Conversation with James Alonzo White, Choreographer
Broadway ReFocused is in conversation with James Alonzo White, a dancer, choreographer and educator. James’ professional credits include dancing with Travis Scott, Cardi B, Rotimi, New York Fashion Week, and Tostitos. Coming to us from New York City, we are excited to learn more about his choreography in his new video, “A Brand New Day” from The Wiz that went viral in early September 2020. He has over one million views on Facebook and 200,000 views on Instagram, in hopes to choreograph a new revival of The Wiz on Broadway.
BR - S1, E4 - James Alonzo White
Spencer Williams: Thank you so much for being here with us today, James, we're really excited to talk to you about just the amazingness of your video. I have watched that video so many times it gives me so much joy. So, we're going to talk a little bit about The Wiz a little bit why you created that video and then your experience and what you're looking forward to in the future and how we can, support new artists, new choreographers, new directors, and people of color in those roles, because we want to see that, that's our focus of our class.
So, it's exciting to have you here with us today. So, thank you for being here.
James Alonzo White: Thank you for asking.
Spencer Williams: So, why don't we just start with, how did you get into dance and how did you end up in New York City? And tell us a little bit about your backstory.
James Alonzo White: Well I'm 31 now. I started dancing when I was 17. I took dance like my last semester of my senior year in high school. a contemporary ballet class and never looked back. And from then on, I mean, I danced in college, in a dance group, nothing really, I guess, professional. I did things here and there, took a dance class here and there.
And then when I graduated college. I feel like I took it on professionally and I had like a nine to five, but I would go, I would travel and train and do different things like that. My background is really more like I mean, I did modern and hip hop and I would consider it like commercial dance. There's stuff you see on like Beyonce, like things like background dancers, commercials, that type of thing. And then I went into NYU to get my Masters for dance education. So, that allowed me to move to New York. And from then on, I just stayed here.
And I started teaching after I graduated in 2015 and I just been dancing and training and trying to just work as a dancer choreographer and a teacher, the teaching thing has taken off the most, or has been my source of income. And then from then on, I've done a few jobs here and there.
And I feel now I'm trying to transition into being a choreographer, and do more things of that nature.
Spencer Williams: Within the dance education, and then also the choreography, what have you been doing on that side of things?
James Alonzo White: I guess teaching wise, I was a middle school dance teacher for a year, which was a lot, I have also traveled and taught.
I think I mostly taught professional or aspiring professional dancers. That's going to be my main situation and even just like studio kids, I would consider them studio kids. So, I mean, I've traveled to Paris and Norway and, all over the US just teaching, whether it's been adults and or children. Even all over the US, I would say I've done like a few jobs. I was in Cardi B's first video before she blew up. I got to do like a commercial I was in New York fashion week Actually I did two commercials like an eyeglass commercial and like a Tostitos commercial. I did the VMA's two years ago, with Travis Scott. so a lot of my work has been more commercial, I would consider a commercial and not Broadway, which is why I think it's been cool that. Since during The Wiz video I wouldn't consider it like what I normally do. You know what I mean, but it's something that I've done before and I secretly love. And so I wanted to just experiment and do something different.
I've always loved The Wiz. So, I kind of think that's what has made it cool is that this is not, something that I would normally teach in my classes or the work that I normally have done is more commercial based. And it's not that, so I think that's why it's kind of cool to do something different and it's cool that this has kind of blown up so big because it's. I don't normally do things like that.
Spencer Williams: No, that's rad. That works right into what I was going to ask next, was how did that concept happen about creating "A Brand New Day" for The Wiz? and how did that choreography, like, where did that spark of inspiration come from?
James Alonzo White: I mean, I've always loved The Wiz I mean, like I'm very, cheesy.
Like I love musicals even like the old Disney channel movie musicals, like cheetah girls, like all these other random things. I just love stuff like that but I've always loved The Wiz. I think that's the first thing I've seen. I saw that before I saw The Wizard of Oz.
So it resonated with me, I think. And one of my friends, we was at a workshop, he played the song across the floor. And I was like, Oh my God, this song goes off. And I just wanted to do it. I was like, Oh, this would eat. I don't know I kept listening to it and I was like, wow, like this song makes me really happy. I'll listen to it sometimes. And low-key cried just because it made me so happy. And I was like, Oh, and this would go, off, and I went to do something for my birthday. Cause I, you know, like this is so random, but you know, everybody does like a photo shoot for their birthday and takes pictures. And I was like, no, i'ma make a video. So, I always wanted to do something creative and fun. That was happy, and also I will say because of the climate that kind of just shows black people in a positive light. You know what I mean?
