We understand that virtual classes may sound strange at first, but our online platform has incredible benefits. And trust us, we can’t wait to be back together dancing in the studio, but now, no matter where you are in the world, you can train with BDC’s esteemed faculty. Explore new teachers, styles, and classes from the comfort of your own home, and challenge yourself to grow as an artist.
We spoke with several dancers who are loving BDC Online livestream classes—So much so that they wanted to share their experiences with you!
Mia Davidson Queens, NY “I’ve created a mini dance studio in my basement. I even put down a piece of Marley floor so I can dance in my character shoes. This is just an intermission. Keep working, keep growing, and keep crafting your art.Designate a time and space for you to not only sharpen your skills in dance but to move your body freely.”
Anna Hiran Los Angeles, CA “Training online has been a discovery process for me. I love taking from teachers like Sheila Barker, Ginger Cox, and Lane Napper. They make sure to give constructive feedback and ensure everyone’s still on top of their training. It truly heightens the virtual experience. This is also a great opportunity to explore classes you might have been nervous to try in-person at the studio. Now is the perfect time to focus on growing as a versatile dancer because you have access to all these different classes, styles, and teachers at the tip of your fingers while in the comfort of your own home. BDC is an all-styles studio, so use this time to train as an all-styles dancer!”
Luke Opdahl Saskatchewan, Canada “As a musical theatre actor, I’ve been taking theatre jazz classes online with Lizz Picini, Ricky Hinds, Parker Esse, and Al Blackstone. They all have such passion for teaching and always challenge me as a performer. Being from Canada, it’s amazing to have the opportunity to take class from BDC’s incredible faculty. They have given me a sense of community when it initially felt like theatre and the arts were gone. BDC’s online classes have helped me to stay inspired as a performing artist.”
Alex Scott Chester County, PA “I love being able to see friends and familiar faces through BDC’s online classes. It keeps me feeling connected to others even though we can’t be in the studio together. I’ve been training with Lizz Picini, Josh Assor, and Marc Kimelman. Take classes and teachers that make you feel good. Times are hard right now, and we are so lucky to have this as an outlet to refuel and connect through this virtual platform.”
Callie Volley Orlando, FL “Last year I was able to take class at Broadway Dance Center and I was planning to visit NYC again before quarantine happened. I was thrilled when I found out that BDC started offering online classes. All I have to do is walk downstairs to my living room, log on to Zoom, and dance with some of my favorite teachers like Carlos Neto and Robert Taylor Jr. BDC’s virtual classes have given me something to look forward to every day.”
Check out our livestream class schedule at www.broadwaydancecenter.com. Get inspired, stay connected, continue training, and keep dancing with us—no matter where you are!
If you’re a musical theater dancer, you know the name Lizz Picini. Whether you take Ricky Hinds’ class next to her, audition for her at Pearl Studios, perform with her at a regional theater, hear her name called back at an ECC, or take her class at Broadway Dance Center, it’s clear that Picini has become what the industry calls a “unicorn” – someone who magically wears multiple hats on any given project.
BDC was able to catch a quick call with Picini, who is currently performing in and serving as associate choreographer for CHICAGO down at the Maltz Jupiter Theater in Florida. “I started dance because I liked dressing up in costumes,” she laughs. “Though honestly, it’s truly a miracle that I do this for a living.” Picini was born premature with underdeveloped hips. Her doctor had her wear triple diapers to realign her femurs in her hip sockets. “I’m lucky to be able to walk, let alone to dance! It’s a reminder to be grateful for this gift.”
Picini continued dance throughout her youth—mainly focusing on ballet and pointe work. She also sang in her church choir and studied piano from her mom. After high school she attended Towson University, known for their strong technical dance program, to obtain her BFA. “I studied Dance Performance and Education,” she explains. “I took all the education curriculum but ended up dropping that secondary focus. I never thought I was going to teach…I just wanted to perform!” (We’ll come back to that irony later)
Just four days after graduation, Picini moved to New York City to participate in Broadway Dance Center’s Summer Summer Session. “Towson was fantastic for concert dance training, but I felt BDC’s SIP would help bridge the gap between college and the professional world.”
“I vividly remember that first day at BDC,” Picini recalls. “There were 75 summer interns! I was intimidated by the talent.” But Picini stood out from the crowd. Bonnie Erickson, former Director of Educational Programs, saw how focused Picini was about training and about pursuing a lasting career in the performing arts. “I didn’t perform in every student-choreographed piece,” Picini admits, “l would take classes in the areas I wasn’t as strong in, I made an effort to look presentable in every class, I sent professional e-mails updating my mentors on my progress, and I took every note I was given.” For Picini, SIP was not just a fun summer in New York City. “The program opened my eyes to musical theater, and I was excited and hungry for the challenge.”
