Catching Up with Emmy-Nominated "SYTYCD" Choreographer Stacey Tookey
DS: What is your favorite number you've choreographed for "So You Think You Can Dance"?
ST: I like different routines for different reasons, whether it's my experience with the dancers or the reaction from the judges when someone is stretched out of their comfort zone. Sometimes the piece just has special meaning to me. I can narrow it down to three: Mad World (Billy and Ade), Heaven is a place on Earth (Kathryn and Robert) and Bang Bang (Eliana and Alex).
DS: All of us at Dance Spirit are super excited you're starting your own company. What made you decide to do it?
ST: I've been thinking about starting my own dance company for a while and finally decided the time is right. I want to push myself as an artist, continue to grow and take beautiful dancers who inspire me along for the journey. L.A. is such a “gig by gig” type of dance industry, where most dancers do a job for a couple days or a week then it’s over. In my professional dance career, it was my experience working in a company situation that stretched and taught me the most. There is something about sweating in a studio together for 8 hours a day over a long period of time that is so rewarding.
DS: What do you look for when hiring dancers?
ST: Fearlessness, openness, passion and good energy.
DS: What genres do you expect your dancers to have a strong technical base in?
ST: Classical ballet! It's the foundation of dance and the base of my movement. You don't have to have perfect ballet technique or the perfect classical body—just be trained and have an understanding of true classical ballet.
Any genres you can be proficient in will help you as a dancer. The more versatility you have, the more hire-able you are and the more you have to offer. My mom (my teacher) had me study ballet, jazz, lyrical, contemporary, modern, tap, hip hop, musical theater, Scottish highland and baton twirling. I have pulled from every genre in my professional career at some point, and I'm thankful for my diverse training.
DS: How do you define contemporary?
ST: Contemporary dance embodies a vast spectrum of movement and expression that can be interpreted in many ways. I feel like it's a genre that's continually reinventing itself and pushing boundaries. It has roots in classical ballet but is truly about conveying an emotion or story—as subtle or obvious as that may be.
DS: What do you think is the key to great contemporary choreography?
ST: I believe great contemporary choreography will make you feel something. Some of my favorite contemporary performances have left me crying, laughing or sitting in complete silence, not being able to move. You feel it so deeply it leaves an imprint on you as a person. I can recall those feelings and images in an instant because they are so memorable.
DS: If you could choreograph a piece on anyone, who would you choose?
ST: There are so many dancers I would love to work with for so many different reasons. But if I have to pick one, it would be Misty Copeland from American Ballet Theatre.
DS: What are you working on next?
ST: My main focus now that "SYTYCD" is nearly over is my dance company, Still Motion. I have so much work to do to premiere our first show, “Moments Defined” on Nov 9-10 in L.A. at the Nate Holden Theatre.
DS: Who are your favorite up-and-coming dancers right now?
ST: Melanie Moore, Kathryn McCormick and Robert Roldan.
DS: Is there a particular choreographer or dancer that inspires you?
ST: I'm continuously inspired by and in awe of my very good friend, dancer and brilliant choreographer Peter Chu. He is a one-of-a-kind artist, with a driving passion and love for the art of dance.
Well, this brings class videos to a whole new level! Choreographer Phil Wright and dancer Ashley Liai have been together eight-plus years, but she was still in total shock when he proposed to her mid-dance at Millennium Dance Complex earlier this week. Why? Well, the whole thing was unbelievably perfect.
In the dance industry, dancers don't always have a say in what they wear on their bodies. This can get tricky if you're asked to wear something that compromises your own personal values. So what should you do if you find yourself in this sticky situation? We sat down for a Q&A with "Dancing with the Stars" alumn Ashly Costa to answer that very question. Here's what she had to say about the options dancers have surrounding questionable costumes.
The groundwork for Erin Carpenter's company, Nude Barre, began when she was a teenager. At 16, she earned a spot in the residency program at The Kennedy Center in partnership with Dance Theatre of Harlem. "We were required to wear nude—as in, our actual skin tone—tights and shoes," she remembers. Carpenter brought her "sun tan" tights and a pair of pink ballet shoes with her, because that was all she could find. But she wasn't allowed in class because her dancewear didn't match her skin. "I was so embarrassed," she says. "I looked unprepared. I just didn't have the right nudes." Her teacher explained that the dancers dyed their tights and pancaked their shoes.