Jerry Mitchell and Elizabeth Berkley

Berkley and Mitchell both spoke to MediaBlvd Magazine about the challenges and rigors of becoming a successful professional dancer.

MediaBlvd Magazine> These dancers seem to be able to go from one style to another. Do dancers have to know more styles now, than they did a decade or so ago, and do they have to be a lot more versatile than they used to?

Jerry Mitchell> If dancers want to work with me, they have to be well-rounded. Part of the great joy of Step It Up and Dance, and what we’re trying to accomplish, and why I was so psyched about the show, is that the challenges actually will require them to step outside of their comfort zone, as a dancer. If they excel in ballet or hip-hop or tap or jazz, this show will expose them to different styles and different choreographers, and they will each have to, quite literally, step it up, if they want to survive. There’s a huge difference between media choreography -- film, television, videos -- and Broadway choreography. Most recently, shows on Broadway don’t require ballet technique, like they used to. When I got started, I was dancing for Agnes de Mille and Jerry Robbins, and they gave ballet combinations at the start of each audition. That doesn’t happen so much anymore because the stories that are being written don’t require that style of dancing. But, the recent revival of Oklahoma! that Susan Stroman choreographed certainly did require ballet. It’s always in a dancer’s best interest to be well-versed, in every style of dance. It just opens you up to being more hireable.

MediaBlvd> Elizabeth, what has dancing has brought to your life? Do you see any connection between dancing and building self-esteem?

Elizabeth Berkley> Absolutely. I was blessed enough to have parents that got me into dance, from a very young age. I don’t know if they knew that it was going to be something that I was going to devote my life to. At first, it was just a recreational type thing, at the age of four, that other little girls in the neighborhood were doing. When they noticed, pretty early on, that I had a propensity for it, as well as a desire to do it on an almost daily basis, which then turned into about 17 lessons a week. It was me, pushing and driving them, because they saw the joy that I got out of doing it. But, the real gift that it’s given me, on every level, as an artist and creative person, has been a profound thing in my life. There’s a certain self-esteem that comes from being in touch with yourself and feeling a strength  in your body, that no one can take away from you. Whether it’s a boy or girl who’s dancing, the self-esteem that you get from it, just from having goals and intentions, and the work ethic and discipline that you learn from it, are things you can take out into the world, and into anything you do in life. For me, that was my whole foundation.

Jerry> Not only did dance make Elizabeth a beautiful, statuesque woman who knows how to straighten her legs when she’s walking in high heels, but it gives you confidence and teaches you discipline because you can’t succeed at dance, unless you do it every single day.

Elizabeth> And, there’s the connection that all dancers have. It’s that inner knowing. You might have a certain gift, or a natural kind of ease, with picking up choreography. That might be something innate. But, the work ethic that is necessary to become great is something no one can give you. That’s hours in the studio. And, there’s something really extraordinary about that, which is why I really wanted to be a part of this show, especially in the world of reality television, where there’s this strange democracy of fame. What I truly love about this show and, in particular, a few of the shows that are on Bravo, is that it’s really about the artistry. Whether it’s Top Chef or Project Runway or our show, where it’s dancers, these are true artists that are expressing themselves, creatively. It’s not just about the entitlement, and wanting to be famous. It’s about working hard and going after your dreams. It’s going to be a great reminder for people, of what it really takes.

Jerry> You may think you’re fabulous, but there’s 10 other people who are just as fabulous.

MediaBlvd> Elizabeth, you started dancing at the age of four. What was it that made you say, “I can do that”?

Elizabeth> My grandfather and I would dance all the time. He always had music on. I would watch Shirley Temple on TV and just mimic her, on our stairs. I didn’t know what I was doing, at that age, until I got into class. My mom said I was basically dancing, out of the womb. There was no question that they had given birth to a little dancer.

MediaBlvd> Did your parents just encourage you to keep going?

Elizabeth> I started classes at four, and I would just practice in the basement. And then, my parents created a little space for me to practice in, in our basement. It was very simple, nothing fancy. But, it was my rehearsal space, and it was sacred to me. And so, I’m forever grateful to them for taking my dream seriously, and giving me a space to really dance my heart out.           

