ChoreoFest Interview: Kimberleigh A Holman!

by Nicole Harris

photo credits available at http://kaholman.com/about/

ChoreoFest ends TODAY!! We are mere hours away from the first of this years ChoreoFest performances, and we're rounding out our final choreographer interviews. Our penultimate interview slot goes to our friend, collaborator, ChoreoFest organizer and one third of this year's choreographic super group, Paranarium House, Kimberleigh A Holman of the incomparable Luminarium!

Nicole Harris: What made you want to make the move from being a dancer to a choreographer?
Kim Holman: I've sort of always been a creator (as opposed to a dancer, though I enjoy moving), as I love cause and effect and watching the outcome of various experiments. The joy in a performance for me is not performing for an audience but watching something from the depths of my mind exist by itself on stage at the same time as an audience.

Nicole: What are you most nervous about regarding ChoreoFest?
Kim: At present I don't feel nervous about ChoreoFest, but last weekend I woke up in a panic and cold sweat at 4:30am worrying that I'd let everyone down by not making anything at all. That was the first time I've ever had such an anxious dream! I think since we are merging companies this year (Luminarium, Monkeyhouse, Paradise Lost), I'm slightly nervous at the idea of having so many bodies in one room with a finite amount of work time. Sure, I know most of the others in the room, but we've never worked together. There's something exciting, worrisome and beautiful about that.

Nicole: Have you participated in ChoreoFest before? If so, what is your favorite memory of that experience? What advice do you have for new ChoreoFest choreographers? Are there things you hope to do differently this time?
Kim: Of course, I'm 4 for 4! There are too many favorite moments for me to pinpoint one - if I had to it might be the singing coffee pot - but I will say that the best stuff happens in the common spaces (around food, in tech, in discussion). My advice to newbies would be to embrace opportunities outside of the workspace/studio. You might be feeling stressed, but take time to chat with others, share your concerns, let others into your studio to help. I'm changing my mind. My favorite memory is the failure that was the Year One ChoreoLympics. Never again will we ask a room full of exhausted frustrated creators to participate in organized games at 4am.

Nicole: Since this is a very controlled creative space (in terms of time and topic) where do you see yourself starting when you get in the space?
Kim: This year we have controlled time and topic, and the new experience that is Paranarium House! Tyler, Nicole and I met to talk about how we would approach making a new piece in a very collaborative new manner, and created a game plan. We will be using a lot of experimentation, sharing, writing and noisemaking with the three of us acting as facilitators. This might be the first time in my life where I have no idea what will happen and what the product might look like. Exciting!


Nicole: In creating a new work, what in the relationship between you and your dancers? Do they participate in the creative process? If so, how?
Kim: In past years of this festival my dancers have been integral to the creative process and I'd imagine it would be the same this year, just in a larger context. I enjoy starting a new ChoreoFest piece by working through concepts with experimentation and improv to see what might happen. Each new experiment is a refinement of what came before. I work similarly outside of ChoreoFest, though I tend to bring more specific ideas or choreographic material to try out.

Nicole: Knowing that Karen Krolak will be on hand as "choreographic guru", what things do you hope she can help with in the overnight process?
Kim: It will be amazing to have an outside set of eyes (clad in brand new ChoreoFest glasses, no less) to step in when we get deep in the process. Because the timeline is so condensed at ChoreoFest, it's so easy to get buried by ideas and lose sight of your initial impulses. Having someone around to ask questions and share what they are seeing will be so helpful.

Nicole: Who are some of your favorite choreographers?
Kim: I'm going to try to keep this random list somewhat concise: Andrea Miller, David Parsons, Bob Fosse, Mark Morris, Akram Kahn, Gene Kelly, Lloyd Newson/DV8 Physical Theatre... really anyone that makes dance with some driving force/passion behind it.

Nicole: Who are your mentors? How are you paying forward the things your mentor gave you?
Kim: As far as making dance and living life as a creator go, the wonderfully giving Karen Krolak has been invaluable to me in recent years and I certainly consider her a mentor (gosh, hopefully she accepts!). I think one of the sticking themes that I carry away from conversations with Karen is to not be limited by practicality in the face of a great idea, a sort of wild spin off on where there's a will, there's a way.

