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Choreographer Spotlight with RON TODOROWSKI

RonSquareWe sat down with BDL Spring 2017 Cycle choreographer RON TODOROWSKI to get to know a bit more about his background, process, and goals for working with us. Below is transcript of that conversation.

BDL: Tell us a bit about your background. Where are you from originally? How did you start dancing and how did your transition into choreography occur?

RT: I’m from McDonald, PA, a suburb of Pittsburgh. I took a summer program of gymnastics when I was eight years old and my teacher’s mother had a dance school. He suggested I take dance and acrobatics there because of my flexibility. My desire to choreograph didn’t come until much later in my career.

BDL: Tell us a bit about your first choreographic job. Is there any advice you would give that young, budding choreographer now? 

RT: My first professional choreographic job was assisting Mia Michaels on Celine Dion’s Las Vegas show. We had about 50 dancers and could pretty much do anything we wanted. It was overwhelming and tough, but life changing as well.  It was the first time I felt that perhaps I wanted to do choreograph. Mia really encouraged me. The first choreographic job I had was for Wayne State University. I created an eight minute piece without much rehearsal time. My advice now would be to focus on editing. Most of the time, less is more.

BDL: Name one choreographer you admire and tell us why.

RT: Twyla Tharp! Her overall artistry, experience, knowledge, intellect, versatility, work ethic…I could go on forever.

BDL: And you’ve spent quite a bit of time working with her. Tell us more about that experience.

RT: It’s been incredible. She allows an artist the space to find character using dance as the dialogue. Her process has absolutely influenced mine, but my vocabulary I would say is all over the map. I’ve been inspired by so many choreographers I’ve worked with.

BDL: Tell us more about your process now. How do you usually begin? 

RT: It really depends on the project, but I’d say most of the time, the music is where it begins. The ideas and other elements manifest from there.

BDL: What made you interested in working with Broadway Dance Lab?

RT: The opportunity to work with a company of versatile dancers with the space and time to work out ideas is extraordinary and any choreographer’s dream!

BDL: Do you have any specific goals for your BDL residency? Are there any ideas you know you want to explore or techniques you’d like to test?

RT: Yes! I’d like to work on an idea I’ve had for several years. My goal is to work on four songs by the same artist, introducing characters and exploring what the full show could be. I really want to stay in the present moment during rehearsal and create from there without hesitation.

BDL: What is it like working with a company of dancers you’ve never met before?

RT: I’ve actually danced with three of the company members before, so that’s exciting! As for the rest, I’m sure I will get to know them very quickly. Sometimes I start rehearsal with yoga and breathing to get connected, but most likely we’ll just dive right in!



Viewpoints with Mary Kate Hartung

jpatterson-224Our Viewpoints series allows you to hear directly from our dancers as they speak about their training, the rehearsal process, and the experience of working with Broadway Dance Lab.

Mary Kate Hartung, a Wisconsin native, received her training from NYU’s Tisch School of the Arts and The Salzburg Experimental Academy of Dance. Post University, she has had the pleasure of working with Twyla Tharp, David Dorfman Dance, Keigwin + Company, Bugge Ballet, BOINK Dance, Rosie Deangelo, Jacklyn Walsh, Broadway Asia, The Kuperman Brothers, and ChristinaNoel and The Creature, among others. Her own choreographic work has been performed both nationally and abroad. When not dancing, MK can be found teaching dance, tutoring English, history, and SAT, and meandering the streets in search of NYC’s hidden gems.

BDL: Can you tell us a bit about your dance training?

MKH: My training began at an “all inclusive” studio in Wisconsin. We did ballet, modern, jazz, tap, The Nutcracker, contemporary concerts, and competitions. I had a ton of opportunities there. Then I came to New York to study dance at Tisch NYU, with supplemental training in Salzburg, Austria. Since graduating, I’ve been working as a freelance artist, exploring opportunities in both concert dance and theatre.

BDL: What interested you in working with Broadway Dance Lab?