BDC’s theater teachers like Jim Cooney, Ricky Hinds, and Al Blackstone really shaped Picini’s time as a summer intern. “Jim saw my potential and gave me a lot of tough love,” Picini says. “I had strong ballet technique and vocal chops, but Jim’s class challenged me as an actor—It still does! Ricky’s and Al’s classes demand professionalism and hard work, but the room is filled with so much fun and joy. I believe that that supportive and empowering environment is how you can get the most out of a dancer.”
That’s not to say Picini’s time in the program was smooth sailing. “There was one musical theater mock audition where I crashed and burned,” Picini confesses. The teachers and administrators behind the table said that, with that performance, she would have been cut. But, because they knew Picini’s work ethic and capabilities, they said they would actually call her back. “More than anything, the program taught me that, while talent is great, consistency and hard work are the most valuable qualities to be successful in this business.”
At the end of SIP, Picini was praised with the “Most Outstanding Student” award. “I was given a job in BDC’s retail store which gave me the opportunity to continue my intense training.” She became a “regular” in many of the advanced theater classes and, when a teacher’s assistant would leave town for a gig, Picini was there and she was ready. “I didn’t go into class desperately wanting to become an assistant,” she explains. “Stay present and patient and do the work. It’s a balance of being proactive and open, but also being in the right place at the right time.”
Picini was also promoted on the administrative side when she started working in BDC’s Group Services. “One day there was a teacher who didn’t show up for class, so they threw me in!” Picini recalls. “It was exhilarating!” After that dive into the deep end, Picini got a few chances to sub for Jim Cooney, an opportunity to lead one of BDC’s Absolute Beginner Workshops, and eventually scored her own guest teaching slot. “I had about three people in my initial classes,” she says. But things took an unexpected turn in 2016 when FOX brought cameras into Picini’s class to promote “Grease Live.” “When cameras show up, a class will always sell out,” Picini jokes. Maybe dancers initially came for the cameras, but they stayed for Picini. Her class has been waitlisted ever since.
“I’m completely overwhelmed when I’m in that studio in front of 75 people. I have to pinch myself,” Picini says with immense gratitude. “It’s an honor to teach alongside so many of my mentors at BDC. Sometimes I feel insecure because I haven’t been on Broadway yet. But I realize that dancers don’t come to my class because of my resume, but because of me and my work.”
Outside of BDC, Picini has performed at numerous reputable regional theaters across the country. “I did a ton of dance captain jobs and then was asked to be assistant choreographer for a show at Finger Lakes Musical Theater (now The Rev Theater Company),” Picini remembers. “I was nervous because I didn’t want to give up performing. But, due to the limited amount of union contracts available, I would not have been on the project at all had I not also been assistant choreographer!” Her initial predicament quickly became her superpower. It wasn’t black-or-white—Picini could do both. And she was more marketable as a result! “It checks a lot of boxes if one person is capable to do a lot,” Picini acknowledges. That’s one less flight, one less housing accommodation, etc. “I’ve put a lot of work in and it has really blown up. People have taken notice and that’s such an incredible feeling.” Picini has assisted such choreographers as Parker Esse, Ricky Hinds, Rommy Sandhu, and Denis Jones. “Being behind the table has leveled me,” she discloses. “Casting a show is a complicated puzzle. At many auditions, you could cast the show ten times over with the amount of talent that comes in! A dancer’s job is to show up and do your work. That’s all you can do—and that’s enough.”
As a teacher, associate choreographer, and active performer, it’s no surprise Picini’s schedule can be jam-packed. “I’ve learned (and am still learning) about balance,” she concedes. “There was a point when I felt so popular yet so alone. I was also hospitalized for exhaustion at one point.” Picini has realized how important it is to rest, say no when she needs to, and keep a supportive inner circle of family and close friends. “Rest days, therapy, and my faith keep me grounded. Now I understand that I am me and the opportunities that have been opened to me are because I am expressing and taking care of who I am.”
Picini credits her ever-bourgeoning journey to BDC. Her creative voice, infectious laugh, and humble work ethic inspire her peers, students, audiences, and own teachers and mentors. “Recently a choreographer whom I had never worked with called me to wear multiple hats for his upcoming project,” Picini explains. “He said, ‘And if I know of Lizz Picini, this is right up her alley.’ That is the most amazing feeling. Sure, Broadway will always be a goal. But I’m learning to celebrate the present and continue to put in the work every day.”
