The Story Behind the Steps: An Interview with Mitchell Wanye

Aug 11

Welcome back to The Essence Edit, where we celebrate the stories, strength, and spirit of the dance world. Today, I’m excited to introduce you to Mitchell Wayne, a multifaceted figure who owns Mitchell Wayne Productions, is a celebrity choreographer, and is a professional dancer. His work has garnered recognition from prestigious publications like Netflix, the New York Times, Vogue, MTV, and the Today Show.

Mitchell Wayne’s journey began in San Diego, where he performed as a dancer in various styles, including fusion, musical theater, Irish folk, polka, swing, ballroom, and street jazz. His talent and passion led him to perform across Southern California before relocating to New York City in 2010.

Throughout his career, Mitchell has consistently demonstrated his commitment to staying humble, his naturally fun-loving personality, and his genuine passion for teaching. He believes that exploring different dance genres is essential to keep his classes engaging, fresh, and challenging. Whether he’s on stage, in class, or behind the scenes, Mitchell brings a level of authenticity, storytelling, boldness, and innovation that captivates his audience.

In this conversation, we dive into:

What inspired you to start dancing, and how did your journey evolve over time?
How do you stay motivated during creative slumps or burnout?
What advice would you give to someone trying to break into the industry?
How often do you practice, and what does your training routine look like?
What makes a piece or performance “stick” with an audience?
What’s something you’ve learned through dance that surprised you?
If you could dance with or for anyone—dead or alive—who would it be? and why?

Let’s get into it!

Nyla: What inspired you to start dancing, and how did your journey evolve?

I’d love to start from the beginning—was there a moment, a person, or a feeling that pulled you into the world of dance? And how did that initial spark grow into the career you have today?

Mitchell Wayne: Singing was my greatest passion as a kid. It wasn’t until I first saw Janet Jackson’s Control music video that I remember saying out loud, “ I want to do THAT!” Choreographing my work seemed logical to me. Discovering Paula Abdul and hearing her story inspired me to believe I could do the same. Dance and choreography were initially part of my entire dream. I wanted to perform. Sing, write, and dance; entertain. The more opportunities I had to choreograph and teach, the more focused I became on those aspects of my dream.

Nyla: How do you stay motivated during creative slumps or burnout?

We all hit walls creatively. When the inspiration runs low, how do you reset, recharge, and find your way back to the movement?

Mitchell Wayne: I resort back to the work of artists who have initially inspired me and see how it can lend to the work I’m currently doing. I also try to step outside of the styles of movement and even genres of music I’m familiar with, I order to see what new and unknown things may inspire me. To avoid burnout, I make it a habit to switch things up. I don’t often like to repeat because I don’t feel as challenged when I do. If I get bored with myself, I imagine others could as well.

Nyla: What advice would you give to someone trying to break into the industry?

Mitchell Wayne: Set yourself up for success and think beyond the immediate. Your behavior in every setting is your audition, whether it’s a formal audition or anything else. Networking can be as simple as befriending or just acquainting yourself with the people around you. One never knows who others may be connected to that could eventually be looking for dancers with your specific skillset, energy, aesthetic, professionalism, etc. So much work can be gotten outside of audition rooms simply because someone met you at a dance class, at social settings, through a friend who dances, etc. The work you have done then creates a rapport with employers who potentially remember you and ask for you directly, without the need for you to audition for them. Your name could then get passed around to other employers they may be connected to. Diversify your skillset with dance styles you may not even love the most. The more versatility you have, the greater your chances are of finding work.

Nyla: That’s such a powerful reminder—your behavior is your audition. Thank you for that gem.

Nyla: How often do you practice, and what does your training routine look like?

Mitchell Wayne: Because I currently have a busy schedule, I do not “practice” as often as I used to. When I did train, I often took many different styles of movement classes that included Broadway (Fosse), Street Jazz, Jazz Funk, Burlesque, West Coast Swing, Tap, Ballroom, Polka, Latin (Cha Cha, Salsa, Bachata, El Paso Doble), Ballet, Striptease (Heels), and Contemporary.

Nyla: What makes a piece or performance “stick” with an audience?

You’ve choreographed and performed so many memorable pieces. In your eyes, what’s that secret sauce that makes a performance unforgettable?

Mitchell Wayne: Performers who understand how to tell a story usually catch my eye. Technique is necessary, but performers who use technique (and even a lack thereof) to do more than kick the highest or learn the choreography the fastest have the most soul to me. They bring the pieces to life through body and face.

Performance pieces that stick with audiences the most are the ones that make them feel something. People are selfish listeners and viewers by nature. Performance pieces that understand their audience and how to connect with them, especially in clever, funny, or emotional ways, tend to stick with audiences the best. Of course, the spectacles of a dancer who executes gymnastics or risky/challenging movements can generate a lot of attention and applause, but the ones that appeal to emotions tend to leave longer impressions, even if they don’t remember exactly what they’ve seen.

Nyla: What’s something you’ve learned through dance that surprised you?

Mitchell Wayne: Most people are attracted to how you make them feel. Having the “best” choreography is of lesser value. As long as you know how to communicate well on their level, as long as you include, inspire, motivate, and acknowledge people, they will feel more comfortable either returning to classes or hiring you.

Nyla: If you could dance with or for anyone—dead or alive—who would it be? and why?

Mitchell: Janet Jackson. Any time. Any place. Anywhere. I’ve been told by colleagues that she treats her employees well, like family. This humility has always inspired me to be more inclusive and far less closed-minded in my relationships with people. This is her choreography, and performances have always been sickening! Her style has always spoken to me.

Nyla: Mitchell Wayne, thank you so much for sharing your story, wisdom, and artistry with us. Your journey is proof that staying grounded, open, and passionate can lead to an unforgettable impact.

To everyone reading—if Mitchell Wayne’s words move you, don’t forget to follow him at @mwaynepro and explore his dance company www.mwaynepro.com and check out more conversations here on The Essence Edit

Source: https://www.mwaynepro.com/about