Nicole: Where can people learn more about you and your work?
Kim: LuminariumDance.org, or my brand new site kaholman.com. The best idea would be to come check out a Luminarium show, however, and there are lots of chances to do just that this fall.

ChoreoFest Interview: Jessica Chang and Jennifer Roberts!

by Nicole Harris

Photo courtesy of Jessica Chang

ChoreoFest starts TODAY!! We are just 2 brief hours away from the start of ChoreoFest, and we're down to our final three choreographer interviews. Introducing two wonderful co-choreographers, Jessica Chang and Jennifer Roberts!
 
Nicole Harris: What made you want to make the move from being a dancer to a choreographer?
Jessica & Jennifer: We felt the pull toward choreography because we want more freedom to carry out our own choreographic visions, not only serve as tools for other choreographers. We want to move in the specific ways that delight our bodies, and to embrace the movement idiosyncrasies specific to us.

Nicole: What are you most nervous about regarding ChoreoFest?
J &J: Producing quality work in such a short amount of time!

Nicole: Since this is a very controlled creative space (in terms of time and topic) where do you see yourself starting when you get in the space? 
J &J: The selected topic will be an obvious impetus for our initial movement ideas. Since time is a huge factor, we want to draft a first score quickly. The more time we have to play and edit within that initial structure- the better. 

Nicole: In creating a new work, what in the relationship between you and your dancers? Do they participate in the creative process? If so, how? 
J &J: We’ve been dancing together for years but only recently started choreographing collaboratively. We’re familiar with each other’s movement aesthetics but are still in the process of learning how to make space for both our strengths.

Nicole: Knowing that Karen Krolak will be on hand as "choreographic guru", what things do you hope she can help with in the overnight process? 
J &J: We’re excited to critically engage with someone with such vast experience in movement, costuming, text, and production. And we look forward to Karen pushing our work in new and interesting directions.

Nicole: Who are some of your favorite choreographers?  
J &J: Andrea Miller, Ohad Naharin, Zoe Scofield, David Dorfman

Nicole: Who are your mentors? How are you paying forward the things your mentor gave you? 
J &J: We both attended Mount Holyoke College and were molded by the great teaching artists of the Five College dance department including Terese Freedman and Jim Coleman, Cynthia McLaughlin, Katie Martin, and Peter Jones. Thanks to these and other faculty we were introduced to a wide range of contemporary movement styles.

ChoreoFest Interview: Tyler Catanella!

by Nicole Harris

ChoreoFest starts TODAY!! We are 25 hours away from the first of this years ChoreoFest performances, and we're rounding out our final choreographer interviews. Next up, longtime friend and collaborator, and one third of this year's choreographic super group, Paranarium House, Tyler Catanella of Paradise Lost!

Nicole Harris: What made you want to make the move from being a dancer to a choreographer?
Tyler Catanella: I feel like I've always been more of a choreographer than a dancer. I had some not-so-great experiences when I first started dancing where I felt like a pawn being used in a game I didn't believe in. So now I only do work where collaboration is premier. I encourage everybody in my company to be as smart of a director as they are a performer.

NH: What are you most nervous about regarding ChoreoFest?
TC: SLEEP! The last time we performed in 2013, I got really sick from staying up all night and composing the music to our piece, and only getting to sleep from 7:45-8:30am. I hope that we three companies can all gel together well so that the night goes smoothly (and with enough time to sleepsies)!

NH: Have you participated in ChoreoFest before? If so, what is your favorite memory of that experience? What advice do you have for new ChoreoFest choreographers? Are there things you hope to do differently this time?
TC: Hell yeah we have! My favorite memory was the 8:30am morning tech, where we realized: "Hey, we actually made a really great piece! And we're proud of it!" That was honestly the moment that gave us the confidence to form Paradise Lost into professional company.
As far as advice, I've got two big pointers: 1) Pace yourself! Don't exert a ton of energy in the first hour dancing all out. You've gotta conserve your mental and physical energy so that you have a cohesive piece at the end of the night. And 2) Say YES! Don't spend a lot of time talking about big ideas and improvising without setting. Make strong choices and roll with them. There is no room to go back and edit.