MediaBlvd> How did you both get out of Michigan to follow your dance dreams?

Elizabeth> My dreams took me out, even though some people in my hometown laughed at it and thought that it was not possible. But, that drove me all the more, to tell you the truth. I loved growing up there. I had a wonderful childhood. It’s something that I take with me, wherever I go. It was such a great foundation to have. I couldn’t wait to just spread my wings and go where I knew I could use what I was meant to do. Luckily, my parents really supported that dream. And so, from the age of 12, I would go out to L.A. and New York to study. Instead of going to summer camp, I would study at Broadway Dance Center in New York, and out in L.A., at the best studios. I gradually got the taste for it and we, ultimately, made the move, when I was 15. And then, I very quickly got Saved by the Bell after that. But, it was three years of commuting back and forth, before we finally made the decision, as a family, to move. It was a joint decision. We all realized that we wanted a change. And, I was going to go there, eventually. In my head, when I was 18, that’s where I was going. But, luckily, I got to make the move with my family. I’m close with them, so it was great to have the support, in making that leap. A lot of my friends didn’t have that because, in the name of a dream, you make sacrifices. I realize how lucky I am that I had that family support.

Jerry> My family has supported me, every step of the way, and I’m extremely close with all of my family. Everyone still lives in Paw Paw, Michigan, that one stoplight town near Kalamazoo. And, when I was a kid, I studied with the local dance studio. I was in all the shows at the  Paw Paw Village Players, and I apprenticed at Hope Summer Repertory Theater. I was just praying to get out and do what I wanted to do. I auditioned for a national tour of West Side Story, with Young Americans, when I was still a senior in high school, and I went on a national tour with them. When I came back, that was pretty much it. I went to college for two years, went to New York for a Spring Break, auditioned for Agnes de Mille, got my first Broadway show and said, “Sayonara!”

MediaBlvd> When you were starting out, did your height work against you?

Elizabeth> It’s never really hurt me. I was always a bit of an old soul. I was always a little taller, so people maybe thought I was more sophisticated, or just older, because of the way that I carried myself. But, that was just because of having the background in dance. You don’t hold yourself like a typical kid, when you’ve been standing for hours with your shoulders back and heart open. It’s a whole different kind of trip. But, no, it didn’t really hurt me. Maybe as a teenager, as an actress, sometimes the boys were so much shorter. But then, I would always end up working with older co-stars, so that wasn’t bad either.

MediaBlvd> What are some of the dance styles that you consider your strong points? And, are there some that you just don’t feel like you have a feel for at all?

Elizabeth> I can’t really think of one that I don’t have a feel for, just because dance is so in my bones and in my blood. Growing up, my teacher always wanted me to stop the tap and jazz because he believed in me becoming a ballerina. But, I just loved tap and jazz way too much to give those up. So, the truth is, ballet was always the foundation to make my tap and jazz better. I would have been about 6’2” on pointe, and that would have been an issue. I’m a true hoofer. I Fossie. With hip-hop, when dancers are a little bit lower to the ground, it just looks better, or maybe that’s just my feeling. I’m better with the longer lines that are a little more sensual. That’s a little bit more my style, but only because I feel like it suits my body better.

MediaBlvd> Are we ever going to see you dancing on this show, or working with the kids, showing them what you know?

Elizabeth> In this season, I’m not going to be dancing, just because my role is more as facilitator. From time to time, I do interface with the dancers, in the spirit of dialoguing about their dreams and what made them do this in the first place. It’s a crazy decision to commit yourself to the life of being a dancer. You better love it, live it and breathe it. Because I have the background as a dancer myself, it’s great to be able to just share that with them and talk about it.

MediaBlvd> How do you see the shift from classical ballet training, which is still crucial to dance, to more of the hip-hop, physical type of stuff? What do you think is the hardest dance discipline for anyone to learn?

Jerry> Ballet is the hardest, no question about it. To excel at ballet, it requires a daily training session. I played all sports when I was a kid, but I never took ballet until I got to college. When I got to college and studied ballet, I realized how unbelievably demanding it is on the physical body.

