A late bloomer in the dance world, Joe Lanteri has made a name for himself as a choreographer, director, producer, teacher, and entrepreneur. His work has been seen on TV, in casinos, and on stages around the world, and he is a longtime teacher at The Juilliard School and Steps on Broadway. As executive director and choreographer for New York City Theatrical Events, he has had his hand in myriad industrial shows and other events. He is the founder and director of New York City Dance Alliance, a convention producing organization, and a new competition company, Onstage New York. Since he wasn’t busy enough, in 2004 he launched a dancewear company, Lanteri New York.

 

Goldrush: Where were you born and where did you grow up?

JL: I was born in Ridley Park, PA, 15 to 20 minutes south of Philadelphia. I grew up in Wallingford, PA, a very small town—little more than a post office, train station, and grocery store—maybe one traffic light! My parents are Italian immigrants. I have one older sister, born in Sicily. I’m the only one in my family who was born in the United States. I mention this only because their old world values and work ethic have had a tremendous impact on my life.

 

Goldrush: What or who inspired you to dance?

JL: Dance was never a specific goal. I had no formal training until college, but I loved to perform. I have vivid memories of singing and dancing in school performances. I was always the kid who wanted to read out loud or go to

the blackboard and solve the math problem. In my senior year, my high school produced its first musical, and I got the lead in Brigadoon. I went on to play Jesus in Godspell for a local community theater, and then was cast as Lucky

in Dames at Sea at a Delaware dinner theater. The role included a tap number—and I had no training. But I learned a lot and got paid, and I had a great time.

 

 

Goldrush: Were you involved in other kinds of activities as a child?

JL: I was lucky to grow up in a neighborhood full of kids my age. There was a neighborhood ball game almost every night. I was fairly athletic, but my parents never allowed me to play organized sports. It was one of those cultural

differences they didn’t understand. I grew up overprotected and sheltered.

 

Goldrush: How did you end up at the University of Southern California?

JL: At 18, I was ready to go. By my senior year in high school, with my newfound talents in musical theater, I knew I wanted a career in theater. I chose USC because John Houseman had taken over as chairman of the theater department and was modeling it after his program at The Juilliard School. Plus, I was lured by the glamour of Hollywood. I got on that plane and never looked back.

 

Goldrush: Which teachers or mentors influenced you or guided you the

most?

JL: My teachers at the University of Southern California, Jacqui and Bill Landrum, had the greatest influence. They were the movement teachers for the BFA theater program, and theywere instrumental in pushing and molding the talents of those of us with dance potential. I got a very late start, and the single greatest impact on my dance training was their technical proficiency. For three years I couldn’t get enough of their classes, often taking them back-to-back. They were primarily technique classes, with occasional combinations within a modern/jazz framework. I supplemented that training by taking class at professional studios in Los Angeles. I remember registering for an Intro to Jazz class at 19. I had already worked; I had learned to perform choreography but I really needed the basics. I soon studied regularly with Carol Connors and Jackie Sleight.

 

Goldrush: What brought you to New York?

JL: My theater training and growing interest in musical theater eventually brought me back to the East Coast. I couldn’t see myself pursuing a career in L.A.; I needed an environment that felt more grounded and genuine. I saw my first Broadway plays and musicals during trips to New York City during summer breaks and holidays, and the move seemed right.

 

Goldrush: How did your performing career begin?

JL: The first thing I booked was a Snickers commercial, done in a song-and-dance style. It never aired, but the experience introduced me to one of my first “real professional” friends, Alison Manson. I was in awe of her—she was

older and experienced, with multiple Broadway credits, a true Fosse dancer. She got me involved in a club act that she did with some of her friends for extra money, backup dancing for a recording artist named Celi Bee. At the time I thought it was very exciting.

 

Goldrush: When—and how—did you begin choreographing?

JL: Although gigs are fun, eventually dancers need a consistent paycheck, so I signed up for a cruise ship job. Four of us, all singer/dancers, were the feature entertainment five nights a week, doing five different shows. What a great learning experience! We eventually developed much of our own material. This began my official career as a choreographer, staging all of our revues. I had done quite a bit of choreography in college, and this production company,

Showtime at Sea, appreciated my drive and commitment. They soon asked me to be their full-time choreographer.

 

When I came off the ship, I had to choose between choreographing for Showtime at Sea and doing summer stock at an Equity theater— a big step for any young performer. I stayed with Showtime, but it was the beginning of my struggle to balance my desire to perform and my love of being on the other side of the table. I juggled the two for a while, and I was still interested in acting. I wanted to do it all. Somehow, dance won out. I’m not sure it was a conscious decision—it simply evolved.