NH: Since this is a very controlled creative space (in terms of time and topic) where do you see yourself starting when you get in the space?
TC: We will start with a strong ensemble-building exercise that allows us to drop in and play with whatever theme we receive. From there, who knows!

NH: In creating a new work, what in the relationship between you and your dancers? Do they participate in the creative process? If so, how?
TC: Like I stated, I give lots of directorial freedom to those I perform with. I allow them to make choices with their characters, and even create space within the piece where they can set their own choreography. And often times, I'll let people work on something based on an idea or image I have, then bring it back for us to shape and mold together. I've got a ton of trust in these folks :)

NH: Knowing that Karen Krolak will be on hand as "choreographic guru", what things do you hope she can help with in the overnight process?
TC: One word: Sanity. I hope that she can reassure our process and keep us level-headed and focused on the end goal. Seems a pretty cool cat.

NH: Who are some of your favorite choreographers?
TC: Right now, I'm really digging a ton of hip-hop choreographers. So I'm really digging Tricia Miranda, WilldaBeast Adams, and Kyle Hanagami to name a few. They're doing great stuff with their dance videos.

NH: Who are your mentors? How are you paying forward the things your mentor gave you?
TC: I've got a ton of mentors in life, many of which are right here in Boston. People like Josie Bray have been incredible mentors in helping me find myself in the work that I do. My Associate Artistic Director Shannon Sweeny is my biggest inspiration in dance world because of how much she believes in what we do, and her bold and much-needed honesty always keeps me in check in the best way. She's the other half of the brain at this point, and the finest collaborator I've ever had/probably will ever have. And most importantly, I reflect so much on my grandparents when I make art. They themselves were hairdressers and worked till they were in their late 80's, but their love, dedication and hard work always keeps me grounded. It reminds me that life comes first, and that we make our art for the people we love and ideas in which we believe.

NH: Where can people learn more about you and your work?
TC: www.paradisemoves.com
Thanks Monkeyhouse! Paradise Lost loves you!

ChoreoFest Interview: Jennifer Crowell-Kahnberg!

by Nicole Harris

ChoreoFest starts TODAY!! As we enter the final countdown to showtime, we're happy to introduce you to the remaining participants on this year's ChoreoFest roster. First up, an interview with the talented Jennifer Crowell-Kahnberg of OnStage Dance Company!

Nicole Harris: What made you want to make the move from being a dancer to a choreographer? 

"Hey Mami" Choreographed by Jennifer Crowell-Kuhnberg. 

Photo by Kathryn Swayze Photography & Design 

for OnStage Dance Company (c) 2015

Jennifer Crowell-Kahnberg: I went to a performing arts school for junior high and as silly as it may sound I received the "Choreographer of the Year" award my senior year. I was so young and impressionable and it made me feel like what I created was valued. I guess I always had the choreo bug and was able to hone in on my own style as I worked with a variety of different teachers and other dancers.

NH: What are you most nervous about regarding ChoreoFest?
JCK: I'm really only nervous about staying awake and being able to create something good while exhausted! I'm excited to work with my dancers on this so as long as I have a ton of caffeine, I think I'll be ok!

NH: Have you participated in ChoreoFest before?
JCK: This is my first time participating in ChoreoFest.

NH: Since this is a very controlled creative space (in terms of time and topic) where do you see yourself starting when you get in the space? 
JCK: I think a lot of our decision making will depend on what type of music or theme we're given. I guess the first step is trying to navigate our different styles since we have dancers who work in everything from contemporary and tap to hip hop and bollywood. It's a crazy and interesting mix.