In honor of black history month, we’re throwing it back to the “Doctor of Jazz,” Frank Hatchett.
In 1984, Hatchett was an original faculty member of Broadway Dance Center. Located in the heart of midtown Manhattan, BDC quickly became the premier training ground for professional performers in ballet, on Broadway, and beyond. The studio was known for its roster of master teachers including Luigi, Jamie Rogers, Henry LeTang, Phil Black, David Howard, and, of course, Frank Hatchett.
Hatchett exemplified what it meant—and still means—to be a teacher at Broadway Dance Center. He had an impressive performance resume, having danced for the likes of Sammy Davis Jr., Frank Sinatra, Tony Bennett, and Pearl Bailey. He had an insatiable passion for teaching dance that went beyond just teaching steps. Hatchett instilled in his students an inner confidence, encouraging them to express emotion and overcome challenges through movement and performance. Hatchett was not just a teacher; he was also a mentor, a father figure, and a friend. He saw greatness in each of his students and challenged them to explore their true potential.
Hatchett’s signature style, VOP, was a blend of strength, funk, and individual interpretation, with an emphasis on selling your performance. VOP was a marriage of movement and music where dancers matched their technical training with their own artistic flavor and expressive soul. Hatchett’s classes, especially his famous “3:30pm Advanced class,” were always packed with high-energy choreography, celebrity clientele (Madonna, Brooke Shields, Naomi Campbell, Olivia Newton-John, etc.), and a dash of tough love. Hatchett gave attention to every dancer and would publicly call you out—for better or worse—in order to help you grow as a performer.
In 2013, Hatchett passed away at the age of 78. Broadway Dance Center hosted a tribute performance at Symphony Space in his honor. The three-hour event included heartwarming speeches, spiritual songs, and dance performances showing off Hatchett’s legendary VOP style. Many of us never had the opportunity to take an actual class from Frank Hatchett. But dancing at BDC is inspired by him thanks to the generation of his students-turned-teachers who are keeping his legacy alive…Sheila Barker, Lane Napper, Robin Dunn, Michelle Barber, Heather Rigg, Ginger Cox, Derek Mitchell, and Debbie Wilson. Like so many teachers here at BDC, Hatchett emphasized the importance of foundational dance technique, artistry and individuality, and passion for the art of dance. We are forever honored to keep the VOP legacy alive.
Joy Karley’s journey to Broadway Dance Center was a weave of passion, artistry, and (believe it or not) science! Karley currently teaches ballet, Pilates, and frequent foot care and extension classes at BDC and, while her trajectory may not have felt linear at the time, her resume is incredibly impressive.
“I started dancing in Cleveland, Ohio in those 3-5 pre-dance combination classes,” remembers Karley. “I had three older brothers and my mom wanted me to do something ‘girly.’ I took everything from tap and ballet to tumbling.” Throughout her adolescence, Karley trained at various studios including the Cleveland Ballet. “Back in the 70s and the 80s, dance scene was still a very abusive environment,” she concedes. “To my teachers at the time, I would never be good enough or skinny enough to succeed.”
With that invigorating mix of disappointment and determination in her bones, Karley decided to apply for college where she felt she could major in dance and train in a more supportive environment.
She was accepted to Kent State University where the dance program was, at the time, part of the physical education department rather than performing arts or musical theater. “My degree was a B.S. (a Bachelor of Science). But I didn’t want to take the science requirements, so I pushed them off to my senior year.” While exercise physiology initially sounded boring to Karley, she eventually discovered she loved learning about human anatomy and how the body works. It all clicked—She could relate that knowledge to her dancing.
Alongside her academics, Karley found a side hustle teaching fitness classes at local gyms. “There was no such thing as a ‘fitness certification’ back then,” she recalls. “All you needed was a cassette tape and some rhythm!” Slowly but surely, Karley’s interests began to dovetail.
“Still, dance in college is like dance—or any performing art—anywhere else,” Karley admits. “There’s discouragement everywhere you go. My advisor even told me to change majors!” But a lightbulb went off after reading a small Dance Magazine article about the Pilates method, a training program popular among dancers. “I wanted to help dancers get better at what they do,” Karley told her advisor. “I think you’d better focus on your studies…” her advisor replied.
