Ryan Kasprzak: More Than Razzle Dazzle and Tap
Ryan Kasprzak recently played to sold-out audiences in Barcelona, Spain where he performed with his New York based company Parallel Exit: Physical Comedy Theater. Their latest piece, "This Way That Way," recently enjoyed a critically acclaimed off-Broadway run in which the NY Times claimed Kasprzak, "can get laughs simply by breathing." He appeared with Tony Award winner Sutton Foster in "Broadway Under the Stars" recorded live in Central Park for CBS television and was nominated for a 2006 New York Innovative Theater Award for Outstanding Choreography. Ryan performed at the historic West Virginia Dance Festival and Tap City: the New York City Tap Festival. He has served as dance captain and soloistfor the National and International companies of Fosse and has been honored to perform with such legendary entertainers as Liza Minelli, Ann Reinking, Ben Vereen, Gregory Hines, Jimmy Slyde, and the Nicholas Brothers. Ryan studied at the British American Dramatic Academy in London and holds a BFA in Acting from Marymount Manhattan College. He is also a member of the resident faculty atthe Broadway Theatre Project in Tampa, Florida. This fall, Ryan will perform at the Joyce Theater in the newrock & roll tap show, "Revolution."
How did you begin dancing?
I started dancing when I was about 12 in a free "Boys Street Dance Class." At that time, M.C. Hammer andMichael Jackson were the coolest cats on the planet making it "okay" for a young guy to take a few dance lessons. Fifteen years later, I've retired my parachute pants, but I've kept up on the dancing.
What is your current involvement in dance?
I'm living and working as a choreographer and performer in New York City. This summer I will be performing at Tap City (the New York City Tap Festival) and teaching at the Broadway Theatre Project in Tampa. I'm currently working on a new rock & roll tap show called "Revolution" (www.revolutiontheshow.com). The show opens at the Joyce Theater in New York this September. I also do a great deal of touring as a master teacher and guest artist. I'm developing a new company called the Inhouse Allstars (www.inhouseallstars.com) designed to bring custom workshops and choreography to studios around the country.
Who were the influential teachers of your career? Why?
For many years, I studied at the Broadway Theatre Project in Tampa, FL and there I was lucky enough to work with two dance legends. The first was Gregory Hines. As a young tap dancer, Gregory was my Michael Jordan. He was this heroic figure that I admired and looked up to and dancing with him was the realization of a dream. Mr. Hines taught me that tap dancing was about making music more then it was about going fast and looking flashy. He taught me that it was okay to slow down and that if you had empty space in your rhythm you could just leave that space rather than cluttering it up with big tricks.
At the Broadway Theatre Project I also had the honor of working with Ann Reinking. Ms. Reinking taught me about style and professionalism. She taught me that dancing was more than jump, kick, turn and that if you learn to dance with style, you can learn to dance for the rest of your life. Ms. Reinking also taught me how to approach my dancing as a career, how to get serious about my work, and how to transition from a student to a professional.
What dance goals have you reached in life so far?
I've always loved traveling and I've been fortunate enough to dance my way around the world. I've toured throughout North America, Spain, France, England, Wales, Scotland and many less notable, but equally exciting places. If you're given the opportunity, dance is an amazing way to see the world.
What dance goals do you have for the future?
Lately, I've been focused on choreography and creating new work. I work with a company called Parallel Exit: Physical Comedy Theatre (www.parallelexit.net) and would love to create a hugely successful production with multiple companies running simultaneously around the world.
What do you think of the "dance fever" sweeping the country now?
It's fantastic! The exposure that dance is getting with shows like, "So You Think You Can Dance?" and "Dancing With the Stars" is invaluable for the dance community. America is finally realizing how cool dance is and giving it the respect it deserves.
What do you think of where dance has traveled in this country for the last several years?
Dance has found its way back into popular culture and it has everybody curious about this amazing art form. People want to see dancing, they want to learn about dancing, and it's created an amazing boom for everyone in the dance world.