It's just like, we're dancing and we're fun. It's not anything crazy. And it's just happy, I think, cause with everything that's going on in the world today, it's just so heavy. And I just wanted something that was going to be happy and make people cry because they were just so happy because of tears of joy because they watched it, that's how I wanted people to feel because that's how I felt.
Spencer Williams: Well you definitely made people feel that, that was exactly how I described the video, is joy. it gives me so much joy to watch that.
James Alonzo White: Yeah.
Spencer Williams: So, what was the process like to, get the dancers involved and I'm assuming you maybe had a call or they were your friends, or how did that process work?
James Alonzo White: Yeah, they were all, I mean, they're all my friends or people that I've met through teaching or something, but I've known all of them. I pretty much just made a massive group message and was like, Hey, are you guys free? And it was probably 40 people, but I mean, of course they kind of dwindled down to like 24 people who are available.
And then, from the people who were available, I kind of, at least here we have to lie because of covid. You only have 10 people in the space at a time. So, I think I had like 24 dancers. So, I had to have three days of rehearsal. And I had to kind of stagger them rehearsals out.
So, by having five to seven rehearsals with 10 people, then a seven to nine rehearsal, with a different group of people. And then Tuesday was the same thing. And then Wednesday, I kind of had tried to secretly give them all together and then Saturday. we shot the video at 10:00 AM and this place called Greenwich Village, for two and a half hours, it was pretty quick actually. I would say the process was super smooth, I think because of the pandemic, a lot of the people who I asked have working dancers, a lot of them had danced with Beyonce and Chris Brown.
Rihanna. And I think a few of them we're about to do the MJ musical. That's about to come on Broadway, but that's now canceled or postponed. So, they are super busy. So, I think because there was nothing else to do, they were free. So, it was low-key a blessing in disguise. And because of the pandemic, I was able to get all of those people together and it kind of was really smooth.
I think even when we were shooting the video, that particular area, I guess is like an artsy area. So, a lot of older people were stopping and watching and taking pictures or videos and one lady even came out and helped us stop traffic.
So that nobody would come into shot. It was really, I don't know, I guess, it was almost divine intervention in a sense, it was very, because stuff like that doesn't happen to me. So, it just was very like, it just worked out very smoothly.
And we shot it really quickly like that. Like I think I started on Monday, we shot it on Saturday, you know, so it just happened really quickly and easily,
Spencer Williams: Yeah. Amazing that you put that together that quickly, and also, I feel like every once in a while there's a New York moment where the New Yorkers come together and help, you know?Yeah.
James Alonzo White: Yeah. For sure.
Spencer Williams: What has the response been on social media and kind of at large with it, with the video?
James Alonzo White: It's, it's been overwhelming. I mean it has, like, it has a million views on Facebook. I think it has like almost 200,000 views on Instagram. like 11K on, YouTube. And I mean, I've gotten a lot of different responses. Like I've gotten some very emotional messages from I don't know people who knew the words or maybe train with some people who were in the video, the original choreographer, George Faison from The Wiz, responded or messaged me, and said he loved the video and all these different things.
I think there has been a lot of great feedback from it. I recently just got hired to choreograph for this artist that this pianist that she played for, like Cardi B at the VMAs last year. So, like I'm doing her music video in the next few weeks and it's because she saw the video. So, I mean, I think it's just kind of been like a really big, it's just been great. I don't know like the response has been overwhelming and great and a lot of opportunities that come out of it. And I'm just kind of excited to see what happens after this.
And it wasn't really planned, but I'm happy that people are responding to my art, you know?
Spencer Williams: Yeah that's wonderful to hear. That's great one of the things that I saw on Facebook, you mentioned that you would love to choreograph The Wiz on Broadway.
James Alonzo White: I would.
Spencer Williams: So how can we make that happen?
James Alonzo White: I don't know. And it's so funny because I don't know that you guys know what the shade room is like on Instagram, but like Chris, I think somebody had posted like a, cast list of who would be the Wiz I think Chris Brown, reposted it and it was like Chris Brown and a few other celebrities who they thought would be good to be in the remake of The Wiz.
