We recently connected with Spencer Everett and have shared our conversation below.
Spencer , looking forward to hearing all of your stories today. What did your parents do right and how has that impacted you in your life and career?
The term ‘dance mom’ has become ubiquitous due to the infamous Lifetime hit series, but the archetypal dance mom is not a mythical creature. My mother and I are grew very accustom to parents who watched every dance class, pushed their child in front of instructors, demanded input, and often fell at the centre of conflict. Enrolling a child in dance requires a significant commitment of time, money, and emotion, demanding dedication and sacrifice from both the child and the parent. However, when so many resources are invested, a commitment can easily turn into an obsession. While my parents supported me and cheered me on at every show, I was always thankful that their involvement in my training stopped at the parking lot. I’m reminded of that cheesy scene from A Cinderella Story where the father says, “You’re throwing away your dream!” and the son responds, “No, Dad. I’m throwing away yours.” I always felt like my parents gave me space discover my own interests. They encouraged me pursue a variety of activities, in addition to training at my studio in the fall through the spring I played a couple different sports and attended some visual arts programs over the summers. It was important to them that I was a well rounded person. When dance became the primary focus for me, they supported that transition too. The responsibility of making good use of my time in the studio fell on my shoulders, allowing me to develop a strong work ethic from a young age. My parents are driven individuals who highly value hard work, a trait I have always admired and aspired to emulate. I had an understanding of the sacrifices they made to allow me to dance and I knew it was my duty to make the most of it. Many young dancers who show promise have their journey hijacked by outside forces, pushing them harder than is beneficial for their personal growth, often leading to burnout. It helped that I was the only dancer in my family; my parents and I were learning about the dance industry together, which allowed us to focus on the present. As soon as I was old enough to have a job, my parents encouraged me to take one, seeing it as critical life experience. Over the years, I’ve worked in fast food, managed a coffee shop, worked in a factory that makes car parts, interned at an art gallery, and taught dance. These experiences in various workplaces kept me grounded and instilled a sense of practicality, which has served me well throughout my college education and career development. It’s easy to get swept up in the drama and glamour of working as an artist in New York, and I’m grateful to have a unique perspective that keeps me grounded.
Awesome – so before we get into the rest of our questions, can you briefly introduce yourself to our readers.
One of the most cherished home videos I hold dear captures my aunt’s playful insistence behind the camera, coaxing my cousin to dance while she shyly sways from side to side. Amidst this scene, a young Spencer is seen in the background, dancing with uninhibited fervor and joy. This nostalgic moment marks the beginning of my journey into dance. At the age of four, I ventured into a dance camp with the same cousin, igniting a passion that would lead me to train at the same studio for the next 13 years. My affinity for visual arts blossomed early on as well; I recall sitting on my mother’s lap, embellishing newspaper pictures with bold strokes of sharpies, transforming mundane images into vibrant cartoon characters.
Recognizing my burgeoning creativity, my aunt, an artist herself, encouraged me to explore various mediums and express myself through art. Throughout my education in my hometown of Stratford, ON, Canada, my teachers played a pivotal role in nurturing my artistic talents. From painting murals to leading dance teams, I eagerly immersed myself in every available art course, often finding myself engrossed in the visual arts department when I should have been elsewhere.
Beyond the confines of school, my evenings were dedicated to rigorous training at the studio, where I honed my skills with a dedicated competition team. At the age of 14, I crossed paths with Meaghan Wegg, a former Cirque du Soleil artist, who would become a guiding mentor, introducing me to acrobatics and cirque techniques. At the same time I started my first professional gig with ONE Movement, a dance company that tours Ontario and presents dance works for students with an anti-bullying message. At 16, I earned a scholarship to the esteemed Dance Arts Institute in Toronto. This was my first exposure to a conservatory setting, which emphasized a holistic approach to dance, grounded in the history of various techniques. This experience broadened my perspective on what it takes to be a professional dancer in the concert dance world.
Leaving behind my small-town studio at 17, I pursued training at the Elite Dance Center in Woodstock, ON. Leaving my local studio was a tough but crucial lesson in balancing personal growth with emotional connections. Simultaneously, I seized the opportunity to audition for the joint BFA program in dance between Fordham University and The Ailey School. I was accepted and later added a major in visual arts. Entering the BFA program at Ailey was a significant culture shock, similar to my experience in Toronto but even more intense. I initially felt unprepared for the rigorous training and unfamiliar with dance history and concert dance culture. Learning modern dance felt like learning to drive without having seen a car or road before. Over time, I learned to appreciate the narrative and emotional connection of concert dance, moving beyond the tricks and wow factor typical in competition dance. I took the initiative to research dance history, observe my instructors closely, ask numerous (and probably annoying) questions, and attend performances in the city. This self-driven effort helped me understand what I was preparing for post-graduation. In hindsight, earlier exposure to concert dance and dance history would have accelerated my learning process, but coming from a small town, these opportunities were limited. One advantage of competition dance is the extensive stage time. Competition dancers perform multiple routines every weekend during the season, which helps manage performance anxiety and develop stage presence. This experience fosters individuality and the ability to bring life to choreography, essential skills for professional dancers. I believe the audience comes to see us succeed, not to root for us to fail, and this allows me to bring my full self to stage and make a meaningful connection with the audience.
While I distinguish between competition and conservatory dance, conservatory dance is highly competitive. Instructors often emphasize that every class is an audition, especially in a building where one of America’s largest dance companies is training upstairs. As a freshman, I was intimidated by other dancers and sometimes avoided exercises out of fear of judgment. But I soon learned to maximize your training, you must be confident, take risks, and make your presence known. I am a firm believer that you can only get out of an opportunity what you put into it.