MKH: I was initially interested in BDL because of the amazing lineup of choreographer for this Cycle. Once booked, and as it got closer to start time, I became equally excited about working with the incredible dancers who were going to be involved.

BDL: What has it been like to watch choreographers of all different styles work in the Lab?

MKH: Process is my favorite part of dancing. I love being creative and lending my own artistic voice to the arena. It’s been so amazing having different processes each week. As dancers, we’ve really had to keep our brains turned on and tuned in to what each choreographer needs and wants. I can’t yet comprehend how many networking relationships I have made in the past two months. I imagine ripples of opportunity will continue to come to me through BDL for a very long time.




Q&A with choreographer JOANN HUNTER

JoAnn M. HunterJOANN HUNTER has 20 Broadway shows to her credit as either a choreographer, associate choreographer or performer. Choreography for Broadway: School of Rock, Disaster, On a Clear Day…with Harry Connick Jr.. Off-Broadway: Dedalus Lounge, The Twelve (workshop). National Tour/Regional: Harmony by Barry Manilow and Bruce Sussman at the Ahmanson Theatre, world premiere of The Nutty Professor, directed by Jerry Lewis, Chitty Chitty Bang Bang, Pump Boys and the Dinettes, Grease, Oliver, Curtains. She has directed Debra Monk in her one woman show with special guests Ron Rifkin, Andrea Martin, Victor Garber, Charlotte D’Amboise, Jimmy Newman, Brandon Victor Dixen, and David Hyde Pierce. The Drama League Galas honoring Angela Lansbury, Kristen Chenoweth, and Neil Patrick Harris. In development for RFP of Rock and Roll Refugee about the life of Genya Raven, Lourds Lane superhero rock musical Chix 6 and Perfect Spiral, a ballet with words about the will to do what you were born to do regardless of a possible outcome.

We spoke with JoAnn Hunter about her training, impressive Broadway career and the specific goals she’s bringing with her to Broadway Dance Lab.

BDL: Can you tell us a bit about how you got started in the world of theatre and dance?

JH: My mother is the one who introduced me to dance. She wanted to dance but came from a very poor family in Japan. At age 11, she asked if I wanted to take ballet. My first mentor, Nancy LeFebvre DiCicco was my dance teacher and she was brilliant. She taught me to study from as many teachers as I could to learn about style and the way they work. I was very fortunate that she had such insight. I received a scholarship to dance with Chuck Kelley in NYC the summer between my junior and senior year of high school. I fell in love with NYC and at the age of 17 I moved here and have never looked back.

BDL: How did you being choreographing and what was that transition like?

JH: Oh well this may not be the norm, or maybe it is. I had no intention at all of choreographing. After performing in my 12th Broadway show, I knew I needed a break. I was so lucky but doing 8 shows a week, 50 weeks a year… I wanted a bit of time off. Rob Ashford asked if I would like to be his associate. I said, “ok,” and I loved it. I loved being in the room, the banter, the creative juices that come at once or not at all, and I could have a glass of wine at dinner. I was happy being an associate. You do not get the accolade or monetary satisfaction it if succeeds, but you also do not get blamed if it does not. One day, a director I knew called me and asked if I wanted to choreograph the national tour of Chitty…. I thought long and hard and decided to try it. If I was bad, it was on tour. No one in New York would see it. Well, I loved it more than I could have imagined. Being in the rehearsal room with dancers is the absolute best place to be!

BDL: What skill sets do you feel someone needs to possess in order to be a good choreographer?

JH: Point of view!!! And for me, always, the ability to tell a story. I like narrative. It was how I danced. With story there is a reason and a why.

BDL: What interested you in working with BDL?

JH: Josh Prince! And this incredible opportunity. It is crazy that programs like this simply do not exist out there. I can not tell you how much I have spent out of my own pocket to just play and practice what I do.

BDL: What specific goals are you bringing with you to BDL?

