a couple of shows I have written that I want to rework and get up on their feet.

Really, I want to be involved with fun and fulfilling projects that are interesting and unique, whatever they may be.