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Broadway Dance Lab is thrilled to welcome the incomparable Marcelo Gomes to our roster of choreographers joining us in the lab this season.   We are honored that this superstar of the ballet world supports BDL’s mission to “reach across the aisle” and invite choreographers of all backgrounds to explore the Broadway idiom.

Marcelo Gomes Photo by: Jade Young

Marcelo Gomes
Photo by: Jade Young

Marcelo Gomes is one of classical ballet’s most sought-after male dancers. A native of Brazil, Mr. Gomes joined American Ballet Theatre in 1997 and was promoted to soloist in 2000 and principal dancer in 2002. He has performed in every full-length ballet in the company’s repertoire, and has worked with and/or created leading roles for virtually every major choreographer in the last 18 years including George Balanchine, Mikhail Fokine, Anthony Tudor, Sir Kenneth MacMillan, Jerome Robbins, Sir Frederick Ashton, John Cranko, and Martha Graham, Twyla Tharp, John Neumeier, William Forsythe, Paul Taylor, Mark Morris, Jiri Kylian, Lar Lubovitch, James Kudelka, Nacho Duato, Jorma Elo, Benjamin Millepied, Christopher Wheeldon, Matthew Bourne and Alexei Ratmansky.

Mr. Gomes’ performances have been seen throughout the world. In addition to his touring with ABT, he has appeared at many international dance festivals, and has been a guest artist with the Bolshoi Ballet, the Mariinsky Ballet, National Ballet of Canada, The Royal Ballet, Dutch National Ballet, Teatro Colon, Mikhailovsky Ballet, Universal Ballet, Teatro Municipal do Rio de Janeiro, and New York City Ballet.  He is the recipient of numerous awards including the Hope Prize at the Prix de Lausanne, a Bessie Award, and the Pris Benois de la Dance.

Marcelo Gomes Photo by:MIRA -American Ballet Theatre

Marcelo Gomes
Photo by:MIRA -American Ballet Theatre

Mr. Gomes has recently begun a successful choreographic career, and has created pieces for American Ballet Theatre, Complexions Contemporary Ballet, La Scala and Kings of the Dance. His ballet Apothéose, created for Julie Kent and Roberto Bolle, had its premiere on the opening night of American Ballet Theatre’s Metropolitan Opera House engagement in May 2013.  His newest work, AfterEffect, will enter the repertoire of ABT in October 2015 at the David H Koch Theater at Lincoln Center in New York City.

In January 2015, The HARID Conservatory initiated the Marcelo Gomes Scholarship Program, which provides invaluable assistance to gifted young male dance students.

Find out even more about Marcelo Gomes by visiting www.marcelogomes.co



We are thrilled to kick off our 2015 season by introducing our first Cycle 3 choreographer, Camille A. Brown.  Read more about Camille below and you’ll see why we are so very excited she is joining us in the studio this Fall.

Camille A. Brown, photo: Ra-Re Valverde

Camille A. Brown, photo: Ra-Re Valverde

Camille A. Brown is a prolific choreographer who has achieved multiple accolades and awards for her daring works. Ms. Brown is a Bessie Award Winner for her work, Mr. TOL E. RAncE, a 2015 Doris Duke Artist Award recipient, 2015 TED Fellow, two-time Princess Grace Award recipient (Choreography & Works in Progress Residency), a two-time recipient of NEFA’s National Dance Project: Production Grant, 2015 Lucille Lortel Award Nomination (Fortress of Solitude), 2015 MAP Fund Grantee, recipient of 2015 Engaging Dance Audiences Grant, the 2014 Joyce Award with DANCECleveland, a Jerome Foundation 50th Anniversary Grant, and a 2014

New York City Center Choreography Fellow. She was also the 2013 recipient of The International Association of Blacks in Dance Founders Award, the Mariam McGlone Emerging Choreographer Award (Wesleyan University), and the 2012 City College of New York Women & Culture Award.

Informed by her music background as a clarinetist, she creates choreography that utilizes musical composition as storytelling investigating the silent space within the measure, and filling it with mesmerizing movement.

Camille A. Brown’s choreography and dynamic performances have led her to receive a Bessie nomination for Best Performance in her work, The Evolution of a Secured Feminine, and a Best Choreography nomination from the Black Theater Arts Alliance for her debut work set on the Ailey Company, The Groove To Nobody’s Business.  She was also among the first cohort of fellows for Ailey’s New Directions Choreography Lab.