JH: I am working on a “dance with play” that I have been creating and working with BDL will be such a luxury! My director will be here, along with my composer. I hope to complete the first four sequences of this piece or at least see if it works and has an emotional impact.



Q&A with choreographer LARRY KEIGWIN

Larry KeigwinLARRY KEIGWIN is a native New Yorker and choreographer who has danced his way from the Metropolitan Opera to downtown clubs to Broadway and back. He founded KEIGWIN + COMPANY in 2003 and as Artistic Director, has led the company to perform at theaters and dance festivals around the world. Since the company’s premiere performance at Joyce Soho in 2003, Keigwin has created dozens of dances for company’s such as Paul Taylor’s American Modern Dance, Royal new Zealand Ballet, The Martha Graham Dance Company, New York Choreographic Institute, The Juilliard School and many others. His work in musical theatre includes choreography for the 2011 production of “Tales of the City” at American Conservatory Theatre in San Francisco, and the off-Broadway production of “Rent,” for which he received the 2011 Joe A. Callaway Award from the Stage Directors and Choreographers Foundation. In 2013, Keigwin choreographed the Broadway musical “If/Then,” starring Idina Menzel. 

We sat down with Larry Keigwin to discuss his background, body of work, and the specific goals he’s bringing with him to Broadway Dance Lab.

BDL: Can you tell us a little bit about your background? How did you get started in the dance world?

LK: I was the gotta dance kid. I was always moving. My earliest dance memory is dancing on my front lawn with abandon, performing choreographed routines for any passing cars. Fast-forward ten years later to high school, I became obsessed with the “Club MTV,” a dance show on the channel during the time when it used to play music videos. When I heard they were holding auditions, I took the LIRR, auditioned and got that gig, my first paying dance job! Shortly after that, I made my stage debut during a high school production of My Fair Lady. When I landed flat on my back during an unfortunate, overly-eager hitch kick, it was clear I needed to start training. I ended up attending Hofstra University, danced for several modern dance companies, as well as on Broadway and at the Metropolitan Opera and now I am a choreographer.

BDL: That brings me to my next question, what was the transition from performer to dancer like?

LK: It was actually rather seamless, with a natural progression. I was working for a choreographer who encouraged me to create my own work and I did. When I began sharing my work, I was surprised by how many people came out to support me. It was the support from others that gave me the confidence to keep creating. I would say it was also an overlap, I continue to dance while also choreographing.

BDL: What skill sets do you feel are necessary to be a successful choreographer?

LK: Observant, playful, flexible, patient, musical, organized, and curious.

BDL: You obviously have extensive experience in the world of concert dance. But you’ve also done some crossover work in the world of commercial theatre. What are some of the differences you find working in those two fields?

LK: I think one of the things that changes is the story. Concert dance can be very abstract, while creating for the theatre usually involves a story line. The focus becomes the character and their journey. Regardless, I like to keep my process the same. The dancers are the inspiration and the music drives me. I choreograph because it brings me closer to dance and therefore closer to our community. I’ve always enjoyed putting things together. A puzzle. I often give the analogy of being a dress maker. The dancers are creating the fabric, the color and the texture. It’s my job to edit and help it all come together.

BDL: What interested you in working with Broadway Dance Lab?

LK: I am currently very interested in seeing how I can build a dance narrative using my abstract process, while featuring the fierceness of theatrical dancers. I am ready to tell a story through dance, a story that is about the dancers.

BDL: What specific goals are you bringing with you for your BDL residency?

LK: I am looking forward to creating a dance about the inner lives of the dancers told through the framework of a costume quick change.


