Tonight at 8 pm, Symphony Space will host Impressions IV—an evening celebrating all-things-dance. Performers include Taeler Cyrus (After Midnight), Jess LeProtto (Newsies), Michael Rosen (West Side Story), Amelia Lowe ("So You Think You Can Dance"), Phoenix Project Dance and ICONic Dance Crew ("America's Best Dance Crew"), to name a few.
Oh, and did we mention that the magnificent Chaz Buzan—assistant to Mia Michaels and DS January 2013 cover star—will perform solos throughout the evening?
Chaz Buzan (right), with Mia Michaels and fellow assistant Ryan Ramirez on the set of the DS January 2013 cover shoot (Photo by Joe Toreno)
If you've never seen Buzan perform, tonight's your chance to find out why Mia Michaels affectionately calls him a "freak of nature." (If you have seen him perform, then we don't really have to convince you...do we?)
Impressions IV is tonight at 8 pm at the Peter Jay Sharp Theatre at Symphony Space. Click here for more info and to buy your tickets. Portions of ticket proceeds benefit St. Jude's Children's Hospital.
And to tide you over in the meantime, here's a video of Chaz Buzan performing "My Heart," choreographed by TOKYO, at the KARtv Awards in Las Vegas:
OK, so it's definitely no secret at this point that we're in love with Chaz Buzan. (It's almost been a month since we've mentioned him! Almost...)
And no, this post is not just a #WayBackWednesday to our January 2013 cover, which featured Chaz alongside fellow Mia Michaels assistant Ryan Ramirez and Mia herself, of course.
Although, we can't quite resist bringing back this gem:
Chaz, Ryan and Mia behind the scenes of our January 2013 cover shoot. So precious!
But really, we just thought you might need a little boost to get you through your Wednesday. And lucky for us, there's a new video of our favorite superhuman performing at the MOVEtheWORLD charity event. Enjoy!
We preach all the time about the things you "need to do if you want to make it as a professional dancer:" Be smart. Be kind. Be gracious. Be talented.
But perhaps the most important rule for going pro: Be on time!
Don't show up to an audition late.
Don't arrive to class late.
And my goodness, don't even think about getting to a performance too close to curtain-up time.
Don't just take it from me, though: Our January cover guy, Chaz Buzan, has been assisting Mia Michaels for years now. As he explains in the story, it hasn't always been easy. But the roughest day he ever had as Mia's right-hand-man was the day he was late.
A few years back, Chaz was supposed to assist Mia at a workshop in Minneapolis, MN, but he was running late to the airport and missed their flight. Chaz found another flight but arrived to the class already in progress an hour late, where the studio owner greeted him saying, “Mia’s not going to need you for class anymore.” After the class ended, Mia met Chaz at their hotel where he knew he was “gonna get it.” “She said, ‘You know how much I rely on you. You cannot miss assisting. I can’t show what the movement is supposed to look like—that’s your job.’ I paid the studio owner back my assistant fee [upon his own insistence, not Mia’s], developed a thick skin and have never missed a flight for anything since then.”
So write it down and set your alarms accordingly: Early is on time. On time is late. Late is...you're fired.
You’ve been oohing and ahhing over Mia Michaels’ choreography for years, but I’ll bet you’ve never seen America’s Favorite Choreographer really dance… until now. At our January cover shoot, Mama Mia worked some improv magic for photographer Joe Toreno, and we caught it all on film. But that’s not all; this exclusive video also captures the give-and-take relationship and special bond between Mia and her go-to assistants Ryan Ramirez and Chaz Buzan:
Are you blown away? I thought so. And there’s more behind-the-scenes fun where that came from. Click here to see breathtaking outtakes from our January 2013 cover shoot.
I've gushed pretty significantly at this point about the January issue of DS. But stick with me, OK? It's a good one and there's so much more to Mia, Chaz and Ryan's stories than what you get in print.
For example: Here are two of my favorite soundbites from my interviews with Mia Michaels' go-to assistants (who appear with her on the cover), Chaz Buzan and Ryan Ramirez.
I asked: What's your best advice for Dance Spirit readers? Here's what they said...
“If you want something, it can happen, and it will most likely happen if you’re comfortable with yourself. You can be inspired by people, but don’t try to dance like them. What stands out is someone who’s comfortable being different.” —Ryan Ramirez
“Have individuality and your own voice in your movement, especially when you improv. Someone like Mia can see when you’re closed off. So be ready. Just be ready.” —Chaz Buzan
It's all about being unique, it seems. So go find a signature move, a cool accessory or a groovy mindset and make it your own. No cloning here!
The January 2013 issue of Dance Spirit is my favorite issue ever. And yes, I'm biased: It's my favorite issue because it was always a dream of mine to have Mia Michaels on the cover, and that's exactly what came to fruition to kick off the new year.