Elizabeth> Ballet is definitely the hardest on the body. If you look at the life of a ballet dancer, and just what they go through in a company, it’s sad because there’s this limited window, like with an athlete. There’s a certain window, just like there is for a baseball player or a football player, because it is so hard on the body. It’s also so beautiful, and it just takes its hold.

MediaBlvd> Jerry, which dance style do you like the least?

Jerry> If you would have asked me that 15 years ago, I probably would have said hip-hop. But today, it’s probably my favorite thing. The more you’re exposed to different things, the more open you become to those possibilities. And, as I’ve grown as a dancer, I’ve come to appreciate other styles of dance, and other choreographers and the way they work. I’m a freak for YouTube dance stuff because I see so many different things. I don’t think I have a style of dance that I don’t like because movement is movement. Anything from Pina Bausch, to Paul Taylor, to a Broadway show, to a movie musical, to hip-hop, I’m for it all. I love it all. Even the ballroom dancing on Dancing with the Stars. I just love dance, anywhere I can get it, in any way.

MediaBlvd> Elizabeth, you’ve been on the receiving end of being judged, either in an audition or in a film review, and you know how vulnerable one can be, in that situation. So, is it hard to sit there at that table with the judges and critique someone’s performance?

Elizabeth> In terms of the dialogue that we have, that isn’t as hard. The hard part is when they’re standing right there, and I pray to God that they can’t hear everything because that is so vulnerable. I definitely have compassion for what they’re going through, at every moment, because I’ve been there. It’s not easy, at all. But, dancers, more than actors, are used to being immediately corrected, and they have to assimilate very quickly, as opposed to an acting audition, where you go in and it’s almost presentational. You do your scene and, if the director has some feedback to tweak it, then you have that interaction. But, as a dancer, it’s constant critique. I definitely have the compassion because I know exactly where they are. At the same time, you have to be tough enough to take it because this is what the business is. It’s a wake-up call.

Jerry> There are so many people. I saw 1700 people audition for 32 spots on Broadway. They come into the room and that’s not the only audition they had that week. They’ve already had nine auditions. We’re speaking specifically about dancers who want to succeed in this profession. You have to be comfortable going into the room and giving it your all, no matter what the outcome is. That’s really what the business is about.

MediaBlvd> Elizabeth, were you surprised when the gay contestants asked you about Showgirls?

Elizabeth> No, I wasn’t surprised. I thought it was fun. I love it. I was so excited that they appreciate the film so much.

Jerry> When they saw Elizabeth, they immediately recognized her from Showgirls. Some of them even did one of the signature moves.

Elizabeth> I love the following. It’s been fun because what’s so wild is that it just really has been embraced. It’s fun that people have had fun with it. That was the whole intention, and so it’s fabulous to me.

MediaBlvd> Can you talk about some of the guest choreographers and judges that will be on the show?

Jerry> Jason Alexander has already been announced. Personally, I am really excited because Jacques Heim, who has choreographed for Cirque du Soleil, will be on the show. We will be challenging the dancers to really step outside of their boundaries. And, Stomp is going to be a part of this series, asking these dancers to do things that they’ve never done before. We have amazing choreographers, coming on this series, that are going to test the limits of these dancers, and take them in directions that a lot of them have never thought they’d ever get the opportunity to learn, or that they would be able to excel in this kind of choreography. I just think that’s really going to be exciting.

MediaBlvd> Having watched past Bravo shows, did that influence how you wanted to come across on the show?

Elizabeth> I was very happy with the role that I knew I was going to take on because I didn’t want to be a judge. Heidi Klum (Project Runway) and Padma Lakshmi (Top Chef) do such an amazing job at what they do. And, the most important thing to me was to bring myself to it because the whole dance world is so organic and authentic to me. Everyone brings who they are to it, and that’s what makes it unique and special.

Jerry> When I was first approached by Magical Elves and Bravo to get involved with this, I thought, “Oh, my God, a reality show?” And, I wasn’t really that familiar with Project Runway. I had watched it a couple of times. But, any way to get dance in front of the greater population, for me, is a plus. It offers the chance to make everyone who’s out there, and who thinks, “I can be famous tomorrow,” realize that there’s a lot more behind being able to excel in your particular line of work or your profession. For a dancer, that requires determination, drive and discipline. This show is hopefully going to help enlighten the general population to those things that are necessary, in order to succeed in this business. I thought it was a really interesting take, and an exciting way to expose dance on television, in a way that it hasn’t been exposed before.

