California Dreamin’ Masterclass with Sheryl Murakami
A popular jazz/hip hop teacher at New York City’s Broadway Dance Center, Sheryl Murakami is, by her own admission, lucky. She’s worked extensively in commercials, music videos, and on shows such as “Star Search,” “MTV VMA's” and “VH1 Fashion Rocks” and is now a choreographer for some of today’s most popular rock stars including Avril Lavigne, Beyoncé, Lady Gaga and Nelly Furtado. Her love of Latin culture and dance landed her jobs choreographing Latin musicals and showcases in L.A., work on The Latin Grammys, and an international tour with Latin Pop sensation Thalia. She’s performed with the NBA All Stars, the Los Angeles Raiderettes and the Rams Cheerleaders, and was a guest teacher on “Strictly Personal,” FOX 5's “Good Day New York” and Bravo’s “Queer Eye for the Straight Guy.” She’s appeared on the soap opera “As the World Turns,” been on “Saturday Night Live,” and has even danced behind world-renowned tenor Plácido Domingo. Dancer sat down with Murakami to find out more about how this California-turned-New York girl made her dreams come true.
Q: What got you started dancing?
A: When I was 5 I was very shy so my mom put me in ballet class. Ballet class opened up my world. I studied at the Long Beach Ballet Company for 15 years; I dreamed of being a ballerina but my body changed. I realized, even then, that my body would never be the "type" for the ballet world. So I started training in jazz, hip hop and tap. I trained hard, every day and every night, throughout junior high and high school. I competed in many local and regional competitions in ballet and jazz. I loved it, but I needed more. When I was 17, I decided to go to Los Angeles for a dance agent call. I lived in Huntington Beach, an hour away. I didn’t have a car or a lot of money, but my mom and dad were supportive.
I’ve had a lot of luck in my life. I got an agent first shot and started working in commercial shows. It was great making money when I was that young. After high school I moved to L.A. and started booking work in commercials, movies, videos and shows. I did that until I was around 22.
Q: Tell me about your training?
A: I’ve had a lot of great teachers. I’ve trained in every style, Latin (salsa) and musical theater included. As a commercial dancer going on auditions, it’s important that you be able to do everything. Choreographers have to know everything, too.
Q: How did you get to New York?
A: I got a random job in Atlantic City. I was hired to dance in a show behind a Chinese pop singer—sort of the Britney Spears of China. They sent me a ticket. I packed my duffle bag and left California. I was 23.
After a week I knew I didn’t want to leave, I wanted to live in New York City, but I had no place to stay. Again, I was lucky. The show’s producer put me up in my hotel in Atlantic City for an extra week until I found a place in New York City. I didn’t tell my parents, but I knew when I left I wouldn’t be back. We didn’t speak for a year, though we’re fine now.
Q: How was it coming to New York knowing no one?
A: I met great people. I didn’t take class for the first three months or so. Then I ran into Germaine Brown on the street; he was one of my first friends when I moved here. He was teaching at Broadway Dance Center so I started taking class there. I met Slam at the Dance Center. He asked me to sub for his hip hop class. Eventually they gave me my own class. That’s how I started teaching at Broadway Dance Center. I’ve been there 10 years.
Q: How did you get started as a choreographer?
A: When I started teaching at Broadway Dance Center, I worked with a bunch of different artists. People just started asking me [to choreograph]. About five years ago, I founded my own dance company, T(h)rash. The company’s helped people see my work. It’s all about your name.
It’s just logical. It’s about doing the work all the time. Consistently doing as many shows as you can—that gets you work. I put together demo reels to send out to various artists using the girls in my company. When you do the demo, you try and make it look like it would on a huge stage.
Q: What made you want to be a choreographer?
A: Being creative has always felt good to me—making my own rules based on what I want to see.
Q: How do you start making a piece?
A: Teaching every day both forces and allows me to be creative. I try and choreograph a new routine to a new song every week, a different one for both my classes. It’s good for everybody, and I love what I do. I get ideas from my students, from music, from reading a good book. Teaching is really important as a place to work out your ideas; classes are like my library for choreography.
When I started teaching I found my own style. It’s everything I’ve learned combined: jazz-funk, rock, alternative, musical theater, Latin, and pop-commercial, and—this might sound funny—but I aim towards capturing the strength of feminine sexuality.
Q: How did you come to work for Beyoncé?
A: It’s amazing. It was surreal in a sense. I was so lucky to have the opportunity. My agent submitted me to choreograph one of her songs. I chose a song; I did a demo using my own dancers and sent it in. They loved it. I’ve made it a point to stay true to my style for her and I think that she likes that. That says a lot.
Q: What’s it like working for her?
A: She’s one of the hardest working women in the business. Everything they say about her is true. She’s open to new styles, new choreography. We go in the studio for a few rehearsals and then set it. She’s very smart and a quick study. It’s very positive to work with her.
Q: What should students who are interested in commercial work look for in a teacher or a school?
A: Research the teacher. Take as many styles as you can. Think of your body. Find your own style. Being different is a good thing. And take care of how you look.
As a teacher, I’m not much of a preacher. The way I learned to dance was just to watch, learning to imitate the teacher. Visualize what you’re doing. I spent most of my time trying to learn by the eye.
Q: What do you look for in a student? What makes some dancers particularly suited to commercial work?
A: It’s hard to say. There are so many different castings, different parts. It’s good just to be open.
I encourage students to dress for class, as if for an audition. I think it changes how they dance; they feel more in performance mode. It’s very important. In auditions they’re looking for something specific.
Also, [I look for] people who can pick up my style quickly. I’m imparting the look I want when I give a combination. You need to be able to do that and still be yourself. But for my classes, I encourage students to relax and have fun. When that audition comes, you’re not going to be able to relax.
Q: What advice would you give an aspiring performer or choreographer?
A: I strongly believe, for anything you do, you should always be yourself, be an individual, find your own vision and don’t try and follow anyone else. Follow your instinct—that helps a lot—and never care what any one thinks of you.
Q: Tell me about your group T(h)rash
A: It’s an all female kitchy, sexy, twisted cabaret. We do a lot of pieces that are very rock/jazz/blues. We do shows at The Bitter End. That’s where we started, at an event showcasing talent throughout the city. It’s turning into a kind of dance comedy group. The key is to get the audience involved, to have fun and laugh. I like to make the choreography for T(h)rash edgy, a little more raw, campy, fun.
People ask how to audition. Most of these girls took class from me at Broadway Dance Center. I liked their energy and their personalities. The way we vibe is, maybe, more important than anything else. You have to be around each other all the time and it shows on stage. We’re a good team. We’re best friends.
You can find Sheryl’s teaching and performance schedule and see some of her reels at http://www.sherylmurakami.com/