Getting Mia onto the cover was everything I hoped it would be. I flew to L.A. to meet Mia and her two dance assistants, Chaz Buzan and Ryan Ramirez, and the photo shoot day was flawless. Their chemistry was palpable and everyone was in great spirits.
The focus of Mia, Chaz and Ryan's cover story is the assistants. What's it really like being the go-to demonstrators for the world's most-wanted choreographer? I set out to find out and, along the way, got Mia to hand over—exclusively for you—the 10 things she looks for when she's hiring an assistant.
From Mia to you, here you go:
1. Work ethic. Be a workhorse. I've always been a workhorse, so I love an assistant who stays right by me and has the same drive.
2. The combination of a strong, technically-trained dancer with the power of an athlete and the magically free spirit of an artist.
3. Fearlessness. Be unafraid to explore with me without boundaries or limitations. Don't be afraid to look foolish in the process.
4. No diva attitudes. Stay humble and grateful.
5. Have a sharp memory. My assistants are my brains, so their memories need to be strong and clear to remember a lot of material for me.
6. Be a leader. You need leadership qualities in order to run a class, rehearsal or audition as my extension.
7. Trust, honesty, loyalty and communication. These qualities are the keys to having a successful, long-term working relationship with me.
8. Have an organizational mind. Assistants have to be able to help edit music cuts and send out production emails.
9. Be on time and be reliable.
10. Have a sense of humor. No matter how hard certain jobs get, we have to laugh. Laughter keeps everyone sane.
And of course, there's lots more from Mia, Chaz and Ryan in the January issue, so be sure to get your hands on a copy!
(L to R) Ryan Ramirez, Mia Michaels and Chaz Buzan. All photography by Joe Toreno
Last October, Ryan Ramirez and Chaz Buzan, both 20 at the time, arrived at their Dance Spirit shoot in L.A. with bright eyes and eager spirits. Chaz looked at the massive studio—complete with a view of the Hollywood sign—and yelled, “We are going to live today.” He assessed his clothing options as Ryan took to the hair and makeup chair. Both were ready to go, but neither wanted to make decisions about what they should do or how they would look. That would wait until the boss arrived: Mia Michaels.
Mia is known for being tough on her dancers, and Chaz and Ryan’s reluctance to step on her toes indicated that the day might be tense. When Mia walked in the door, though, the scene was anything but uncomfortable. Chaz and Ryan attacked her with hugs and squeals of “Mama Mia!” It had been more than a year since the trio had united, but it was as if they’d had a sleepover the night before.
The rest of the day was a whirlwind. Despite being different sizes, Mia, Chaz and Ryan all shared clothes and shoes (though the Manolo Blahnik pumps Mia had hand-delivered to the shoot stayed firmly on her own feet). As they moved for the camera—dancing only, “no posing,” on Mia’s orders—the three often became so intertwined that Mia had to untangle herself from the “game of Twister.”
Together they moved as a unit in a style that is uniquely Mia, creating impossibly intricate shapes with their bodies and alternating between moments of quiet stillness and explosive jumps. During breaks, they laughed and joked, but when the camera was on, they were all business.
Both Ryan and Chaz have endured their share of criticism from Mia since they started working together, and they’re constantly pushing themselves to impress her. That day, it was clear that Mia is tougher on her dance assistants than on anyone else—but she also respects, adores and supports them along the way.
Ryan grew up performing with Teen Dance Company in Northern California and knew quite well who Mia Michaels was. “She used to come in to set pieces on our studio,” Ryan says. “Every year I’d audition to be in her dances, and every year I’d get cut.” She wasn’t discouraged, though: “I was young,” Ryan says. “It was cool just to be auditioning for her.”
Ryan’s big moment came when she was 16 and performed her solo at The PULSE On Tour, where Mia was on faculty until 2011. “Instead of getting score sheets, we stood onstage while the choreographers critiqued us,” Ryan recalls. “Mia just looked at me and said, ‘I want you to assist me. Will you?’ I obviously said yes, and a couple months later, I got a text from Mia asking me to assist her on ‘So You Think You Can Dance’ Season 4.”
“When Chaz is onstage, people are like, ‘What is going on?’ He’s a freak of nature.” —MM
Unlike Ryan, Chaz didn’t idolize Mia growing up. He was raised in Phoenix, AZ, and started doing cheerleading competitions with the Arizona Angels Studio when he was 13. He had no ballet training, but began attending conventions with encouragement from the Angels owner.
When then-14-year-old Chaz met Mia at The PULSE, he didn’t have any expectations. “I’d heard her name, but I didn’t know who she was,” he says. He was immediately infatuated, though. “I wanted to be onstage with her,” he says. “I said, ‘Whatever I do, I will dance with her.’ ” One year later, that’s exactly what Chaz did at The PULSE Nationals in NYC. Mia asked Chaz to join her in the senior room where she was teaching a class. “I did an improv piece onstage with Mia and her assistants,” Chaz says. “They were pulling my arms and feet in every direction, grabbing and twisting me. I decided I wanted to experience that every day.” After Chaz performed a solo at The PULSE in Denver, CO, a few months later, Mia approached him. “She said, ‘I’ve had you hanging in my closet for some time now. It’s time to take you down.’ She got my contact information and that was it.”