That same fire was ignited in Karley again. “I finished my degree, continued teaching fitness, and delved into learning more about other fitness methods including Pilates,” she says. “At that time Step Reebok was brand new. I learned to teach Step from Tamilee Webb (“Buns of Steel”). She kind of mentored me about pursuing a career in the fitness industry.”
Karley knew she had more to learn, so she headed west to San Diego State to get her master’s degree in Biomechanics and Athletic Training. “San Diego had the biggest concentration of well-known professors and was where Step Reebok was doing all their innovative research,” says Karley, whose thesis actually contributed to the research and development for the step training manuals. “It wasn’t so bad to study at the beach either!” She also kept up teaching dance and fitness and freelancing with some small dance companies in Southern California.
After a stint in Los Angeles, Karley got recruited to work in fitness marketing in New York City. “The environment was very toxic and misogynistic,” she recalls. “I missed dance, so I started taking (and eventually subbing) classes at Broadway Dance Center.” It was here that everything seemed to fall into place. “I realize I’m doing exactly what I told my advisor I wanted to do—help dancers get better at their craft,” Karley says with pride. “To all the teachers who told me to quit, I’m teaching at Broadway Dance Center in New York City and empowering dancers to become better, stronger, and smarter artists.”
“Being onstage is great, but I have had such rewarding experiences as a teacher.” Karley recounts one story about a former International Student Visa Program student who dragged himself to her ballet class because it was required for his program. “While the student was very resistant at first, after a few weeks he started getting really good. I would catch him checking himself in the mirror and clearly enjoying class,” she remembers. “When the program ended, he came up to me and said, ‘I want to thank you because you taught me about ballet and made me appreciate it.’ That makes what I do worth it. If ballet comes on TV and his buddies joke about it, he might defend it and say, ‘No, that’s really difficult. Those men are athletes.’ That makes an impact.”
Karley’s classes are popular amongst dancers because she teaches not only technique, but a deeper understanding of how the muscles and joints work to achieve each movement. “In my day, we were taught to just make your body do that. It was like Darwinism…the weak would be weeded out and the cream of the crop would rise to the top,” Karley explains. “I try to teach people from a biomechanical standpoint so dancers can understand their abilities from the inside-out and work with what they have to train and perform safely. There’s a lot of imagery in ballet, but some of it is untrue. Understanding what’s actually going on anatomically can make a huge difference in a dancer’s technique.”
Good workouts are the ones that withstand the test of time. They can certainly evolve, but they’re scientifically proven and aren’t just ‘trends.’ “Science behind it ensures you’re not going to get hurt,” explains Karley. “Ballet actually proves to be scientifically sound—You start with plies and end with jumps after an hour of warming up. It’s progressive physically.”
If you understand how your body works, you can avoid injury and get stronger. Dancers, like athletes, have a tendency to push through pain in order to perform. “The industry is getting much healthier,” addresses Karley. “Companies have physical therapists on staff and training programs are encouraging dancers to take control of their own self-care through classes like Pilates, yoga, and active isolated flexibility. Imagine how much longer you might be able to dance if you take care of yourself.”
In addition to a dancer’s core technique classes, Karley strongly encourages Pilates as a critical form of cross-training. “Pilates keeps dancers healthy and strong,” she says. “Young people think ‘It’s not going to happen to me,’ but you don’t realize how vulnerable you are until your first injury.” Pilates strengthens and lengthens the body with a sense of control and centering through your ‘powerhouse’ (core abdominal and lower back muscles).
Karley’s additional specialized signature classes evolved from her own students’ needs. “Years back I had a dancer who was planning to have bunion surgery,” Karley recalls. “I gave her a foot kit (sold in the BDC store) and, after using it only twice, her foot pain went away.” Karley got inspired to design a foot conditioning class to help dancers care for their most important instruments—their feet. In addition to her foot class, Karley’s other signature classes, stretching and improving extension, remain popular at BDC.
Over her years teaching here, Karley has noticed an ever-growing bad habit amongst her younger students: tech neck (poor posture from texting, gaming, or working on a computer). “These kids have the posture of senior citizens,” Karley worries. To combat this postural problem, she suggests four simple exercises: 1) aligning the body starting a the feet and stacking the skeleton all the way up to the crown of the head, 2) some sort of core activation exercise like opposite arm/leg reach, bridging, or ab curls, 3) an upper back ‘swan,’ and 4) cat/cow stretch to mobilize the spine. “If you can start your day with these exercises or do them before dance class, they’ll make a world of difference.”
To become an even more informed dancer, be sure to drop into Karley’s ballet, Pilates, and frequent signature classes at BDC.