Camille A. Brown

Camille A. Brown, photo: Matt Karas

Commissions include: Alvin Ailey American Dance Theater, Philadanco!, Urban Bush Women, Complexions, Ailey II, Ballet Memphis, and Hubbard Street II, among others. She was the Choreographer for Saverio Palatella’s line, Whole¬garment 3D, for New York Fashion Week in 2008. A graduate of the LaGuardia High School of the Performing Arts, Ms. Brown earned a B.F.A. from the University of North Carolina School of the Arts. From 2001-2007 she was a member of Ronald K. Brown’s Evidence, A Dance Company, and was a guest artist with Rennie Harris’ Puremovement, and Alvin Ailey American Dance Theater (2008 and 2011).

Theater credits include: Choreographer of A Streetcar Named Desire (Broadway 2012), The Fortress of Solitude (The Public Theater), Stagger Lee (DTC), William Shakespeare’s A Winter’s Tale (Regional), Jonathan Larson’s tick, tick…BOOM! (City Center Encores! Off-Center), and Marcus Gardley’s THE BOX: A Black Comedy (Regional).

Initiatives include: The Gathering, an open forum for intergenerational black female artists to support one another and to advocate for greater cultural equity and acknowledgement in the contemporary dance world; BLACK GIRL SPECTRUM, a multi-faceted community engagement initiative that addresses the civic, educational, and economic struggles of black girls and women and seeks to amplify the cultural and creative empowerment of black girls and women through dance, dialogue, and popular education tools.

Camille is also the Co-Director (with Moncell Durden) of the new program at The Jacob’s Pillow School. Her new work, BLACK GIRL: Linguistic Play, will premiere at The Joyce Theater September 22-27, 2015.

For more information on Camille A. Brown and her company please visit:  www.camilleabrown.com



I’m working differently in the Lab than I have ever worked before.  I find myself exploring more patterns and vocabularies and I am deferring less to story.  Story is hugely important in musical theater and I certainly will never abandon it.  But I am hoping that in trying my hand at more non-literal ideas I can free myself from the “givens” of story and allow my dances to take their own shape.   Michelangelo said, “Every block of stone has a statue inside it and it is the task of the sculptor to discover it.”  I’m trying to see what happens if I have no predetermined notion of how a piece should be constructed.  Well this is certainly easier said than done.  Every step of the way I fight the urge to produce a slick product for an unseen “boss”.  Sitting with the discomfort of not knowing or not seeing a result is something that is so foreign to me it often makes my stomach turn.

This past week I came upon a challenge that I have never experienced before.  Ever.  I brought in what I thought to be an almost rudimentary piece of music with a very strong pulse and modern feel.  I told the company that we might simply explore walking patterns to this music. Now, those of you out there who have trained in dance know just how difficult “simple” things like walking and running can actually be. They really are deceptively tricky elements.  So I bring in this music with the driving beat and I ask the ladies of the company to walk to it.  To my horror, they can’t collectively find the beat… they can’t keep a consistent, unified rhythm.  How could this be??  These are some of the most talented dancers in the city.  What’s going on?  I am stymied.  I am stuck.  I have been a tap dancer for 34 years and I can explain pretty much any rhythm to anyone.  How can this music be interpreted any other way than the way I hear it? Nevertheless…What I hear so clearly in this music is not what all of my dancers hear!!  We all feel like we have entered the Twilight Zone of dance.  We get as far as we can that rehearsal but we eventually stop.  I don’t pick this number up again for quite a few days and, in the meantime, the women have banded together to work on the material.  However, after days of practice, it is still no more solid.  How can this be?!   This was a piece of music which I had planned on using to explore something conceptual, yet here I was stuck trying to figure out how to get my dancers to just…well… walk!  

I feel myself getting scared.  Testy.  Confused.  Frustrated.  Resentful.  Angry.  Judgmental.  Self-judgmental.  Defeated. Ashamed. Resistant.   The list of emotions that I felt within the course of one rehearsal was a mile long.   And I am quite certain each dancer felt it, too.  Here we all were encountering a problem that no one in the room could resolve!  Not one of us could put our finger on exactly what was happening.  Why was everyone hearing the music so differently and so inconsistently?  It was confounding and, as you might imagine, it was a severe artistic road block.

The questions began to arise:  “I’m halfway through…Do I want to give up on this?”, “What would happen if we had a show tomorrow night and this was our music?  What would I do?”, “Why can’t the dancers hear what I hear??”, “Why can’t I communicate what I want to the degree that will make this clear to them?”, “I am wasting these dancers’ time”, “I am wasting my valuable time I could be using to explore other more complicated things!”, “Do I present this piece at our showing on Monday?  If so…what do we present?  A bunch of talented dancers walking off the beat??” , “Do I change the concept?”, “Do I work to mask the problem?”….”WHAT IS GOING ON HERE?!”