NH: In creating a new work, what in the relationship between you and your dancers? Do they participate in the creative process? If so, how? 
JCK: I always try to use my dancers strengths in helping to form and shape my work. It would be silly not to. But I suppose for some pieces I'm more open to taking suggestions or feedback and for others I may have a very specific vision and not want to stray too far from that. It all depends on why or what the piece is being created for. For ChoreoFest, it'll be all hands on deck.

NH: Knowing that Karen Krolak will be on hand as "choreographic guru", what things do you hope she can help with in the overnight process? 
JCK: I've never had a choreo guru before so not sure yet how we will want to use her help! But I'm sure that when we're all exhausted, we'll appreciate having someone there to bounce ideas off of or just talk and give our minds a break.

NH: Who are some of your favorite choreographers?
JCK:  I have SOOO many favorites, and they're all completely different. The short list is Travis Wall, Sonya Tayeh and Christopher Scott from SYTYCD, Camille A. Brown, Tina Landon, Bob Fosse, and Kenny Ortega.

NH: Who are your mentors? How are you paying forward the things your mentor gave you?
JCK: My first dance mentor was my dance teacher at my performing arts school, Elaine Hershfield. She encouraged me to create at a very young age and without her influence, I never would have pursued dance the way I have. I try to pay it forward through OnStage - our non-profit organization - where our mission is essentially to say to adults dancers, it's not too late to create something special, even if we won't ever be famous dancers or choreographers - those moments we share on stage with each other are truly special.
 
NH: Where can people learn more about you and your work?
JCK: Learn more about me and OnStage Dance Company at our website www.onstagedanceco.com or come take class at our studio at 276 Broadway in Somerville.

Choreofest Interview: Nicole Laliberté!

by Nicole Harris

Nicole Laliberté photographed by Robert Coghill

We're only 4 days away from ChoreoFest, the one and only 24-hour dance festival! Today we bring you the next installment of our ChoreoFest choreographer interviews, a chat with first time ChoreoFest participant, Nicole C. Laliberté!

Nicole Harris: What made you want to make the move from being a dancer to a choreographer?
Nicole C. Laliberté: I have always choreographed. As a little girl I would stage shows in my basement for my dear, patient parents. My best friend Lisa and I would perform. I had my first public showing of my choreography when I was in the 4th grade for a school talent show. I set a solo on Lisa to Blondie’s “Heart of Glass,” and one on myself to Gloria Gaynor’s “I Will Survive,” complete with multi-colored sequin tube top, LOL!
Later, as I pursued my formal dance training at The Boston Conservatory, I realized two things
that prompted me to start removing myself from my own work:
1. Being in the work prevented me from seeing the overall piece, its structure, spatial
design, cohesiveness….and also from being able to give dancers prompts / feedback for nuanced performance.
2. I sadly realized that although I had a powerful performance presence, my little body had
too many anatomical limitations to achieve the look I wanted. I would focus so hard on
extensions and pointed feet, thinking I had really done well, and then I would see myself
on video and cringe. This is still emotional and deeply personal for me to discuss; in fact, I’m not sure I should be disclosing this fact as I don’t want it plastered all over the web. I
chose to work with dancers who had the technical capacity and performance aesthetic
that I wanted for my works.

NH: What are you most nervous about regarding ChoreoFest?
NL: Well, I suppose keeping tensions down as we all become more sleep deprived, especially since I am working with some of my dancers for the first time, and this group is definitely working together for the first time. So I am unfamiliar with their personal triggers and preferred learning styles. Working with new people in a new group is always challenging for optimal
communication, and this setting adds much deeper challenges due to its nature. Keeping calm
and gentle communication open is key to a successful and enjoyable experience for all.
On a humorous but very real note: I am concerned about bringing too much stuff and the horrors
of trying to get all the stuff from my little Mazda into The Dance Complex on a traffic filled
Friday evening. I’m one of those people who thinks it best to bring something “just in case”
rather than to be caught without.

NH: Since this is a very controlled creative space (in terms of time and topic) where do
you see yourself starting when you get in the space?

