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Five years ago, Alex Wong had the kind of career most ballet dancers only dream of: Under the wing of Miami City Ballet founding artistic director Edward Villella, the 23-year-old had already been promoted to principal soloist, was acclaimed for his powerful sky-high jetés and effortless pirouettes, and had recently been named one of Dance Magazine's “25 to Watch." But instead of signing another yearlong contract with MCB, he decided to audition for “So You Think You Can Dance."
“I had done most of the repertory I wanted to do at MCB, so it seemed like the opportune moment to take a leap of faith," says Wong. During a stint on an earlier “SYTYCD" season, his MCB contract had prevented him from moving onto the live shows. Now, there was nothing in his way of becoming “America's Favorite Dancer"—and no place to go if things fell apart.
At first, it seemed like the gamble would pay off. His explosive virtuosity blew the judges away, and he advanced to the Top 10. Then, while landing a split jump in second during a Bollywood rehearsal, Wong snapped his right Achilles tendon. He was out for the rest of the show and the tour that followed. But what could have been a major setback was only a blip on his way to a triple-threat career. With his can-do resilience, Wong now juggles a never-ending string of dance jobs that range from classical to commercial to Broadway. He's strategically marketed himself to create a kind of freedom that lets him slip between genres, going after any gig that excites him.
Behind the scenes: Playing with Ted on set. Photo courtesy Wong
Wong didn't initially intend to go the ballet route when he started dancing. Growing up in Vancouver, Canada, he trained in jazz, tap and musical theater, and dreamed of dancing on Broadway or television. “As I got older, those dreams kind of fizzled away, since it didn't feel realistic for an Asian to be cast in commercial jobs," says Wong, whose parents emigrated from Hong Kong. “I never saw anyone who looked like me doing the things I hoped to accomplish."
Wong added ballet classes at the Goh Ballet Academy to get a leg up at competitions, and ended up falling in love with the style's artistry and quest for technical perfection. He also noticed that there were more Asian dancers in ballet companies. “I made the conscious decision at about 15 to focus on ballet, join a company and hopefully have a stable career," he says.
In 2004, Wong became the first Canadian to win Prix de Lausanne, which led to a yearlong contract with American Ballet Theatre's studio company. He danced with the main company during its Met season, but the timing didn't work out to join long-term, as ABT had recently hired several shorter male dancers. Instead, Wong found a home at MCB, where he quickly turned heads. Only a few months after joining, he stepped up to replace an injured dancer in the lead of Raymonda Variations. He was soon promoted to soloist, then principal soloist, dancing lead roles in Balanchine classics like “Rubies," Symphony in Three Movements and Tarantella.
His experience on “SYTYCD," where both a hip-hop and a contemporary routine he danced in won Emmy awards, opened the doors to a career in commercial dance. “He broke the classical mold and showed just what can be done," says “SYTYCD" co-executive producer Jeff Thacker. For his part, Wong doesn't believe he could have made the transition without the show: “I had a great ballet career, but nobody had seen me do anything else."
Watching from behind the camera. Photo courtesy Wong
During his year off to heal his Achilles, Wong signed with Bloc talent agency and booked several print and commercial jobs. As soon as he could dance again, he was performing in the ensemble of NBC's “Smash," on “The Ellen DeGeneres Show" and with LMFAO on “The Voice." “Originally my plan was to return to a ballet company after 'SYTYCD,' but after being offered these other projects, I saw how many forms of dance I could do," he says. “I didn't want to do just one thing anymore."
Exactly one year and three days after his injury, Wong was auditioning for Step Up Revolution when, during a freestyle, he went for a few of those split leaps in second, and snapped his Achilles tendon again, this time on his left leg. Wong knew immediately what had happened. “But I still wanted to book the movie," he says. “I finished my freestyle on one leg, and then drove to the hospital."
Within weeks of the surgery, he was teaching class on crutches. To expand his marketable skill set, he developed his singing voice, even making it to the semifinals on “American Idol" and releasing a single to iTunes. It came in handy: Once healed, he made his Broadway debut as Sniper in Newsies. “That was one of the most incredible experiences I've ever had," he says. “I'm not even mad that I snapped my Achilles, because otherwise I might not have been in Newsies. Although, I do stay away from consecutive jumps in second now."
Now 28, Wong has since been back to “SYTYCD" as an All-Star, starred in the Microsoft “Surface" commercial, danced in Pharrell Williams' “Happy" music video, at the Oscars, in Peter Pan Live! and on episodes of “Glee," “Dancing with the Stars," “Unbreakable Kimmy Schmidt" and “Comedy Bang! Bang!" among many other projects.
Recently, Wong spent four months playing Kim on “Flesh and Bone," a ballet-centered TV series that premieres this November on STARZ. The show was choreographed by Wong's longtime idol, Ethan Stiefel. “Alex has an explosive technique, a fearless attitude and an engaging performance persona," says Stiefel. “He's really entering his prime."
Backstage at the Oscars before the “Everything Is Awesome" Lego Movie dance. Photo from @theacademy Instagram
To Wong, the project felt like coming full circle. “I got to go back to my ballet roots, which I was starting to miss," Wong says. “It felt like having the structure and consistency of a company again."
Yet the energy of the commercial world has him hooked for the foreseeable future. “I like adventure too much," he says. “Being in the classical world was like eating a truffle burger—it's always good, high quality. But in the commercial world, some days I get a bacon burger, others an avocado burger, and suddenly—surprise!—a curry burger."