These are types of experiences that keep choreographers awake at night.

It just so happens that my family is in town this week.  My brother is a graduate of Oberlin conservatory of music and is a very talented musician and composer.  So I asked him:  “Will you listen to this song and tell me how you hear it?”  In an instant it was clear.  He heard it exactly as I did!   His response came in seconds:  “It’s so clear!  They can’t hear that?! ”   I turned to my parents.  “Can you tell me how you hear this?”  Suddenly, the water became murky.  My mother instantly felt the music differently than we did.  What I mean by this is that she felt the accents -the downbeats – were in different places in the music.  Same with my father.  He felt the song the way my mother did.  Now my parents aren’t exactly trained dancers but I tested other songs with them and we all heard those the exact same way.  My brother and I listened more closely to the music.  Although we could understand what our parents (and my dancers) felt, we argued vehemently against their version.  This went on for, I kid you not, a good two hours.  We sat there playing the music over and over trying to decipher why the hell we all heard something different.  After careful dissection (including some fancy transcribing) my brother finally figured it out!!  It was very easy to interpret this recording as though the off-beats were the downbeats.  That’s how I heard it and that’s how I was inspired to choreograph to it.  But here’s the funny part:  Once my Brother figured it out… he could no longer hear it the way he did originally.  He could not erase what he knew to be the musical “truth”.  He could barely remember how to feel the song the other way.

There’s a very famous drawing that is a test of peoples’ perception.  Perhaps you’ve seen it?:

Young Woman or Old Woman?

Some people instantly see a young woman facing away.  Others see an old lady with a hooked nose and a prominent chin.  And sometimes, if you can see one you truly cannot see the other.   Even when someone points it out to you.  “See the chin is right here?  This is her eyelash…and the hooked nose?”   As fate would have it, I found a piece of music that operates the exact same way sonically.  You either hear it one way or you hear it another.  Or… more correctly… you either feel it one way or you feel it another.

So… where does that leave me with this dance?  The answer is, I have no idea.  As the choreographer I want to see a certain interpretation of this music, but how hard am I going to work for it?  I don’t know yet.  But what I do know is that if I’m feeling this much anxiety over a creation in the Broadway Dance Lab, how would I feel if a director were watching?  What if I had chosen this music to present in a concert in a few days and had no idea it would pose this problem?  What if the composer were there in the room influencing my musicality?  In those instances, the anxiety wins.  In those instances you do whatever it takes to cover up the problem.  To solve it with the tricks you have in your back pocket.

But what if I didn’t have to worry about creating the product?  What if I could take the time to truly explore the nature of this sonic anomaly and mine its unique traits?  Rather than settle for the lowest common denominator solution that perhaps dumbs the piece down for my dancers, what if I am able to exploit this musical choice to its fullest?  What could I create then and how could that inform my work moving forward.

I may not have the time this Lab Cycle to solve this the way I would like.  But if it weren’t for the Lab I never would have discovered this phenomenon.  I never would have even been aware of it.  Something in my psyche led me to this music out of the hundreds of other songs I could have chosen to work on.  Maybe it led me there so I could learn something, not just produce something.   With The Broadway Dance Lab I hope to remove for other choreographers the panic that I felt working on this material.  To provide a space where discoveries like these can be used to inform and serve creators of dance…not cripple them.



One of the missions of The Broadway Dance Lab is to remind the industry that choreographers are writers.  The only difference is that we use the movements of the body instead of words or notes to express thoughts and emotions.  This past week has been a difficult one for me creatively.  Writer’s block strikes at the most inopportune moments and poses many challenges.  Anyone who has ever stared at their computer trying to write a simple sentence knows what I am talking about.  Sometimes it’s the simplest idea that seems to take the longest to express.  And because the idea is so simple it makes the writer’s block even that much more frustrating.  “This should be so easy!”… “What is wrong with me that I can’t write this simple sentence?!”.

One of the reasons I am experiencing these blocks is due to the fact that I am trying not to rely on all the things I already know in order to create.  I’m trying to free myself up to explore the things I can’t explore outside the Lab.  The goal of the Lab is to afford choreographers the space to discover new artistic territory.  And that discovery, I have found, can be painstakingly slow.