NL: I will most likely start with some guided improvisation to help all of us get more comfortable
with each other. Depending on the topic, I may ask the dancers to engage in a written
exploration as a means of movement generation. Writing or no writing, unless I have an extremely strong personal connection to the theme, I would like the initial movement generation
to come from each of the dancers. We tend to better remember and most fully execute that
movement which naturally emanates from within our own bodies.

NH: In creating a new work, what is the relationship between you and your dancers? Do
they participate in the creative process? If so, how?
NL: Please refer to the information provided in response to the previous question. Additionally, I like to verbally engage with the dancers as to their thoughts and valuable insights about the creation of meaning in the work. Often I will ask the dancers what feels most comfortable or natural when finessing the details of the movement.

NH: Knowing that Karen Krolak will be on hand as "choreographic guru", what things do
you hope she can help with in the overnight process?
NL: Probably technological assistance with computer audio editing. I have a new laptop that I really don’t know how to use with its Windows 8 platform (grrr), and an old laptop that (at best)
functions at the speed of a snail trying to get up a molasses covered hill in winter.

NH: Who are some of your favorite choreographers?
NL: Oh boy…Alvin Ailey, George Balanchine, Mark Morris, Alonzo King, Jill Bahr, Dwight
Rhoden, Desmond Richardson, Bill T. Jones, Ulysses S. Dove… is that enough?

NH: Who are your mentors? How are you paying forward the things your mentor gave you?
NL: Oh my god, I could go on forever here…but first and foremost I must honor the memory of my recently departed mentor and colleague, Dr. Jan Van Dyke of Greensboro, NC. I can’t believe she is gone. She is being honored with a memorial this coming Sunday August 22nd, held at the UNCG Dance Theatre and livestreamed on the web. I can’t say enough about or adequately summarize how much I learned from Jan as a teacher, choreographer, administrator, and woman of dignity in the arts and academe.
Last week I was teaching young student choreographers during an intensive at The Dance
Academy in Fall River. I gave them the same first day lesson that Jan used in Choreography II,
The Craft at UNCG, for which I was twice her TA. We wrote rhythms on the board and
discussed time values of different musical notes, and how many beats per measure, and how to vary rhythm and apply it to movement to create new and interesting variations. It’s actually a
very difficult concept to grasp for most of us, but invariably successful in the end. The school
director was impressed when she saw the material and commented that they were learning so
much from me. I told her that it was all Jan, or JVD as we lovingly called her.

September Events!

by Aisha Cruse

It's September, the start of the school year, and the warm-up for the 2015-2016 entertainment calendar. So get ready, because the arts are in session!

Thu & Fri, September 3 & 4 @ 7:30 pm 

TWA: JAE Presents DBR, Lenelle Moise and Jean Appolon
Featuring Daniel Bernard Roumain (DBR), Lenelle Moïse & Jean Appolon : Presented by Jean Appolon Expressions
At Boston Center for the Arts - Black Box Theatre (539 Tremont Street Boston, MA)

$25

Twa, which means "three" in Haitian Creole, will independently showcase Daniel Bernard Roumain (DBR), Lenelle Moïse and Jean Appolon, some of the most innovative Haitian American artists of their generation. Featuring new work by Jean Appolon's Boston-based company set to music composed by Daniel Bernard Roumain (DBR) as well as a performance by JAE's Teen Intensive students.  Also featuring independent performances by traveling performance poet and award-winning playwright Lenelle Moïse, and acclaimed musician and composer DBR.

Fri & Sat, September 11 & 12 @ 8:00 pm 
JEANNE, the story of a woman
Featuring Contrapose Dance and Ensemble Warhol : Presented by Fort Point Theatre Channel and Contrapose Dance
At Boston University Dance Theater (915 Commonwealth Ave Boston, Massachusetts)

$20/ $14 student & senior
This is an hour long excerpt from a full length opera by Mark Warhol and James Swindell, featuring choreography by Junichi Fukuda and music by the Boston String Quartet. From the website: "Opera singers Anna Ward (soprano) and Patrick Massey (tenor), along with Contrapose dancers Nina Brindamour, Danielle Davidson, and Magdalena Gyftopoulos, will portray a modern day tale of birth, labor, death … a story of wisdom that comes with age and of innocence that only youth can claim as their own." 