Elizabeth> So many people sit at home and see things they wish they could do, that they’ve either dreamed about, or that they used to do. It’s so exciting for people to be watching this and see dancers pushed outside of their comfort zone. Even these dancers, who have trained their whole lives, are pushed into these other realms. It’s going to be thrilling for people to see how they measure up. You will get to see how they step up and really use the gifts they have. They’re going to find out what they’re made of, for sure.Jerry> And, 90% of the time, when you’re a dancer and you’re auditioning, you have no idea, if you get the job, what the requirements of that particular dance job are going to be. Choreographers are going to throw a completely different bag of tricks at you, in completely different challenges, as a dancer. Your job is to be prepared to meet all of those challenges, or you won’t get hired again. If you do a lousy job, you’re going to get fired. This show is going to give that exposure, so that the rest of the population can see what it’s like to be a professional dancer.                          

MediaBlvd> Jerry, you’ve been perceived as a strong personality. Do you think that there’s a possibility you might be looked at as a reality show villain?

Elizabeth> Honestly, in my perception, Jerry couldn’t be more supportive and nurturing. It’s tough love because he believes in people.

Jerry> I don’t think I’m a villain. I don’t think anybody on Broadway would say I’m a villain. I can be brutally honest, but not in a bad way. I’m usually a very positive influence on my dancers. In New York, the dancers that I work with have a tendency to stay close to me, and work on a lot of shows with me. I develop a family feeling, and I believe in their talent and support them. They come back to me, over and over, and I often use them in many projects.

Elizabeth> He’s on their side. That’s why I think Jerry is so great in this role. He really allows the dancers to know that they have the permission to go there, so that they bring out their best.

MediaBlvd> Elizabeth, how did you deal with injuries? Do you have advice for up-and-coming dancers, on how to either avoid injuries, or keep them to a minimum?

Elizabeth> As a dancer, our tool is our body, and it’s a delicate thing, at times. We push ourselves, beyond the norm. So, it’s essential to always warm up, beforehand, because sometimes people just go right into it. And, truly listen to your body. The adrenaline, the drive and the passion sometimes overtake that little voice inside, when you know something is not okay. So, it’s really important to just keep in tune with your body and listen to it at those moments where it’s saying, “That’s enough,” or “This is not making me comfortable,” and really honor that.

MediaBlvd> Do either of you have favorites among the cast?

Jerry> By the third episode of this show, I was really emotionally attached to all of the dancers, and it was surprising. It’s such a condensed shooting schedule, and these kids work so hard. And, my job, as the mentor, is to make sure that they come off, the best that they can, and to encourage them to be the best that they can. When they’re doing great, you have to acknowledge that. And, when they’re not, you try to get them to do better because that’s what I do with my own dancers. My investment in them started to grow with each episode, and that surprised me. But, I don’t actually have a favorite. One of the things that’s been most interesting to me is watching each of them change, and watching them challenge themselves to do things that they never thought they could do. I was really impressed at how they really changed throughout the series, and how I saw them change. I’m hoping that shows.

MediaBlvd> Elizabeth, how do you feel about your former Saved By The Bell co-star, Mario Lopez, hosting America’s Best Dance Crew on MTV? Do you think there’ll be any kind of competition there? Do you still keep contact with him?

Elizabeth> I love Mario, and we still keep in touch. As a matter of fact, when he was on Dancing With the Stars, I was in the audience, supporting him. I’m so happy for him, and the fact that he’s making his Broadway debut in A Chorus Line. That’s really exciting, especially when you’ve known someone since childhood. I know how hard he’s worked. What’s so great is that Mario has worked towards this his whole life, so it’s not like someone just handed him something without him actually stepping up to the plate. He’s devoted many years to his training, and hasn’t taken it lightly. He’s an athlete, but he’s also a dancer as well. I’m so thrilled for him. And, he has a fabulous personality. It’s so exciting, when you see someone you care about, step into a moment where they’re finally getting to use all the things you know about them. I couldn’t be happier for him. We both have always shared a great love for dance. And, dance is being embraced in the way that it is, which is such a great joy.