How has tap dancing changed since you began dancing?
The big change is that tap dancers are now getting much better instruction. Tap is a classic American art form that was once passed down on an individual basis from one generation to the next. Now, tap dancers have committed themselves to the preservation of this native art and created some amazing tap festivals around the country featuring amazing faculty. Also, tap teachers have learned how to blend technique and style to build better tap dancers.
Tap has also become much more global in the last few years. There has been a steady influx of magnificent dancers from Japan, Europe, and other parts of the world. It's great to see such a widespread expansion of tap dancing.
Who do you see as the major players (movers & shakers)
in tap dancing today? Why?
Savion Glover is still the most recognizable tap dancer on the planet and he has the amazing ability to bring tap to a huge audience as he did with the movie "Happy Feet." Derek Grant created Imagine Tap! with an unbelievable cast and I think he will continue to push the creative limits of tap dancing as well.
Are there any particular dancers, choreographers, etc. that you see as "someone to watch?" Why?
I'm a big fan of choreographer Andy Blankenbuehler. This season he choreographed Broadway's "Apple Tree and In the Heights." I'm just so impressed with his versatility and his uncanny feel for style and musicality. I love his work and he is rapidly becoming one of Broadway's most sought after choreographers.
What do you believe is on the horizon for tap dancing?
The technical ability of tap dancers has gone through the roof. Triple wings and 3-sound pullbacks are showing up everywhere. Once the next generation of dancers pairs that unbelievable technique with a matured sense of style, tap-dancing is going to a whole new level.
What is missing from the students you work with when they get to you? How can this be remedied?
While young dancers often have brilliant technique, they live for those big tricks and don't really know how to dance through simple transitions or stylized choreography. As teachers and choreographers we have a responsibility to create pieces that give the dancers more than just steps. Create a story, give them a well-defined character, and give young dancers a context that makes them think about more than just steps.
What do you enjoy most about your career right now?
I love that I'm able to focus on creating new work. In the professional world, you sometimes have to sacrifice your own creativity to work as a dancing monkey. I'm eternally grateful to spend my time in the studio focused on original choreography that comes from my own imagination.
Have you published any books or articles?
No, but maybe in the future.
What is your writing background?
I was a playwriting minor while at Marymount Manhattan College. Since then I've been working as a co-creator for Parallel Exit. A highlight of my work with Parallel Exit was a critically acclaimed off-Broadway production, "This Way, That Way," which has since toured throughout the U.S. and was featured at a physical theatre festival in Barcelona, Spain.
Any future writing planned?
With Parallel Exit, I'm developing several new projects. One of those pieces, "Cut to the Chase" is a new vaudeville review that will debut in New York at 59 E. 59 St. Theaters this December. I'm also working on a new tap show called "Time Step" that follows the story of three aging hoofers living together under one roof.
What do you read for pleasure? professional?
I read a lot of fiction. I peruse the dance periodicals once in a while, but I really like a good novel. I'm a big fan of the beat writers like Jack Kerouac and I'm looking forward to the upcoming release of the last Harry Potter book.
What do you do to stay creative and maintain a fresh perspective?
I'm always listening to new music and looking for fresh, new artists. I'm a firm believer that the best dancing comes from the best music. The dance is already in the music. You just have to listen closely. The music will tell your body what to do.
Can you give young dancers any tips about getting into the business professionally and maintaining a healthy career?
Get a good hobby and have some friends who aren't dancers. When dance becomes your business you need to have other interests to help you stay sane. It's wonderful to love what you do, but work is only a small part of your life. If you're happy and fulfilled in the other aspects of your life, you will be a better dancer and have a more successful career.
Any additional comments?
Take care of your body. Dance is a gift and your body is the vessel that allows you to share that gift. Cherish it. If you get hurt, take the proper time off. Nobody likes to sit out, but your body will be grateful for the rest and the time to heal.
Oh yeah...and thank your parents every time they drop you off at the dance studio.