Wong's lifestyle now, split between Los Angeles and New York City, is drastically different from the consistency he left behind. “My ballet schedule was like clockwork, but now, there's no planning ahead," he says. Without a daily company class, he has had to switch up his training routine, fitting in classes when he can (still usually ballet), and also adding weight lifting to bulk up for a more muscular, commercial look.
A big perk of all the juggling is the pay that comes along with it. Wong estimates that his current income, which includes residuals for TV and film work, is five times what he was making as a ballet dancer. “Plus, I have the film or TV episode to watch over and over again," he says.
This summer, Wong's back on “SYTYCD" as an All-Star, and he's the man behind the moves in Ted 2, doing motion-capture work for the title character in an over 100-person dance scene. “The coolest part was that I got to work closely behind the scenes in terms of camera direction," Wong says. “Since Ted isn't real, only I knew where he was during the dance sequence, so I'd work with the camera operator to tell him where to go. The final shot will have come through my hands."
Wong says that if anything, he feels his ethnicity has become a plus when booking jobs. “I think it's given me a chance to stand out, since most directors now want at least a few ethnic people in each cast," he says. The risk-taking mentality he's developed means there's no longer any room in his career for holding back: “I'm trying to keep as many doors open as I can."
Rachel Zar is a writer based in Chicago.
Above: Photo by Nathan Sayers
Bales of hay, black umbrellas, bicycles—this Midsummer Night's Dream would be unrecognizable to the Bard. Alexander Ekman's full-length, inspired by Scandinavian solstice traditions and set to music by Mikael Karlsson, is a madcap celebration of the longest day of the year, when the veil between our world and that of the supernatural is said to be at its thinnest. The Joffrey Ballet's performances mark the seductively surreal work's North American premiere. April 25–May 6. joffrey.org.
"There's an ancient energy in Fana's movement, a deep and trusted knowing," says Jeff, director of the Chicago-based Deeply Rooted Dance Theater. "Because I witnessed the raw humanity of his dancer's souls, I wanted my dancers to have that experience."
When I wrote about my struggle with depression, and eventual departure from dance because of it, I expected criticism. I was prepared to be challenged. But much to my relief, and horror, dancers from all over the world responded with support and stories of solidarity. The most critical response I saw was this one:
"Dance isn't for everyone."
This may as well be a mantra in the dance world. We have become entrenched in the Darwinian notion that the emotionally weak will be weeded out. There is no room for them anyway.
In his final bow at New York City Ballet, during what should have been a heroic conclusion to a celebrated ballet career, Robert Fairchild slipped and fell. His reaction? To lie down flat on his back like he meant to do it. Then start cracking up at himself.
"He's such a ham," says his sister Megan Fairchild, with a laugh. "He's really good at selling whatever his body is doing that day. He'll turn a moment that I would totally go home and cry about into something where the audience is like, 'That's the most amazing thing ever!' "
Growing up in a family-owned dance studio in Missouri had its perks for tap dancer Anthony Russo. But it also earned him constant taunting, especially in high school.
"There was a junior in my sophomore year health class who was absolutely relentless," he says. "I'd get tripped on my way to the front of the classroom and he'd say, 'Watch out, twinkle toes.' If I raised my hand and answered a question incorrectly, I'd hear a patronizing 'Nice one, Bojangles.' "
Choreographer Sergio Trujillo asked the women auditioning for ensemble roles in his newest musical to arrive in guys' clothing—"men's suits, or blazers and ties," he says. He wasn't being kinky or whimsical. The entire ensemble of Summer: The Donna Summer Musical is female, playing men and women interchangeably as they unfold the history of the chart-busting, Grammy-winning, indisputable Queen of Disco.
Have a scroll through Agnes Muljadi's Instagram feed (@artsyagnes), and you'll notice that in between her ballet shots is a curated mix of lifestyle pics. So what exactly sets her apart from the other influencers you follow? Muljadi has made a conscious effort to only feature natural beauty products, sustainable fashion and vegan foods. With over 500k followers, her social strategy (and commitment to making ethical choices) is clearly a hit. Ahead, learn why Muljadi switched to a vegan lifestyle, and the surprising way it's helped her dance career.
He may not be a household name, but you probably know Brandon Stirling Baker's work. The 30-year-old has designed the lighting for most of Justin Peck's ballets—including Heatscape for Miami City Ballet, and the edgy The Times Are Racing for New York City Ballet—but also Jamar Roberts' new Members Don't Get Weary at Alvin Ailey American Dance Theater and a trio of Martha Graham duets for L.A. Dance Project.
He's been fascinated by lighting ever since he attended a public performing arts middle school in Sherman Oaks, California, where he had his first experiences lighting shows. He also has a background in music (he plays guitar and bass) and in drawing. Both, he says, are central to the way he approaches lighting dance.
Update: Due to an overwhelming response, the in-person audition has been moved to a larger location to accommodate more dancers. See details below.
For the first time in more than 10 years, Janet Jackson is holding an open audition for dancers.
Even better? You could land a spot in her #JTribe simply by posting a video on social media.
What does it take to become an international superstar? Carlos Acosta might have a few ideas.
At the Oxford Literary Festival earlier this month, the BBC sat down with Acosta to ask for his life lessons. His answers—which he says he will pass on to his kids one day—give incredible insight into how he's become such a beloved worldwide success.