MediaBlvd> How is this show different from the Fox television series, So You Think You Can Dance?

Elizabeth> What’s really exciting about our show is that, each week, you get involved with the dancers’ personal lives because you see them at their apartment, as well together. And, the stakes are so high on our show, where you’re seeing them learn choreography. The turn-around is so fast, where they have to then perform for the judges, and the guest judge. What’s also incredible is that, each world that we’re taking the dancers and the audience into, is so different, with every challenge. One week it’s Latin, one week it’s burlesque, one week it’s Broadway. It’s really exciting that the audience gets to go on this journey with the dancers. They’re so invested because it’s new and different, every week. You really get invested in the dancers because you get to know them personally, as well.

Jerry> I’ve watched So You Think You Can Dance, which is spectacular and the dancers are tremendous, but it is based more on the competitions that go around the United States, looking for young dancers, from different dance schools. It’s pretty much based around one style. This show is going to expose these dancers to choreographers who actually work at the top of their line, in different styles of choreography. And, on the episodes, those dancers will get a chance to really do things that they probably never would have been asked to do before. It’s going to be interesting to watch how that evolves.

Elizabeth> And, to see the dancers, with the skill that they have, being thrust into these new circumstances, for anyone watching at home, it’s definitely going to be entertaining for them to see these people they begin to care about, having to leave.

MediaBlvd> There are so many dance shows on TV right now, such as Dancing with the Stars, Dance Wars, So You Think You Can Dance, Dance Machine and America’s Best Dance Crew. Why do you think dancers are currently so popular?

Jerry> Dance is infectious. For the general population, dance is like a bird flying. It’s something everyone wants to do, but very few can.

Elizabeth> Dancing With the Stars works so well because people can envision themselves as the fish out of water, like the celebrities are, on that show. But, what our show has, that’s so different and so great, is that most of the dancers are professional dancers. It’s a different level, and it’s a great ride.

MediaBlvd> Jerry, the Legally Blonde musical is going for their next lead, by holding MTV tryouts. Does that cheapen the whole idea of a Broadway dancer and a Broadway star, or are you firmly for that?

Jerry> MTV actually came and did a wonderful special of the whole show. It was the first time a Broadway show was ever filmed by MTV, and it had over 12 million viewers. And so, they came back and offered the producers a great deal of money to make a series about helping us actually find our next Elle Woods, and we were able to negotiate. I actually chose the girl. I’m the director/choreographer of the show and the only way I would agree to do that particular series was if I was allowed to choose the girl. They went all over the United States, and they chose 50 girls. They came into New York City and I chose 10 out of those 50. And then, those 10 went through a series of challenges with all of my associates, and I was there to choose the final girl. I’m really excited about the lady we found.

MediaBlvd> Elizabeth, how did you balance doing this show with your acting career? Were you able to do both simultaneously, or did you have to step away from acting for awhile?

Elizabeth> It’s a real blessing because the schedule with this show is a condensed schedule, where it was approximately two and a half, almost three weeks, of shooting. Right now, I’m doing it continuously, week after week. It’s definitely a problem you want to have. I’m doing what I love so much, and what I’ve worked so hard to do, so I’m really grateful. And, luckily, the schedules haven’t been a conflict. I’m always a believer that it all can be worked out because they both help each other. I get to explore this great character, creatively, on CSI Miami, and I’m just loving it. It’s getting juicier by the minute. And, David Caruso is an absolute joy to work with. And then, I get to dip into the world of dance, and collaborate with Jerry Mitchell. It doesn’t get bigger and better. My goal and intention, in whatever I’m doing as an artist, is to really be collaborating with the best artists. It’s been wonderful. A lot of the choreographers, including Vincent Patterson, are individuals that I’ve worked with, professionally, where they’ve actually choreographed me in things, as well as people who I’ve been training with and who have been my mentors since I was about 12 years old. There’s a lot of meaning there, for me.

Jerry> The dance world is amazingly small.

Elizabeth> It’s a very insular world.