And a whole bunch of my friends were tagging me. Like if they do this, you need to choreograph for it. I don't know. So, I mean, I don't know what needs to happen, cause I mean, they did, have a remake of it on NBC a few years ago, that was on TV, but I didn't, I don't know. I didn't like it because it was, I mean, I come from a hip hop background, but I just think the choreography just did not represent how the original choreography was.
It just didn't move my spirit though. So, I just would love to be involved. I don't think he's like a GoFund me or something. I don't know, but I'm like, hire me please. Okay. Get me on the job, please. I don't know. I'm trying to like, do all my things.
Spencer Williams: I definitely think there's a time for this revival. It's been so long since we've seen it on Broadway.
James Alonzo White: Yes, and I mean, when I tell. It is really insane how many people have messaged me. This is like from all different walks of life, like, old, young, like I was shocked just how many people have, I've gotten messages from, especially on Facebook, like messaging isn't just like words of encouragement or like how they love the video or, you know, just different things I'm, I guess maybe, I don't know, now that Broadway is shut down, but hopefully when it comes back, maybe there will be something that, Comes forward.
And if it does, I would, Oh my God, I would cry. I would die. I mean, I have a choreograph for it and then I would die.
Spencer Williams: One of the things that I responded to in the video and I'm pretty positive that others did as well. Is that your voice in your choreography, you can see how you see the show, is different from musical theater choreographers that I've seen in the past.
James Alonzo White: I appreciate that. And I mean, I, guess that's maybe, that's what it is. I mean, cause I definitely don't come from a straight musical theater background. I would definitely say that my journey has been what you would call street jazz or commercial or hip hop or whatever.
And I trained in, I guess I had a technical background, but I haven't done that for years, but that's kind of where I started. And so it was always kind of like been a part of my choreography and how I moved, but they were like in the forefront. So, I guess I feel with this, I wanted to really showcase that because I think normally I just have not, or recently I have not done that.
And I wanted to just do something that felt good to me. And that was authentically me. So, I kind of just wanted to do something that I wanted to do that I felt love regardless if people liked it or not.
Spencer Williams: Right, with Broadway being shut down, because of COVID how do we find more representation for people of color inside of these industries?
James Alonzo White: I think it starts with people at the top. And I think I'm kind of going through the same thing right now for this music video that I'm doing just full disclosure like, the casting director is very much, I think with this it starts with the people who are casting these people and who are like the casting directors and who are at the top, you know, of these productions and movies and videos or whatever.
They just pick people who they are used to seeing. Or who are around them. You know what I mean? so. I don't feel like it's like a racist thing. I think it's just more like, you know, you pick people who you see every day, you know, and I think what has to happen is the people who are at the top of these people who are casting these people have to be aware and acknowledge that.
And I think there has to be a conscious decision to cast a diverse group of people and not limit and think that, Oh, because they're black, they will do hip hop.
And I also think it also starts with people creating their own shows, just like Hamilton, I think is a good example. He created this own narrative. People of color, whether you're black, Puerto Rican, Latino, Asian, we have to start creating our own stories.
At the same time the people at the top of these multimillion dollar Broadway shows like Frozen and things like that and wicked, you know, have to be a little bit more open-minded and intentional with who they choose to be in their shows. and hopefully because of all of these things with black lives matter and the protests and all these different things, hopefully it is a wake up call to those people to be like, you know, we are talented.
We can be in these spaces as well. We don't just do hip hop. we are not a monolith. And everybody can do a myriad of different things, you know? And I think that this is America and America is a melting pot of different types of people. So, I think that it is important to showcase all those people, I just hope that it starts at the top. I think that's what it is.
Spencer Williams: Thank you for sharing now in the dance world have you experienced similar casting? That you're like a predominantly white casting office that you're navigating or is it...
James Alonzo White: I mean, I think it depends on the artist, but I think that's 9 times out of ten, they are white. I mean, 9 times out of 10, whether it's a modeling situation where during fashion week, or it's like a commercial or it's something, unless it's like intentionally supposed to be for black people, if that makes sense. So, I think that's the only time I really ever see black people in the center of it all, if it's a black production talking about black things. if it's just like general, New York fashion week, boom, or something like that, like I mean I had a friend who did a New York Fashion Week show.