 

Goldrush: Tell us more about the choreographer side of Joe Lanteri.

JL: I put some of my choreographic dreams on hold to pursue my goals with New York City Dance Alliance. Many years ago I received some

nice reviews for some off-Broadway projects. Today, I produce, direct, and choreograph corporate entertainment—revues cast with Broadway professionals (always with a handful of my NYCDA kids mixed in). I’ve done hundreds of them for clients ranging from IBM, Cisco Systems, and Hilton Hotels to Schering- Plough and Tupperware. I will say, though, that I am often asked when I’m going to do my first Broadway show.

 

Goldrush: Tell us about your first teaching experience.

JL: When I moved to New York, jazz dance was in a transition. Having studied in Los Angeles, I was seeking something similar. I tried Phil Black and Luigi but gravitated more toward Michèle Assaf, Michael Owens, and Michael Shawn. I settled with a great teacher named Michele Kadison, who had a strong technical base with a slightly more contemporary jazz style for the time. I took her class every day at Steps on Broadway and an old studio called Fancy Dancer. I performed in some of her choreographic projects and often demonstrated in class. One summer she was asked to guest teach at North Carolina School of the Arts, and she asked me to sub for her New York classes. I was shocked—suddenly I found myself teaching at both Steps On Broadway and Fancy Dancer! My warm-up was a compilation of many different teachers, including my college mentors; my style became a fusion of all I had been exposed to. I was fortunate that at the time what I offered was something different. I was also fortunate that many of the performers I had worked with as a choreographer, as well as my fellow dancers from Michele’s class, supported my teaching. I never struggled to build a class. Both studios immediately offered me jobs—at that time I was teaching seven days a week.

 

The teaching opportunities allowed me to have more control over my life. I thrive on responsibility—I’ve never been afraid to take charge, and the creativity appealed to me. It was also nice to have a more consistent paycheck.

 

Goldrush: You still teach at Steps on Broadway and serve on the faculty of The Juilliard School. How did you become involved with Juilliard?

JL: I am committed to teaching my classes in New York City. I feel an obligation to my students, offering them a supportive environment to take risks and cultivate their performance qualities. Teaching also allows me to keep my

own creativity alive. Juilliard approached me in 1992, as a midyear replacement, and the students’ enthusiasm has kept me there. I feel honored to be a part of the program. I love my students there. I expose them to a different way of moving— some of them have never taken a jazz class.

 

Goldrush: How did you get involved with teaching at conventions?

JL: When I was 25 or 26 I was invited to teach my first workshop classes. Shirley Larkin and her daughter, Michelle, of Larkin Dance Studio in Minnesota introduced me to the convention industry. Michelle came to New York every summer to take classes, and came to mine pretty regularly. I could not have asked for a better introduction to workshops classes. I became a regular guest teacher at the Larkin studio and through the Minnesota chapter of the Professional Dance Teachers Association, which Shirley organized. She graciously spread the word about this new, up-and-coming jazz teacher from New York City, and suddenly I was getting offers from lots of different dance organizations.

 

Goldrush: What inspired you to launch your own convention/competition business?

JL: I have always loved teaching at conventions. I love the environment, the energy, the feeling of contributing to the next generation. Having been a guest at virtually every established organization, I had lots of ideas and shared many of them with convention directors. Twelve years ago I felt it was time to have New York City dance represented in the convention market, so I founded New York City Dance Alliance.

 

Goldrush: What’s important to you in hiring master teachers for NYCDA?

JL: Our faculty is composed of respected dance educators at the professional level, most of them on the faculty at Steps on Broadway or Broadway Dance Center. Also, I choose teachers who understand how to adapt their approach to a convention environment.They have to be able to maintain high professional standards while motivating dancers at all levels to exceed their personal expectations. They need to inspire young dancers and empower them to achieve any goal they set for themselves— while enjoying the process.

 

Goldrush: What do you look for in a judge?

JL: Our faculty members also serve as judges. I ask that they appreciate all the work presented onstage and put personal preferences aside. All the dancers and teachers should be commended for their efforts—our job is then to help them improve.

 

Goldrush: What’s most important about what you offer the dancers at

your convention?