Q&A with choreographer LORIN LATARRO

Lorin LatarroLORIN LATARRO choreographed Broadway’s Waitress, Waiting For Godot with Sirs’ Patrick Stewart and Ian McKellen, Curious Incident of the Dog…(Associate), Queen Of The Night (Drama Desk Award), The Public’s Twelfth Night and Odyssey at The Delacorte, Lin-Manuel Miranda’s 21 Chump Street and Peter and The Wolf at BAM, Encore’s God Bless You, Mr. Rosewater and Fanny, Best Yet To Come (Drama Desk Award), Broadway’s American Idiot (Associate), Beaches-Drury Lane, Kiss Me Kate-Barrington, The Met’s Rigoletto (Assoc). Lorin is a Bucks County Playhouse Artistic Associate: Company, Ain’t Misbehavin’, Buddy, Rocky Horror, Taste of Things To Come (Director). Performed in fourteen Broadway shows, danced with Twyla Tharp, Momix, Robert Wilson, Graham. Lorin is a graduate/adjunct professor at The Juilliard School and founder of artammo.org, Artists Against Gun Violence. Upcoming: La Traviata at The Met Opera. LorinLatarro.com

We recently sat down with Lorin to discuss her training background, impressive Broadway career and the goals she’s bringing with her for her residency with Broadway Dance Lab.

BDL: Can you tell us a bit about your background? How did you enter the world of dance?

LL: I grew up dancing in New York City and auditioned and was accepted into The Juilliard School. That’s when my life changed; dance and choreography wholly became my focus.

BDL: Can you speak a bit more about your transitioning into choreography? What was that evolution like?

LL: I was choreographing since I can remember. In college, Juilliard had opportunities like taking composition classes and Bessie Schoenberg, for whom the Bessie award is named after. We also go to work on high profile creative projects with Lincoln Center and opera and Shakespeare plays on top of dance choreography. I performed in many companies and Broadway shows, but ultimately always knew my love of creating would supersede performing. The transition was metamorphic and cathartic in many ways. I assisted many great artists along the way to both supplement my income and continue to learn.

BDL: What skill sets do you feel are necessary to be a successful choreographer?

LL: A combination of textual and kinetic skills are necessary. You have to tell the story at every given moment, while lifting the text off the page to a larger, visceral event. It is a position of artistic service – serving the story, serving the director, serving the actors and dancers and serving and nurturing your own creative impulses amongst all the diverse needs of the show.

BDL: You’ve worked in the worlds of concert dance AND theatre, what are some of the differences you find working in those different fields?

LL: Personally, I am always interested in telling a story. In concert dance, it is lovely to have dance be the center of the storytelling, instead of the periphery or background, but the worlds are continuing to merge and dance is an agnostic language that everyone can understand.

BDL: What interested you in working with BDL?

LL: BDL is affording me the opportunity to try out some ideas on paid dancers that have been swimming around in my head for a while now. Choreographing is an expensive endeavor. Studio rental and dancers cost money and liability.

BDL: What are some challenges you face as a choreographer that people may not be aware of?

LL: Choreographers unfortunately tend to be the last creative artists brought on to a project. How can you have deep choreography that works on many levels and finds things off the page, and lifts the entire show, if it is only given the last four weeks of a usually very long process of writing the piece? If choreographers were invited to early writing meetings, theatre would be more progressive in how the storytelling is accomplished instead of the more traditional – come in and paint on the dances six weeks before audiences are invited.

BDL: What specific goals are you bringing with you for your residency with us?

LL: I am interested in creating an evening length danced piece of theatre. I have a story I desperately want to tell and thanks to BDL’s generosity, I’ll be able to physicalize some of ideas and see if they stick.




VIEWPOINTS with Kory Geller

Kory Geller Headshot-1Our Viewpoints series allows you to hear directly from our dancers as they speak about their training, the rehearsal process, and the experience of working with Broadway Dance Lab. 