I was talking about this with my cousin the other day and he was telling me about a film he just saw called “Particle Fever”.  SFGate.com writes the following:

“Particle Fever” is a gripping documentary about the most exacting and expensive scientific experiment ever conducted, and one that may be among the most significant. The film charts a 2012 milestone in the decades-long search by physicists to find an elementary particle called the Higgs boson. If the discovery is confirmed, it brings them a large step closer to understanding the universe at its most fundamental level.”

The New York Times writes:

“The film is a tribute to the creativity and curiosity that drive scientific research, which is shown to be an imaginative as well as an empirical pursuit.  It is enormously suspenseful, too, chronicling a period that included nearly catastrophic setbacks and public relations disasters, as well as progress. There was always a risk that the machinery would not work, that the beams would not collide properly, and that the Higgs would continue to hide at the theoretical center of the universe without empirical confirmation.”

A decades-long search by 10,000 scientists to find one tiny particle that they weren’t even certain existed.  Peter Higgs posited its existence in 1964!  He was awarded the Nobel Prize… last year.  This example of faith and fortitude and determination is what I look to when I feel like I don’t know all the answers.  When I get afraid that I don’t “know what I’m doing”.  When the answers won’t come it is often easy to give up.   To dismiss even the fundamental right to search for answers.

We live in a world where we expect immediate answers.  And when answers don’t come at the touch of a button, or at the next news broadcast, we get increasingly anxious.  My wish is that The Broadway Dance Lab will be a safe place for choreographers to explore the unknown.  To release themselves of the anxieties associated with not knowing and to find a way to move through the unknown and come out the other side unscathed.



What a week it has been!  Our first five rehearsals with the Broadway Dance Lab have once again reminded me of the importance and necessity of its very existence.  As a Broadway choreographer, I am struck by just how much I am trained to produce product, and produce it quickly.  The experience of having 10 supremely talented dancers in a rehearsal room with absolutely no agenda is both liberating and daunting.

My mother is an art teacher and a wonderful artist in her own right.  I asked her once, “If you could paint anything you wanted… anything at all… what would it be?”  Her answer was, understandably, “Oh gosh!  I don’t know!”   I believe this is what most artists face with the notion of true freedom.  No boundaries means endless possibilities and endless possibilities can feel terrifying because it’s so hard to know where to even begin.  How do we create product if we can’t even begin?  The first week in the lab challenged me to put aside my notions of product and focus solely on the creative process.  I challenged myself to just begin where I was that day and what comes out will be what it is.  Ironically, in so doing, I began four separate ideas in the first five days.  Are they any “good”?  Who knows? Will I “finish” all these ideas?  Who knows?  And the glory of the Lab is that, for once, I don’t have to have that answer.

The freedom to explore, the freedom to change my mind completely, the freedom to start with no pressure to finish, the freedom to discover my own voice, the freedom to rummage through my own mind, the freedom to try without consequences of failure… for an independent contractor like me these freedoms can feel scary at first.  The existential questions begin to arise almost immediately:  “What is this for?”,  “Are people going to like this?”, “Does this work matter if it’s not for sale?”,  and on and on…  These are questions that merely serve to stand in the way of creativity.

These 10 dancers are extraordinary.  They give of themselves 100% without hesitation or question and it is a joy to be inspired by them and to create on them.  Yet, as I look at them I often think, “They are so talented.  You better make something good, Josh!  You better make something worthy of these dancers!  And make it fast!”  But this is the exact mental habit I am trying to break.  All of these voices are what the Lab serves to quiet.

Every time my inner critic arises and questions my right to fail…every time I glance at the clock and realize my precious hours with these wonderful artists are slipping past… I am reminded why the Broadway Dance Lab is so vital.  It is only by giving choreographers true freedom from these inner voices that they can begin the process of removing these roadblocks to their success and begin uncovering great things.




After seeing hundreds of dancers audition, I am thrilled to announce our Broadway Dance Lab dancers for March, 2014!  They are:

Giovanni Bonaventura, Stephanie Brooks, Jeff Davis, Alexander DeLeo, Kory Geller, Taylor Markarian, Alice Pucheu, Valerie Salgado, Jena VanElslander, Latra A. Wilson

BDL Company, March 2014

These exceptionally talented dancers have already begun working together in the studio and I couldn’t be more thrilled by their ability and artistry.



“Serious art is born from serious play”- Julia Cameron

Dear Friends and Family,

As I prepare to open my second Broadway show, Beautiful – The Carole King Musical, I am filled with a renewed passion for Musical Theater and the sheer joy it brings audiences all over the world. The special combination of song and dance – a uniquely American art form – is something I have always held dear. Dance itself is a staple of Broadway Musicals and I believe so strongly in its power to uplift, excite, and even educate. To that end, I hope you will join me this holiday season in supporting my new organization, The Broadway Dance Lab.