Salmon’s passion for ballet radiates from her every pore and shines onto each
student she encounters here at BDC. With her virtuosic demonstration, careful
hands-on correction, visual imagery, and historical and experiential anecdotes,
Salmon has had many of her students grace the ballet, concert, and Broadway
stages. And before their shows or in between contracts, these dancers come back
to her ballet class because they know with “Miss Jamie,” there’s always more to
learn and improve. Even dancers who for one reason or another begrudgingly make
their way to the barre often discover a new appreciation for ballet—both as an
art and as a practice—thanks to Salmon’s thoughtful, inspirational, and
up, Salmon trained at the North Carolina School of the Arts, SAB, Joffrey
Ballet School, and Broadway Dance Center. Her first professional gig was
performing with her ballet bud, Nicole Fosse, in a production of “The
Nutcracker,” directed by Gwen Verdon and produced by Bob Fosse, who were like
second parents to Salmon during her SAB summers in the Big Apple. She went on
to dance with the Joffrey Concert Group and for TV, film, and commercials.
Salmon credits her teaching philosophy to the mentors and experiences that
helped to shape, challenge, and support her as a dancer. “Both my training and
performance experience have influenced me tremendously as a teacher.” Salmon
considers herself a “tough love teacher with positive reinforcement.” This, she
explains, is a balanced foundation to truly empower her students with the
encouragement and discipline to achieve their goals. “Every student and
circumstance is unique,” she adds. “What works for one dancer might not work on
another. You, as a teacher, have to determine the best way to reach that
individual dancer—when to give a little extra pressure and when to back off in
To Salmon, it’s an exciting challenge to teach open adult classes at BDC where students come from all over the world and have diverse dance backgrounds and varying levels of technical ballet training. “While I do love teaching at a conservatory, it’s just as rewarding to inspire a contemporary or street style dancer to find a love for ballet.” This gift to inspire was passed down from Salmon’s most memorable teachers and mentors (*see acknowledgments). “I had teachers that were so energetic, hands-on, and visual with imagery. That was very helpful to me,” she remembers. “As a teacher, I feel like I’m the new messenger—passing on the ballet history and folklore that came before me. And then, by sprinkling in my own personal stories, it becomes something new and personal. It’s very special.”
Salmon first began teaching at BDC back in 2008 and she still gets goosebumps walking through the halls. “It means a lot to teach at Broadway Dance Center,” she acknowledges. “I trained here with Finis Jhung, Evie Lynn, and Douglas Wassel. It’s humbling to be on the faculty amongst my ballet colleagues, all the incredible educators in their own genres, and then also part of the great legacy of teachers who have called BDC home.”
Salmon, ballet will always always be the crux of any dancer’s training–at
Broadway Dance Center, a liberal arts university, a pre-professional
conservatory, or anywhere. “There’s a lot of talk about cross-training today,”
Salmon says. “I hear about Broadway performers who skip dance class and head to
the gym. Fitness classes might build your stamina, but they won’t help you
perfect your pirouettes or heighten your extension. You need to get back to the
And ballet, emphasizes Salmon, is an integral foundation for every style of dance. “An arabesque is an arabesque no matter if its jazz, contemporary, or any other style of dance. You need to know the architecture of that position from ballet,” Salmon explains. “There’s something from ballet—whether it’s proper alignment, posture, quick and detailed footwork, or graceful port de bras–that can be taken and used to inspire in any form of dance.” She continues, “What’s more, there’s an aura about ballet dancers. I can tell the type of ballet training a dancer has had just by how they prepare at the barre before the music starts. You can tell by a dancer’s demeanor and the way they carry themselves. That poise and professionalism will translate anywhere.”
do many dancers feel like they have to drag themselves to the barre? “If you
only take ballet once a week, you won’t like it,” Salmon says frankly. “It’s
difficult to do only once per week because the body doesn’t respond quickly to
the very formal movement and rigid placement of ballet technique. It needs
repetition…to be reminded over and over again. People think ballet is rigid. It
isn’t—it has a very specific
placement. You can find freedom and energy within those restricted confines,
but it requires the discipline of showing up and working towards that…It isn’t just
handed to you. I promise the more you do it, the stronger, freer, and more
confident you’ll feel.”
Salmon admits that ballet class is certainly not always sunshine and rainbows. “It’s
so fascinating that dancers feel the most naked in ballet class. I don’t know
why that is, but I felt the same way,” she admits. “That’s the barrier I want
to try and break down…For my students to come to class dressed professionally,
looking confident, and saying ‘Here I am!’”