Kory Geller is thrilled and honored to return to BDL, having taken part in Cycles 2 and 3. Born and raised in Yardley, PA, he trained at Spirit in Motion Ballet Theatre, Princeton Ballet School, Luigi Jazz Centre, American Ballet Theatre, Complexions Contemporary Ballet, and Broadway Theatre Project. A graduate of NYC Tisch School of the Arts (CAP21), Kory has also danced with The Chase Brock Experience, and at the Guggenheim, Symphony Space, 92nd Street Y, Judson Memorial Church, and Macy’s Thanksgiving Day Parade. Theatrical credits include The Music Man (Flat Rock Playhouse), Mary Poppins, Joseph… (Ogunquit Playhouse), and A Christmas Carol (McCarter Theatre). Kory also loves to share his passion for dance, and has taught at CAP21, Rider University, and McCarter Theatre, as well as coaching students privately.

BDL: Can you tell me about your training and dance career thus far?

KG: After seeing Footloose when I was 8, I started taking dance classes. I went to a studio where singing and acting training were also emphasized, so I immediately set my sights on theatre and Broadway. I then trained at various dance and theatre programs before ending up at NYU Tisch School of the Arts, where I graduated with a BFA in Drama.

BDL: What interested you in working with BDL?

KG: I saw Parsons Dance Company perform at the Joyce in January 2014, and sat there thinking, “I want to dance in a company.” When I got home, I googled “dance company auditions,” and a posting for BDL came up. It was the perfect company! Theatre and dance combined in one package. I’ve done shows where numbers were shortened, even cut, and creatives said things like, “this will do,” or “we’ll fix that in the next production.” This was all because of lack of time, especially when it came to exploration. It’s the sad reality of our current creative climate. But it doesn’t have to be that way. BDL really changes all of that.

BDL: This is your third Cycle with BDL. What’s it been like to watch the company grow and expand?

KG: It’s crazy to think about just how much it has grown. My first time doing BDL was a four week Lab in which Josh was the only choreographer. Our first presentation was in a studio, and I remember Josh talking a lot about his dreams for the company and hopes for expansion. It’s really hard to establish and sustain company in the arts and few people succeed. It’s been incredible to be a part of BDL and see that everything Josh hoped for the company has been met (and surpassed!) The company is consistently growing and achieving what it strives for and I couldn’t be happier or prouder to be a part of it!

BDL: What has BDL given you as a dancer that you didn’t have before?

KG: So many things! In addition to getting to work with so many incredible choreographers, it has given me the chance to be in a company, something I always wanted but never thought I’d achieve.  Also, it have given me a sense of ownership and pride in my dancing and abilities. The choreographers ultimately want you to bring your ideas and strengths into the room and apply it to their work. Working with so many different people and different styles, I have learned how to be myself, trust what I can do, and then dive into new waters. It has been an invaluable experience.

BDL: What has it been like to watch choreographers of all different styles use the Lab?

KG: I constantly think to myself, ” This is so cool!” I have gotten to watch so many geniuses work. Everyone works differently, so each person uses the Lab differently, whether it is bringing in fully fleshed out ideas and finally being able to use bodies to express them, or having the start of and idea and beginning to shape it. Not to mention the different forms of work that have been developed, from concert dance pieces to musicals to movie sequences. It shows how endless BDL’s resources are! Also, it shows that no matter what you are creating, the need to play and explore is universal.


Q&A with choreographer JEFFRY DENMAN

Jeffry DenmanThis summer, NYC-based choreographer JEFFRY DENMAN is partnering with BDL to workshop material for a new, dance-driven musical based on the harrowing true story of immigrants traveling from Independence, Missouri to California in the winter of 1846. Denman’s choreographic credits include Broadway workshops of YANK! and Spongebob The Musical; and Off-Broadway productions of YANK! (SDC Callaway, Lortel Noms), Naked Boys Singing, and Assistance and Bullet for Adolf. He is the founder and artistic director of The Denman Theatre & Dance Company.

We sat down with Jeffry after a rehearsal and got to know a bit more about his background, his goals for the workshop and what made him want to work with Broadway Dance Lab.

BDL: It’s such a pleasure to be working with you, Jeffry! Can you tell us a bit about your background? Where are you from originally and how did you get started as a dancer?