Fri, September 18 @ 8:00 pm

Indian Ocean Live In Concert
Featuring Indian Ocean : Presented by AID MIT and MIT Sangam
At MIT Kresge Auditorium (48 Massachusettes Avenue Cambridge, MA)
$75/ $50/ $30/ $20 with a student ID

This is actually a straight-up music concert, but even though seats are assigned, it seems like the kind of show you watch on your feet. From the website: "Formed in the early 90s, Indian Ocean has spearheaded the Indian rock scene and is one of India’s few politically conscious bands. A cult band in its own right, the group has amalgamated Indian folk music with Western rock. Culling their lyrics from a variety of languages, including Hindi, Kashmiri, Bengali, Sanskrit and even Aramaic, their music ranges from rocking political anthems to meditative spiritual ballads."

Fri & Sat, September 18 & 19 @ 6 pm
2015 US Championship and Provincetown Dance Trophy
Presented by Kalin Mitov
At Provincetown Town Hall, Provincetown MA
$25-$35
Thinking about an end-of-summer escape to Ptown? Check out these two same-sex partner Ballroom Dance Tournaments. The goal of these tournaments is inclusiveness, along with all the flashy costumes, thrilling footwork and incredible grace of ballroom dance. And what with the Supreme Court decision, audience and competitors alike have a little extra reason to cheer this year.

This September, we've got two incredible arts festivals happening at locations all over Boston three weekends in a row. Looking to do some dancing? Don't worry. We've got you covered.

Wed - Sat, September 16 - 19 @ 6:00 pm - 9:00 pm
Sun, September 20 @ 3:00 pm - 5:00 pm

Let's Dance Boston
Presented by Celebrity Series of Boston
At Rose Kennedy Greenway (185 Kneeland Street Boston, MA)

Free!

I'm so excited for this I might have bounced up and down in my seat a little while writing this post. Each night, on the Rose Kennedy Greenway, there will be a two hour dance party with live music in a particular style (salsa, swing, disco) preceded by a 45 minute free dance class taught by area professionals. Wednesday is Latin Dance, Thursday is Swing, Friday is Disco, Saturday is Salsa, and Sunday afternoon is a return to golden-era Swing. All classes will be conducted on a specially erected dance floor just for the occasion. I'm going every night.

Fri - Sun, September 25-27 @ 8:15 am - 10:15 pm
Fri - Sun, October 2-4 @ 8:15 am - 10:15 pm

ArtWeek Boston
Presented by Local Artists and Arts Organizations
At Various (Multiple Boston, MA)

Varies by event, most under $25

I want to tell you about everything that is happening for this festival but there is so much going on that I literally can't. Go to the website and check out the calendar, there is just so much to see and do.  There are a ton of kid friendly events, including this amazing thing where the marquis on the citi Shubert and the Wang Theaters will be showing work by children in the Boston Public schools. Free and low-cost concerts abound. Go to the website, I'm sure there is at least one thing you'll want to see.

ChoreoFest Interview: Ryan Casey!

by Nicole Harris

We're only 8 days away from ChoreoFest, the one and only 24-hour dance festival! Today we bring you the next installment of our ChoreoFest choreographer interviews, a chat with incredible tap dancer Ryan P. Casey!


Nicole Harris: What made you want to make the move from being a dancer to a choreographer?
Ryan Casey: I think it was the realization that I had something to say – that I, too, wanted to make something of my own and put it out there for others to see and hear. 

Nicole: What are you most nervous about regarding ChoreoFest?
Ryan: How we’re going to forge ahead when we’re really tired and hit the wall, so to speak. It’s hard to be creative when you’re exhausted!