During my tenure as a student, I had the privilege of working with esteemed choreographers including Pedro Ruiz, Yusha-Marie Sorzano, Helen Simoneau, and Marielis Garcia. I was invited to perform alongside the Alvin Ailey American Dance Theater in Memoria in 2019, 2021, and 2022 at New York City Center. In addition to the opportunities provided to me at The Ailey School, I performed at prestigious venues, including New York Fashion Week, the Baryshnikov Arts Center, and the Guggenheim Museum, premiering original works by contemporary choreographers Jamar Roberts and Omar Roman de Jesus.
As a senior I started an apprenticeship with Ailey II. Upon graduating summa cum laude in 2022 with honours in both Dance and Visual Arts, I embarked on a fulfilling journey as a company artist with Ailey II, under the artistic direction of Francesca Harper. Over two seasons, I have toured extensively, both across the US and internationally, performed Alvin Ailey’s iconic work: Revelations, and collaborated with renowned choreographers including William Forsythe, Andrea Miller, Baye & Asa, and Elizabeth Roxas-Dobrish. Aside from my engagements with Ailey II, I’ve had the privilege of serving as a guest artist for esteemed organizations such as the Jamel Gaines Creative Outlet, Pony Box Dance Theater, and FHP Collective. Noteworthy highlights include my participation in the premiere of The Reckoning, commissioned by Ava Duvernay, performances at Kunst, hosted by Susanne Bartsch, and working as a movement director for Search for Spring, a collaboration between English composer Jonathan Dove and librettist Alasdair Middleton specially commissioned by Lincoln Center. I’ve been honoured to showcase my talents in the print work of Omer Kaplan at Art Basel Miami, as part of his exhibition, Time, Space, Body, Presence. Additionally, I’ve explored my passion for choreography, premiering original works at Battery Dance Festival, The Ailey Citigroup Theater, and Barnard College in collaboration with the Barnard Movement Lab. In July of 2024 I will be joining the St. Louis Dance Theater under the artistic direction of Kirven Douthit-Boyd.
Beyond my artistic pursuits, I am deeply committed to serving the dance community, contributing as a member of Dancewave’s Artistic Advisory Council. With unwavering dedication, I continue to push the boundaries of creativity, striving to inspire and uplift through my artistry in dance and visual arts alike.
We often hear about learning lessons – but just as important is unlearning lessons. Have you ever had to unlearn a lesson?
As a dancer in training, it’s easy to slip into a mindset where professional dancers seem like gods and your entire world revolves around your craft. This mindset can create a barrier between yourself and your goals. When we deify our idols, it becomes difficult to have natural, human interactions with them; we forget they are people too. Building a career in dance often hinges on your ability to network. The vast majority of the professional work I’ve booked has been through personal connections, not auditions.
When I was a senior in college, a choreographer I was working with told us that dance is a sacrifice of body and mind, and that we should lean into that, not run from it. Hearing him say this, and knowing it came from personal experience, changed my interactions with him. I realized that he is human too—dance is hard for him as well, and he is not superhuman. Allowing more humanity into our interactions fostered honesty, humor, and understanding in the studio. I later went on to work with this choreographer outside of college, and presenting myself as an artist rather than an awe-struck student facilitated that opportunity for me.
When I started dancing with Ailey II, I often heard that I needed to stop approaching my work with a student mindset. I didn’t need to impress the teacher in class or prove myself in rehearsal. Transitioning from student to professional, it’s easy to develop imposter syndrome. The unique aspect of being an artist is that you can always improve your craft. As students, we constantly strive for perfection in a field where there is limitless room for improvement. You might think that as a professional, you should finally achieve that perfection, or that the growth period should be over. But we are always growing in our artistry, and not every day will be your best. It greatly improves your ability to do your job if you can come into the studio comfortable and confident in whatever your abilities may be that day. “There is nothing to prove, only to share” is a famous quote from Alvin Ailey that helped guide me out of my academic approach to dance. I was no longer earning a grade; I was preparing art to share with an audience.
What do you find most rewarding about being a creative?
As an artist, I find that the most rewarding aspect of my work is the impact it has on my audience. A truly successful dance piece is one that resonates with the viewer, evoking emotions and sparking introspection. It’s the feeling you get watching a film, leaving the cinema, and replaying the scenes in your mind, unable to shake the thoughts and imagery from your mind. When I encounter an audience member who is overflowing with emotions, compelled to share their experience with me, it’s a moment of profound connection and closure. When on stage I often can’t see the audience, it’s as if I’m staring into the void. But knowing that somewhere in the darkness in front of me I’ve reached out and connected with someone on a personal level, even if it’s just for a moment, fills me with a deep sense of fulfilment; that’s the job.
It’s not just about the recognition or accolades that come with being an artist; it’s about knowing that I’ve left an indelible mark on someone. Whether it’s an aspiring dancer, a retired performer, a first-time theater-goer, or a long-time fan, I’m humbled to have the opportunity to connect with them through my craft. I’m consistently amazed by the connections audience members share with me, the memories they’ve resurfaced, and the stories they’ve uncovered while watching my performance. These interactions fuel my creative approach, as I continue to gather insights and inspiration from my audience to inform my next performance.
It’s a privilege to be part of this dialogue, where art transcends the boundaries of stage and audience, and we can momentarily bridge the gap between creator and consumer. When I take to the stage, I’m not just performing for the audience; I’m engaging in a dynamic conversation that can evoke laughter, tears, and reflection. The connection we forge in that moment is what drives me to continue creating, pushing boundaries, and inspiring others through my work.
Contact Info:
- Instagram: https://www.instagram.com/spencer.ev/
Image Credits
Creswick Collective