JD: I was born and raised in Buffalo, NY. I didn’t really start dancing until high school when the Swing Choir choreographer at my school, Lynne Formato (currently a professor of Musical Theatre at Elon University) created a solo for me. Ever since then, I’ve been dancing. So, “thank you, Lynne!”

BDL: How did your transition into choreographic work evolve?

JD: I went to the University of Buffalo and as a musical theatre dancer, I had to take three full years of the other dance disciplines, plus partnering classes, choreography classes, etc. I loved choreographing, and started to choreograph my classmates’ midterms and finals. Then I started creating my own projects – ballets and musicals – that were produced in Buffalo.

BDL: What are three words that you would use to describe your choreographic style?

JD: I actually think other people would answer this better, so I’ll use words that directors and colleagues have used: “classic”, “athletic”, and “moving.” They are certainly qualities I strive to achieve.

BDL: Tell me more about the project you’ll be working on during your time with BDL. You’ve described it as being inspired by the movement rather than the text, can you explain that further?  

JD: The Donner Party Project has to do with the true story of a group of immigrants who traveled from Independence, Missouri to California in 1846. They ended up getting trapped in the Sierra Nevada mountains, outside of Lake Tahoe, during one of the worst winters to ever hit the area. 87 people went into the mountains and only 42 came out. Most people had to resort to cannibalizing the dead in order to survive.

When the piece first began materializing, I was working with choreographer Liz Lerman. I told Liz about my ideas and that I wanted to depict potentially disturbing events through dance. She had done the same with a piece I worked on with her at La Jolla Playhouse, called Healing Wars. Within that piece, Liz had managed to depict PTSD, amputation, war and death in artful, haunting and beautiful ways. I loved the way the movement made the topic it was portraying incredibly poetic, without losing any emotional impact. I began to think I might be able to do a similar thing with the events surrounding the Donner Party story.

Liz encouraged me to “get right into the studio” and start to move. “Don’t worry about the text,” she said. “Just move.” And she was right! So now, as we continue to develop this project, my playwright, Joy Tomasko, and I are very conscious of making sure the movement is driving the work’s creation as opposed to the text. It’s also become the motto of the Denman Theatre & Dance Company. “First, we move.” Thank you, Liz!

BDL: That’s so wonderful! What made you want to contact BDL for this project?

JD: I’ve known and admired Josh for a long time, and had been keeping my eye on what he was doing with BDL. It seemed to me that this project would fit well within the company’s mission. It’s not a musical in the strictest definition of the term, but then neither was Susan Stroman’s Contact. So I reached out to Josh and he was very excited about the prospect for that very reason. He didn’t want to categorize the work, and was interested in the fact that it was being born out of movement. I’m so excited to be working with BDL on this!

BDL: What specific goals do you have for this residency period?

JD: We’re really hoping to take the movement we’ve already created and further develop it. We’ll also be introducing the new component of text into the work. I’m very excited to see how it all fits together. We’re also currently looking for a theatre or producing entity that might want to partner with us on the piece.

BDL: What’s next for your after you finish this residency?

JD: I currently have three additional projects that I’m interesting in developing. And I’m hoping the Denman Theatre & Dance Company can work with BDL again very soon!



c38d44b2-6847-4d88-9a99-1d229afe822cBDL is seeking highly trained, stylistically versatile male and female dancers for a nine-week contract. Cycle 4 choreographers will include Artistic Director Josh Prince, Larry Keigwin, Lorin Latarro, Rosie Herrera, Al Blackstone, and others to be announced.

Auditions are by appointment only.
For more information, and to register CLICK HERE.


VIEWPOINTS with Melanie J. Comeau


Our Viewpoints series allows you to hear directly from our dancers as they blog about the process and experience of working with Broadway Dance Lab.