“It’s about getting excited for the challenge,” she adds. “The people that go and climb Mount Etna don’t look at the mountain thinking, ‘Oh no, it’s so far. I’ll just turn back.’ They say, ‘Oh my gosh! I’m going to climb this!’ with the full intent of getting there. They are going regardless of their fear because it’s just so exciting.” As perfectionists, many dancers ascertain it’s better not to try at all than to try and fail. That’s when our egos can get in the way. “As a young dancer, I would hold myself back because I was afraid of making a mistake and feeling humiliated,” Salmon recalls regrettably. “It’s a false sense of pride that we’re supposed to do everything perfectly.” In class, Salmon often reminds her students that ballet is a never-ending journey towards an impossible destination. “Not being able to achieve the same standard as Tiler Peck, Misty Copeland, Mikhail Baryshnikov, or whoever you believe epitomizes the ‘perfect’ ballet dancer is not an excuse not to try to find your personal best. There are only a few people that can achieve those standards. Instead of feeling discouraged by comparing yourself, get inspired to achieve your personal best.” The art and the joy are in the work itself.
And that “work” extends beyond a few tendus and pliés at the barre. “While there seems to be a lot more dancing—and more people dancing—than ever before, I’m concerned about this new generation of dancers,” admits Salmon. “There’s a lack of knowledge about dance history. Kids are doing steps without understanding where they originated. Can you really express the dance correctly when you don’t know the genesis of where it came from? If you’re really interested in dance, you need to do your homework.”
That homework includes understanding dance history and also taking proper care of the dancer’s physical instrument. “I notice a lot of dancers today seem very out of shape due to lack of training. That also makes you more prone to injuries.” To best aid her students, Salmon relies on visual and aural cues as well as physical adjustments. “Of course, I ask the student beforehand,” says Salmon. “But a little physical manipulation can be incredibly helpful in discovering proper placement in ballet—especially for more beginner students.”
At BDC Salmon currently teaches beginner ballet, advanced beginner ballet, and pointe to wonderfully diverse classes of dancers from tiny hopeful pre-teen primas and seasoned Broadway veterans to hundreds of students from BDC’s professional training programs and many of BDC’s own faculty. At heart, Salmon believes a great teacher is one who looks at each student as an individual dancer and as part of a collective ensemble. “It’s like a family,” she says with a smile. “You—the teacher—have to nurture and mentor each student differently.”
Salmon isn’t performing professionally anymore, the qualities and skills she
cultivated as a dancer have grown ever stronger in her teaching: taking risks,
paying attention to detail, collaborating, inspiring those around her,
creating, and being present in the journey. Most of all, Salmon hopes to
encourage those abilities, values, and aspirations for her students. “The memories
that most stuck with me were the hug with, ‘I’m proud of you. You had a tough
day today and you didn’t give up’ or the arm around my shoulder with, ‘I need
more work from you—You’re too talented to be getting in your own way.’ Those
moments were infinitely more impactful than teachers who just tell you how
wonderful you are all the time.”
“I was so lucky to have some truly amazing teachers in my life,” Salmon recognizes. “I am grateful for how they mentored, nurtured, sometimes babied, and often acted tough on me. I wouldn’t trade any of it.” She jokes that she’s a “torchbearer,” passing on the information she learned from her teachers and professional experiences—and selectively choosing what to bring with her and what to consciously leave out. “Because of my teachers who did it for me, teaching just seems natural …As many students as I can fill in my heart!”
*Salmon would like to extend her gratitude for her teachers and mentors, including: Dana Kennedy, Melissa Hayden, Margaret Thayer, Paul Mejia, Juan Anduze, Joan Saunders, Duncan Noble, Joyceann Sedimus, Meredith Baylis, Dorothy Lister, Trinette Singleton, Jim Snyder, Finis Jhung, Gwen Verdon, Bob Fosse, North Carolina School of the Arts (now UNCSA), School of American Ballet, Joffrey Ballet School, and Broadway Dance Center.
“I was at the airport in
London getting ready to fly to New York City,” recalls Carlos Neto. “I was
looking forward to teaching at Broadway Dance Center before I even landed in
That was back in 2013, and Carlos has been teaching Street Jazz at BDC ever since. But while his flight from London to New York was direct, those years leading up to 2013 were all over the map–literally! Carlos grew up in Portugal and spent the majority of his youth as a child actor on a Portuguese sitcom. He also studied Shotokan, a Japanese style of martial arts, from ages 7 to 19. He then ventured to Wales for college, where he studied journalism and earned both his bachelor’s and master’s degrees. That’s also when Carlos really began dancing. “I would travel four hours on the train to London every week just to take class. I couldn’t get enough of it,” he remembers. Carlos took to street dance quickly–much thanks to his background in martial arts. From a young age, he trained in self-control, discipline, respect, meditation, and style…Putting that practice to music just came naturally.