The Broadway Dance Lab is the first non-profit organization dedicated to providing the necessary resources for Musical Theater choreographers to explore and test their ideas in a private, artistically safe space. And it is because of you – our supporters – that our inaugural year was such a success! With a grassroots campaign we raised over $16,000 to help sponsor our very first “Lab Cycle” – a period of intense creative incubation in which we employed 10 spectacular dancers for one-month and created 12 brand new pieces of choreography.


Here are some BDL highlights from 2013:

• We performed at “Steps: Beyond,” the 19th Annual “Fire Island Dance Festival,” and the Career Transitions for Dancers Gala “Broadway and Beyond” at New York City Center.
• Your gift is tax-deductible! We are proud to be an official Non-Profit with the State of New York and we remain a fiscally sponsored project of Fractured Atlas, a non-profit arts service organization.
• We teamed up with My Dutch Uncle, Inc., the San Francisco-based company specializing in assisting non-profits, who are helping us maximize our artistic mission and build our Board.
• We joined with the prestigious branding firm HZDG (Volkswagen, Brooks Brothers, Washington Redskins) to create a strong brand identity.
• Finally, two of Broadway’s most iconic dancers have joined our Advisory Board! Donna McKechnie (original “Cassie” in A Chorus Line) and Chita Rivera (original “Anita” in West Side Story) have both endorsed The Broadway Dance Lab and its mission. We are thrilled to have the support of these lengendary women!

I am excited to announce that our second Lab Cycle will take place this March and I am reaching out to ask for your help in raising the necessary funds to keep The Broadway Dance Lab moving forward with unparalleled momentum. Your support ensures that theater choreographers have a place to create without limitations, and that dance in Musical Theater stays fresh, vital, and strong for decades to come. Please consider becoming a patron of The Broadway Dance Lab today with a gift of $50, $100, $200, or more! Every dollar counts as we set out to meet our goal of $50,000 by March 1, 2014. Please join me on the ground floor of this exciting new organization!


Thank you so much for your generosity and I wish all a very happy holiday season!





As we reach our one-year anniversary, we have much to celebrate.  Our initial fundraising campaign surpassed $15,000, and with that generosity BDL has begun building a strong presence in the New York dance and Musical Theater communities.  Because of your support, BDL has received remarkable exposure during its first year:

"In Defense", photo: Rosalie O'Connor

“In Defense”, photo: Rosalie O’Connor

In Summer, 2013, BDL received its first commission from the Fire Island Dance Festival, one of the most prestigious dance festivals in the dance community.  Josh’s new work, “In Defense” – a piece celebrating the repeal of DADT – opened the festival which presented works from such renowned dance organizations as New York City Ballet, Paul Taylor, and Alvin Ailey.

"Take Five", BDL

“Take Five”, BDL

BDL was invited to present work at Steps Beyond, a performance lab series held at Steps On Broadway, a premiere dance school in New York City.

"Doggie In The Window", BDL, City Center

“Doggie In The Window”, BDL, City Center

BDL also performed at Career Transition for Dancers 28th Anniversary GALA: “Broadway and Beyond” honoring Ann-Margaret.   This took place on October 8th at The New York City Center – the prestigious 2,750 seat theater and dance establishment in the heart of Manhattan.

Thanks for all you have helped us accomplish!  We cannot do it without you.




A.M. —  Boy, am I exhausted.  But I’m also super excited to share the fruits of this artistic process with my friends, family, those who have donated, and the folks who know nothing about it.  Public speaking is not my favorite thing on the planet but I am happy to have the opportunity to explain my platform and to finally be able to show concrete visual examples of what I have been talking about for the past year.

P.M. —  The presentations went wonderfully!  I couldn’t be more proud… or more relieved.  People really seemed to respond in very positive ways to my reasonings for the existence of The Broadway Dance Lab.   I got my footing today and that felt so good.  The dancers were fantastic…a HUGE thank you to them!

I know that this is just the beginning of a very long process but I firmly believe that, with the right support, The Broadway Dance Lab can take flight!



BDL – DAY 21

Day 21 was a very challenging day.  A long interview followed by a run of all our material in order.  But it was amazing to see how much we had accomplished in such a short amount of time.  And all without a pre-determined agenda.  The fact that I was able to “free associate” just like other writers made it possible to explore 14 different ideas!  (About 40 minutes of music!)  And to think that a month ago I wasn’t sure I would create anything at all.