Melanie J. Comeau grew up training at the Albany Berkshire Ballet in Pittsfield, MA and has had the pleasure of performing works by contemporary artists Jill Johnson, Christopher Roman, and Aszure Barton in her training. Since receiving a degree in Human Evolutionary Biology from Harvard University in 2013, she has enjoyed working with the Kuperman Brothers, Sidney Erik Wright, Mary John Frank, Eric Williams, and numerous music artists in NYC. Proud Crimson fan and alum of the Signet Society and Hasty Pudding Theatricals.

BDL Cycle 3 is about to wrap week 5, and what a fantastic five weeks it’s been! Josh has curated a warm, welcoming, and wonderfully talented company of dancers from all over the dance spectrum; it’s been a blast to learn from one another’s experiences and varying skill sets as we delve into new territory with each choreographer. I leave the studio each day wholly inspired—not only by the vibrant new movement we’re collaborating on and the prowess of the Cycle 3 choreographers and my peers, but by the bravery and respect that emanates from each body in the room. (As I tend to shy away from the pressure of it,) I know getting in front of a group of dancers and having to produce something for them to do is *scary! *Most of the choreographers we’ve worked with have said, “I have no idea what I want here” at one point or another. With some sweat, playfulness, and a lot of trust, we’ve figured it out, time and time again.

My colleague Clinton and I, as understudies/apprentices, are able to have the amazing perspective of both jumping into the work yet also stepping back to see each new story as it’s created, edited, and lived in. Some of my favorite moments in rehearsal so far have been of sneakily observing the choreographers as they watch their ideas (maybe even ones they didn’t know they had until that day or hour) come to life. There’s an electricity and appreciation there that is so genuine and so rewarding to be a part of. It’s rare that a choreographer has the freedom to create like this—with the luxury to be carefree about resources and overhead costs—and it feels like a blessing to be able to work with an organization that understands these limitations of the dance and theater world.

In working to solve some of these problems, BDL is able to keep the annoying (yet incredibly necessary) logistics outside of the studio and simply allow us to do the part of the job we love to do, and for this we are all incredibly thankful. I cannot wait to see what the remaining weeks have in store!



VIEWPOINTS with Tré Smith

Tré SmithOur Viewpoints series allows you to hear directly from our dancers as they blog about the process and experience of working with Broadway Dance Lab.

Tré Smith is a native of Charlotte, NC, and a graduate of the University of the Arts. He was a member of Eleone Dance Theatre, Complexions Contemporary Ballet and is currently a member of Camille A. Brown & Dancers. Additionally, Tré has performed with Pennsylvania Ballet, Ballet Noir, Waheed Works, Ballet Folkloric Di’Haiti, Collage Dance Collective and Amerca’s Got Talent. He has also assisted several major choreographers such as Desmond Richardson, Troy Powell, Ray Mercer and Camille A. Brown.


Starting week 5 of Cycle 3 is so exciting! Seeing how much we all have learned in the space about one another and ourselves is so special.

Day one with all the other Cycle 3 artists was an interesting experience. Sitting around hearing everyone’s background was truly inspirational.  The amount of exposure we’re gaining working with the choreographers is something we won’t forget.

When would we have this opportunity to work with 6 choreographers within an 8-week time frame? Each week we have to adapt to a new story, character, and still be able to produce great work.

Coming from a strong “concert dance” background, working with choreographers over the years has opened my eyes to many levels of exposure. I tend to consider myself a great listener and fast learner when it comes to adapting to a choreographer’s aesthetic, technique, and process. When I received this opportunity to join this cycle of Broadway Dance Lab, I was filled with so much anxiety. Because yes, I have auditioned for Broadway shows and assisted on some pre-production projects, but I never explored the area where the choreographer had the space and time to play with their ideas. That’s exactly what we are doing. Figuring out what works and what doesn’t.

Being a dancer you have to always keep a broad open mind when it comes to process. The choreographer is depending on you and your choices to influence their visions. So I knew our job weighed heavily when working one on one with choreographers.  As we hit the midway mark of the BDL Cycle 3 experience I am very happy with how far we have come but so anxious to see what the weeks have to offer.