I mean dancing but, he will say like one of either the casting director or like. The designer was like, Oh, we have, we have three black people, so we're good. That's enough. And it was 60 models, 60 models. And it was, they were like, Oh, we have three black people. We're good. So I think, and I mean, I'm just like, and I be gagged to hear that, you know, I'm just like to think that somebody would say that, or even think that out of 60 people, you have three black people and you think that you're okay, is a problem.
Spencer Williams: Do you believe that the industry can change in that? If we can find more representation top-down?
James Alonzo White: I mean, I do. And I feel like it slowly is. I mean, I had a conversation last night with some friends, like about their Rihanna Fenty Savage show just like how diverse her show is. I mean, granted, I think hers is very, all inclusive when it comes to like, even like sizes and girls, guys and like, big, small, like plus size, you know, all those things.
So, I mean, I definitely think things like that have started to open the door to create new ways of moments to showcase people of color. And I do think that there's a big movement now because I mean, I've never seen, at least for me, I've never seen so many black dancers on TV. Whether it be like behind the artists or, on commercials or things like that. Like I don't know whether it's a gimmick or as a faddish done on purpose they wouldn't get sued or something or get caught on Instagram or something like that, whatever. But, I have noticed there has been a change over these past couple of months that I've seen a lot more people of color dancing on TV or behind artists. I think even there was Capezio, the people who make the ballet shoes and the tights and stuff, they just now started making brown ballet shoes for black people, like in 2020.
Spencer Williams: Right.
James Alonzo White: You know, whether they're doing it because of corporate or because of the pressure or whatever, I do feel like, because of all this stuff that's happening, they have no choice, but to adapt, or be more conscious of it.
And even now the video that I'm doing now, the girl was like, I really want to make it super diverse. I only want two white girls and I want two black girls and an Asian girl, and I want somebody who's trans and you know, so even she's more intentional about who she's hiring, with this project that I'm doing now.
So I think it is very like here. I wants to showcase everything, whether it's, gender, sex, ethnicity.
Spencer Williams: I have 10 rapid fire questions for you. Here we go . So, what was the first musical you ever saw?
James Alonzo White: A Choir Boy.
Spencer Williams: Favorite musical of all time.
James Alonzo White: The Wiz
Spencer Williams: A musical guilty pleasure?
James Alonzo White: Cheetah Girls.
Spencer Williams: Did you do any high school musicals?
James Alonzo White: I didn't, I didn't.
Spencer Williams: And then what's your favorite piece you've choreographed?
James Alonzo White: It was, there's a stage in New York called Carnival, which is like a big showcase for top choreographers or upcoming choreographers, last year in April. So, I did this old school cookout, like Luther Vandross kind of thing. That would be my favorite piece I've choreographed.
Spencer Williams: Very cool. I think I might have the answer to this question, but your dream show to choreograph.
James Alonzo White: Yeah. I mean, The Wiz. I wouldn't be mad at eight. I cause for this thing I just did, it was, I did Ain't Too Proud and Tina Turner musical. So, I actually wouldn't be mad at doing Ain't Too Proud.
Spencer Williams: Very cool. Your favorite cast album? Or maybe like even just an album that you're listening to right now.
James Alonzo White: I mean, cast album, actually, the Tina Turner one. I like it a lot.
Spencer Williams: What TV show are you bingeing right now?
James Alonzo White: Oh, I mean, I'm going to be fanatic, right now watching a Girlfriend's there's a show on Amazon prime called The Boys. I like it a lot.
Spencer Williams: And then my final question is, a quick snapshot or moment you miss about live dance or theater.
James Alonzo White: I don't know the emotion. Just watch it. You're just watching a dance, live on stage. I don't know. It's just watching a piece that I've choreographed all stages of hearing, hearing the crowd respond to it, I think is what I did. It's like that live interaction or that live response or lots, I guess that'd be the,
Spencer Williams: You know, for sure. I miss that communal energy that comes from that.
James Alonzo White: Yeah. The crowds when they were like, Oh my God this is my jam or they stampede.
Yeah, absolutely.
Spencer Williams: We really appreciate your time. Thank you so much for being with us today. We're so excited for you and with what's happened with The Wiz, and we're looking forward to more videos.
James Alonzo White: Yes. Thank you so much. Thank you. I appreciate you coming on and talking.
Spencer Williams: Yeah, it's really been a pleasure. So thank you for sharing your story.
James Alonzo White: Thank you.