JL: Education and support. Although NYCDA has earned the reputation of attracting some of the best dancers and studios in the country, I do not want it to be perceived as an elitist organization. Our goal is to teach—that means all dancers at all levels. Over the years we have watched the growth of many dancers and studios, some making incredible strides. They do

the work and allow us to be part of the process. I want all dancers to come to NYCDA knowing that we will help them achieve their goals. I feel that in many ways our obligation to these dancers begins after they leave the competition

world—we work hard to stay involved in their lives. It’s one of the biggest things that separates NYCDA from other organizations. The track record speaks for itself: NYCDA dancers have performed in Broadway shows, national touring companies, American Ballet Theatre, Alvin Ailey American Dance Theater, Boston Ballet, Radio City Music Hall productions—and the list

goes on!

 

Goldrush: What do you offer teachers at your convention?

JL: The same thing—support and education. Teachers who attend the convention are exposed to a variety of dance educators and dance styles, and we all influence each other. I welcome the opportunity to learn each convention weekend. Attending teachers have the opportunity to advance their dance education but also to grow as artists.

 

NYCDA is a true alliance; it makes available all its resources, knowledge, and contacts. I have offered guidance to countless teachers on many issues. The dance and show business industry is very small—it should be treated as a network, a family.

 

Goldrush: Tell us about the competition part of NYCDA. What is unique

about it?

JL: NYCDA limits each participating studio to 10 entries. Our judges have a reputation for being tough but fair; you really must earn a platinum award. All entries are adjudicated by a panel of four judges, who offer written, audio,

and video critiques. Our awards range from bronze to platinum, and we present a range of awards in four age divisions (Mini, Junior, Teen, and Senior), including High Scores, Special Distinguished Achievement Awards, and our prestigious Critics’ Choice Awards (sponsored by Dance Magazine).

 

I am most proud of our Class Act and Backstage Good Sportsmanship Awards. For the Class Act Award, the judges recognize one studio that continually presents its dancers in a professional, classy, and age-appropriate manner. Our backstage staff presents the Backstage Good Sportsmanship Award to the studio whose students not only conduct themselves like young professionals but also congratulate and applaud dancers from other studios. I think these awards send an important message to our industry.

 

Goldrush: What advice would you offer a dancer who is disappointed in the results of a competition?

JL: Disappointment is a large part of life. It can be a strong motivator, and it can demonstrate that you are truly invested—if you didn’t care, you wouldn’t be disappointed. Dancers and parents need to be reminded that competing is not about the result but about the journey. Some of the most difficult choices in life involve how we handle setbacks. These choices contribute to the dancer and the person that each of us will eventually be.

 

Goldrush: Do you have any advice for parents of competitive dancers?

JL: Make sure kids are participating because they enjoy it, not to win a prize. The competition experience is just one part of a young dancer’s journey. It should be viewed as a chance to perform, to receive valuable critiques from reputable judges, to set personal goals and strive for excellence. The emphasis needs to be on the education, not the trophy. The education is the reward. Also, young dancers need balance in their lives. I tell parents to let kids be kids. Teaching them to find a balance in life with other activities, friends, and hobbies contributes to a happier, healthier experience in dance. The same balance is integral to a career.

 

Goldrush: What are your thoughts about competition choreography?

JL: The competition industry often promotes a prevalent style, and it’s ever-changing. Today we see a fusion of jazz, ballet, and modern, which is raising the levels of technical proficiency and allowing for boundless creativity in choreography and staging. Unfortunately, dancers and studios begin to lose their individuality because they are all mimicking the same styles, and it’s that individuality that will be noticed in a professional audition. Too often, being a great convention/competition dancer does not translate into becoming a working dancer. I feel an obligation to help these dancers keep it in perspective. It’s the only way they’ll be able to take the next step into the professional world.

 

Goldrush: What’s your secret to staying on top of everything?

JL: I am fortunate in that I do not consider my livelihood to be work. I love the constant challenge. I live my life one day at a time, always working to be the best I can. And I am blessed to have wonderful people in my life who offer

me tremendous support. They have made my journey that much more enjoyable!

 

Goldrush: Any words of wisdom for male dancers?

JL: There will always be an abundance of opportunities for male dancers. I’ve seen the level of talent skyrocket, and it’s exciting. My words of wisdom are consistent for all dancers: If you truly want it, make it happen. Everything

is possible—in dance, in life!

 

Goldrush: Any advice for dance teachers or studio owners?

JL: Do everything with integrity and stick to your vision. You will attract those who share in your vision. Keep your standards high, and continue to learn and evolve. This wonderful journey has no final destination, no final prize— but the journey itself is filled with rewards.

 

 

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