We were lucky to catch up with Michael Fatica recently and have shared our conversation below.

Michael , looking forward to hearing all of your stories today. Are you able to earn a full-time living from your creative work? If so, can you walk us through your journey and how you made it happen?

I’m sure that almost all of us that identify as “creatives” has suffered through the conversation-as-old-as-time when visiting family or friends during the holidays. “Oh you’re in the theater! That’s fun, but, what do you do for money?” Many don’t realize that when following their passion into a freelance career that they will have to treat their art form as a business, first and foremost. I’ve been truly fortunate to find consistent work for the past twelve years in New York City as a theater artist, without having to supplement with a job outside to support my artistic habit. The secret to finding this consistency is tenacity. There are millions of talented performers, directors, creators, etc in the world, but few who can get a job doing what they love and then immediately put their nose to the ground to find what comes next. It takes constant networking, research and willingness to put yourself out there. The majority of shows I’ve done on Broadway or choreographic opportunities that I’ve gotten have come through my reaching out to someone I know to get in the room, or to introduce me to a new creative that may help me to the next step. It’s a familiar trope – you won’t get what you want unless you ask for it. You may be faced with a “no”, but, you never know when that next “yes” may come.

As always, we appreciate you sharing your insights and we’ve got a few more questions for you, but before we get to all of that can you take a minute to introduce yourself and give our readers some of your back background and context?

I am a choreographer and creative director in New York City, currently performing onstage in “Spamalot” on Broadway. I moved to New York in 2011 with the dream of “doing it all” – to perform on Broadway, to learn how to create movement for Broadway and film and to produce my own work. I made my Broadway debut in “Newsies” as a swing and dance captain, a job that requires the performer to learn many roles (my load was 14 ensemble characters) and to step into a leadership role to usher in new cast members. “Spamalot” is my 8th show on Broadway as a performer. Throughout my performing career, I have also assisted choreographers to help create and maintain their work for stage and screen, and have being creating movement of my own for the past few years. I am currently as associate choreographer for multiple national and international productions of the Broadway show, Beetlejuice, and have multiple new projects of my own in the works.

Can you tell us about a time you’ve had to pivot?

The Covid-19 pandemic was difficult for so many people, especially in creatives industries. Commercial work essentially came to a halt. I think this time was telling for creatives, giving permission to those who struggle as freelancers to find a new path with more consistency. I dipped my toe in the marketing world, working for a non-profit that supports theater artists in need, created a podcast for theater folks who are passionate about political action and turned my back on performing. What this decision did, unintentionally, was open the door for choreographic opportunities to find me. I’d always been nervous to put my work out in the New York City public eye, which can be met with snap judgements and harsh criticism. While I was pulling away from theater, it gave me a fearlessness to try it. I’ve been able to build confidence, a body of work and a reputation in this new side of the industry. I’m extremely thankful for that time and for the people who helped me through it.

What’s a lesson you had to unlearn and what’s the backstory?

I am continually trying to unlearn “self doubt”. There’s nothing that kills creativity like getting in your own way and dissecting your performance or work product until there’s nothing left. With every project I approach, there’s the nagging voice in my head that tells me that I’m not good enough, or not prepared enough, or not ready for this challenge. With each new project, I have to take a breath and just jump in with both feet. Creating a piece of choreography is a lot like a painter with a prompt: they have a blank canvas, an idea of what to paint and, always, that first stroke is hardest to make. Once you’ve got paint on the canvas, it’s about refining and shaping. Finding that self confidence to start and know that a final product is in reach is a constant fight, and, a worthy one.

Contact Info:

• Instagram: @michaelfatica
• Linkedin: https://www.linkedin.com/in/michaelfaticaonline/

Image Credits
Main photo (spam can): Emilio Madrid Spamalot Thanksgiving Day Parade Photo (chainmail/ladies in costume): Andy Henderson Jumping photo (no mask): Mati Ficara