Carlos eventually began
teaching his own class in London (both as an excuse to get himself to the city
each week and also as a way to earn a little extra cash as a graduate student).
“One day, Simon Cowell accidentally walked into my class when he was looking
for another studio,” Carlos explains. “The next thing I knew I was
choreographing for ‘Britain’s Got Talent!’”
Amidst teaching and
choreographing throughout the UK, Carlos couldn’t fight the acting bug. In 2012
he came to New York to study acting. “My teacher would say that dancers are the
hardest to work with because they have a shell built up.” Breaking that shell
wasn’t easy, but it ultimately made Carlos a more engaged performer. “Acting
taught me to be okay with my mistakes and imperfections and to be honest in the
moment. Being an actor isn’t a mask you put on…And the same is true for a
dancer. I am Carlos when I’m dancing, and my technique is just a layer on top
When Carlos officially
made the move across the pond in 2013, he was amazed at how warm and supportive
the dance scene was in New York City. “There’s a level of professionalism at
Broadway Dance Center that sets a different kind of standard,” Carlos
explains. “As a teacher, you feel valued and supported. You’re also incredibly
Humility, hard work, and
respect are three qualities Carlos learned early in his martial arts
training–and ones that he strives to pass on as a teacher. “It’s so important
for dancers to have discipline,” he says. “Notice your body language when you
take class, always keep pushing yourself to be better, do what the teacher asks
of you, and train in the foundations of the style you’re learning.”
Additionally, Carlos emphasizes how critical it is to put good energy into
class–whether you’re a teacher or a student. “We all struggle and celebrate
together,” he describes. “That’s a powerful thing.”
For Carlos, there are
two main characteristics that make a good dance teacher: 1) staying true to
yourself, and 2) balancing encouragement and discipline. “Not everyone is going
to like you,” Carlos acknowledges, “but you can’t just spoon feed your dancers.
To be a good educator, you have to empower your students to become
better–that’s your job.” One thing that Carlos is not a fan of, however,
is social media. “I understand that it’s necessary for promotional purposes,”
he concedes. “But it often becomes a ‘fame game.’ Being a talented dancer with
a lot of followers does not necessarily translate to being a good educator.
What’s more, class should be a safe space and never feel like an audition where
you can’t mess up or fall down.”
Carlos continues trying to juggle it all–teaching, choreographing, and acting, too. “It’s challenging,” he admits. “But you need to find a balance for you. At one point, I was teaching so much that I didn’t have the time or energy to do anything else. Luam once told me that sometimes you need to take one step back in order to take two steps forward. I dedicated more time to working on my reel, getting an agent, and putting myself out there, and that’s when the bigger projects started coming my way. You have to invest in yourself in order to manifest your dreams.”
Teaching is an important
part of Carlos’s balance. “BDC is my home base,” he says, and no matter where
else in the world his talents take him, you can bet Carlos is challenging
himself, creating new work, and inspiring dancers with his passion and work
This year Broadway Dance Center celebrates its 35th anniversary. In those three and a half decades, BDC has trained and inspired thousands of dancers, and also cultivated professional performers and talented teachers. For one such eager student-turned-adored teacher, Neil Schwartz, Broadway Dance Center has always been home.
“I’m the baby of the family,” says Neil. “I always mimicked what my siblings did, and I started watching MTV at a young age.” Neil vividly remembers being inspired by the music videos of Paula Abdul and Janet Jackson. “I’ve always loved female entertainers,” he explains. “There’s something so bad-ass and powerful about strong female characters.”
At 7 years old, Neil began taking dance lessons at a local studio on Long Island. A family friend recommended Neil train at Broadway Dance Center. The rest is history!
12-year-old Neil would take class every week from Bev Brown and Chio. He continued taking classes throughout high school before heading to the University of Maryland to pursue a degree in Psychology. “I knew I loved helping people,” says Neil. “But I didn’t know what I wanted to do with my life. I felt very lost.”
On a spring break vacation, however, Neil’s life completely changed. “At 21, I suffered a blood clot in my right leg that caused pulmonary embolisms in my lungs. I was very overweight at the time, and doctors told me I had a 50/50 chance to live. At that traumatic moment, I vowed to turn my life around.”