That year, while Mia and Ryan traveled the world together, Chaz was still working to earn a permanent spot as one of Mia’s must-hires. “I thought I was already an assistant,” Chaz says about the first time he danced onstage with Mia. “But I wasn’t. I was an apprentice, which is different.” When Mia had both Chaz and Ryan help her at a PULSE event in Chicago, Chaz was gutted when, after class, Mia invited Ryan to join her in the green room while he was asked to “wait in the ballroom.” “Mia said, ‘Know your place here. You have to earn your assistant position.’ I had tears in my eyes. So I worked my butt off that weekend—I had bruises everywhere and the skin was coming off the tops of my feet.” Chaz wasn’t demoralized: He was determined to prove himself. “After that, I was onstage with Mia and Ryan every weekend,” he says.
Chaz insists he wasn’t anxious the first time he assisted Mia. “I’ve always felt like her choreography was made for my body,” he says. Ryan, however, confesses she was “so nervous” the first time, and slightly in awe. Five years later, she still feels that way. “She deserves the best,” Ryan says. “I want her to be happy. And I know I can be replaced.”
“I said, ‘You need to go away, go grow up, and when you’re ready to be a professional, you can come back.’ He was devastated.” —MM
Both Chaz and Ryan have been replaced. For Chaz, that career-changing moment came when he was assisting Mia with a group routine on “SYTYCD” Season 5. “There were three days of rehearsal, but I only did one before she let me go,” Chaz says. “She told me I was young, weak and unfocused, and said I had a lot of growing up to do. My world shattered, but I understood.” Chaz didn’t see or speak to Mia for the next year, but he took what she said seriously, adding ballet classes to his training. “I came back stronger,” he says, “and she never let me go after that.”
When Ryan was fired, she saw it coming. “I was helping Mia at a workshop, and I knew I wasn’t dancing my best,” she says. “I wasn’t meeting her expectations, or my own. She texted me afterward and said I needed to take a break.” Ryan and Mia went a year without talking, and Ryan decided to audition for “SYTYCD” Season 7. While she didn’t make it on the show that season, her audition brought her back to Mia. “She saw the story I told about our relationship during my audition interview. She said she missed me, thanked me for speaking so highly of her and asked me to start working with her again,” says Ryan, who auditioned for “SYTYCD” again during Season 8 and made the Top 20.
Assisting Mia comes with career-enhancing side effects. “People hear I’m Mia’s assistant, and they assume I’m good. The title comes with credibility,” Ryan says. It also requires a great deal of commitment and, in Chaz and Ryan’s cases, major sacrifices: Both dancers left high school due to the demands of their assisting jobs. Ryan left halfway through her junior year and finished classes online, while Chaz left sophomore year and “never looked back,” he says.
Still, Ryan and Chaz say the sacrifices and hard work are worth it. When they’re called to assist, they’ll gather the day—or hours—before a class to learn a combination. “Sometimes we’re in Mia’s hotel room, moving the couches so we have room to dance,” Chaz says. “She comes up with an idea and an outline of what she wants,” Ryan adds. “From there she’ll describe things and see what they look like on us.” Then, the assistants are by Mia’s side as she teaches the choreography to a room of dancers.
“We’re taking the class, too,” Chaz says. “She’s devoted to watching the dancers, but there are times when she’ll watch us. And she’ll scream at us! ‘More turnout, Ryan. Chaz, use your legs.’ I can get compliments on my technique elsewhere. Mia yells at me for more. When I don’t think I can move anymore, she’s like, ‘Go jump over those 12 chairs.’ ”
Mia takes care of her dancers offstage, too. If a studio or company doesn’t offer an assistant fee, Mia will pay her assistants out of her own pocket. “In the workplace, she has the upper hand,” Ryan says. “In our personal lives, she treats us as friends and equals.”
Being Mia’s assistant doesn’t mean the jobs are constantly flowing, though. Neither Chaz nor Ryan have ever performed Mia’s work for an audience. And while Mia may recommend them for jobs, they still have to audition like every other dancer.
“They will be in my life forever.” —MM
Assisting Mia is what Ryan calls “a roller coaster of emotions.” She says she’s had some of the best moments of her life with Mia, and while the job is “a lot of pressure,” she doesn’t plan on going anywhere anytime soon. Chaz plans to stick around, too. “When I’m 80 years old, I will still be teaching Mia’s thoughts about movement and life,” he says.
Regardless of what the future holds, Ryan and Chaz know how valuable the assisting job is. “She changed the path of my career,” Ryan says. “She pushes me because she knows I can be better and wants me to be better. If she didn’t care—if she didn’t think I was good—she’d give up. Those moments when it’s scary—that’s when I grow.”