Nicole: Have you participated in ChoreoFest before? If so, what is your favorite memory of that experience? What advice do you have for new ChoreoFest choreographers? Are there things you hope to do differently this time?
Ryan: This is my second time doing ChoreoFest, and I’m definitely keeping in mind all the lessons I learned from before (2013). My company and I had a lot of fun, but we struggled to agree on anything. Our theme was “wishes,” and we experimented with – and ultimately discarded – many different ideas before finally deciding on a wishing well. But that wasn’t until 1 a.m. – some companies were already done by then! I learned that I needed to be a stronger leader/director for my troupe and make executive decisions for us all. This year, we’re definitely going to decide on a concept much sooner so that we can spend more time on actual choreography rather than toying with potential ideas.

Nicole: Since this is a very controlled creative space (in terms of time and topic) where do you see yourself starting when you get in the space?
Ryan: I work best when I have a fairly concrete idea of what’s happening, so I have to know what the scenario is, or who the characters are, or what the music is, etc. From there, my thoughts can blossom around it but I need that initial foundation to build upon. I suspect that we’ll brainstorm some possibilities for our chosen theme and consider what will best serve us as percussive dancers, and then create a concept or character idea from there.

Nicole: In creating a new work, what in the relationship between you and your dancers? Do they participate in the creative process? If so, how?
Ryan: I always want my dancers to be part of the process. I typically come in with the concept and the music, and sometimes some or a lot of the choreography, but I always want input – on steps, spacing, anything – from whomever I’m working with. The creative process is inherently collaborative, so why not make it explicitly so? I hire people not just because they are great dancers, but because they are great thinkers – they can bring more ideas to the table, so to speak, and make for a richer experience. The more invested they are in the creation, the more invested they will be in the performance – the better the show will be.
Even though my company is called Ryan P. Casey & Dancers, that is not at all reflective of a hierarchy or a “me vs. them” scenario. Frankly, I never wanted my company to be named as such and have always been vaguely skeptical of similarly named troupes. It always sounds to me like “Ryan Casey & Some Other People” or “The Ryan Casey Show.” I remember reading an article in which Betsi Graves described how she came to name her company Urbanity Dance rather than Betsi Graves & Company. That still speaks volumes to me.

Nicole: Knowing that Karen Krolak will be on hand as "choreographic guru", what things do you hope she can help with in the overnight process?
Ryan: I think Karen will be great for those moments when I’m wondering, “What am I not thinking of right now?” I expect she’ll be able to offer ideas that will send me down an intellectual avenue I won’t have even thought of yet!

Nicole: Who are some of your favorite choreographers?
Ryan: I loved working for Michelle Dorrance and watching her creative process unfold in the studio. She influenced my own thinking so much – not just in terms of rhythm or choreography, but just in terms of movement. I also love anything Dana Foglia does – her unique combination of sensuality and musicality is hypnotic.

Nicole: Who are your mentors? How are you paying forward the things your mentor gave you?
Ryan: I owe a lot to my primary tap teachers, Thelma Goldberg and Kelly Kaleta. Thelma’s most powerful message to me was to “share the joy of dance with others.” I recently received an email from someone who had seen my company perform at Jacob’s Pillow last year and, when he was there again a few weeks ago, made a point to watch our performance on video and tell me that he was smiling the whole time. That was one of the best compliments I’ve ever received; I saw so clearly how true Thelma’s words are.
I consider Billy Siegenfeld to be a significant mentor, as well. He taught me what rhythmic clarity, the ultimate goal (I think) of any percussive dancer, really means. There’s not a day that goes by where I’m not thinking, actively or not, of his principles.
Aaron Tolson and Michelle Dorrance were both kind enough to hire me for their companies, and I learned just as much dancing alongside them as I did sitting on the sidelines observing them. Michelle especially made the proverbial lightbulb go off over my head about what tap choreography could be.

Nicole: Where can people learn more about you and your work?
Ryan: They can visit my website, www.ryanpcasey.com; follow me on Twitter or Instagram, where I’m @tapdude24; or “like” my company, Ryan P. Casey & Dancers, on Facebook!