Neil’s health journey began with one simple thought, “As soon as I get out of the hospital, I have to dance,” he recalls with a solemn conviction. “I have to do what makes me happiest.” After graduating college, Neil returned home to Broadway Dance Center to participate in the Fall Intern Program (now the Professional Semester). “It was a huge eye-opener,” Neil remembers. “It was scary in a good way. It was my first taste of the ‘industry,’ and I realized I had so much to learn.” Neil trained with his mentors, Sheryl Murakami, Rhapsody James, Luam, and Eric Jenkins. He also credits ballet teachers, Dorit Koppel and Peter Schabel, for helping him accept and understand his body.
It was during his internship that Neil also began choreographing for BDC’s Student Showcases. “The BDC Intern Program guided me in a lot of ways,” says Neil. “I realized my place in the industry was as a choreographer and teacher.” Neil admits he’s happiest when he’s creating, connecting, and inspiring others to be themselves. His goal…to teach at his home, Broadway Dance Center. The journey wasn’t easy. As a former student, Neil had to prove himself not only to the senior faculty at BDC, but also to himself. “It took me a year and a half to sub at BDC and another year and a half before I got my own slot,” he recalls. “Luam, Brian Green, Rhapsody James, Candace Brown, and Eric Jenkins all took my class. It was so intimidating. But I had the determination and patience to stick it out. I know that fight made me a stronger teacher.”
This year, Neil celebrates his 10-year anniversary teaching at BDC. “I don’t teach anywhere else,” Neil reveals. “I’m grateful to have been raised at Broadway Dance Center. This is my home.” Neil teaches all levels of Street Jazz, a style of dance inspired by the culture of hip-hop and fused with elements of jazz funk and contemporary influences. “I challenge my students both musically and emotionally,” explains Neil. “Music is like therapy. It impacts me in such a positive, energetic way. I encourage my students to connect to the music in their own way and to exude those feelings in their movement.”
Last year, Neil helped launch “BreakThrough: The Series,” an intimate, intensive workshop where dancers practice performance execution and gain confidence. “This was by far the best workshop I’ve ever been a part of,” Neil gushes. “We became a family in those two days. Dancers get the chance to be filmed, watch the footage, receive notes, and do it again. It’s an incredible opportunity to experiment, learn, and grow. I hope to host another BreakThrough workshop soon!”
For Neil, dance is all about communication. “Whether in the classroom or in an audition, it’s not about perfection,” he says. “I want to see your blood, sweat, and tears. I want to see why you have to dance–how you connect and communicate through your movement.” Neil’s ultimate test? “If my mom can understand, I know I’ve communicated through my choreography,” he laughs.
This idea of connection goes far beyond the “steps” Neil teaches in class. “I try to create a safe environment where dancers feel both challenged and empowered,” Neil explains. “For me, students are number one and I try to give my attention and energy to each dancer. I want them to know, ‘you matter.’” As a teacher, there’s no greater feeling for Neil than watching students achieve goals, push past limits, and break free from adversity. “I had a student once who told me my class empowered her to leave an abusive relationship.” That’s the sign of a truly great teacher, making an impact that goes far beyond the studio.
Whether you’re embarking on your own dance, professional, health, or emotional journey, Neil has the same advice: “Surround yourself with a good supportive system of friends and mentors. There is no shame in needing help. Dance can be the best therapy.” And remember that Broadway Dance Center is always your home away from home.
“Gah, gah, reach–ball change. Now, one-two-three hundred turns!” If you haven’t already guessed, today we’re featuring the woman, the myth, the legend: the one-and-only Sheila Barker. Whether she’s teaching her weekly drop-in jazz classes, mentoring training program students, hosting classes for BDC’s annual Dance Teacher Workshop, leading her sought-after Summer Workshop, or just greeting everyone (by name!) as she roams the halls of BDC, Sheila seems to inspire every dancer she meets.
Get ready for another undeniably inspirational weekend! Broadway Dance Center is gearing up for this year’s annual Dance Teacher Workshop, coming up July 31 to August 2. For the second year in a row, BDC will be holding this amazing weekend in Gibney Dance’s beautiful studios at historic 890 Broadway in NYC, giving participants lots of room to move, learn and network.
Take a look at the packed schedule. There are a multitude of classes open only to workshop attendees that are led by BDC’s esteemed faculty. These aren’t your typical classes; each one is geared specifically toward helping dance educators gain insight into the teaching process as specific to student age, level and style.