Conversations with Creators: Meet International Creative Michael McCrary

“I’m a believer in creating your own lane,” says creative director and choreographer Michael McCrary in a post on his Instagram. “…I believe if you have a dream or idea, do it! Create. Educate. Learn. That’s where the true freedom lies. Take power over the gatekeepers and just make your own path.” McCrary, producer of over 15 digital videos reaching millions, working with names such as Todrick Hall, Plasma, Sapphira Cristal, has always been a believer of turning closed doors into redirection. McCrary shares his story of taking ownership of his talent as a director, choreographer, and producer, while maintaining positivity and inclusivity as a driving force in all of his work.

 You’re an inspiration to many young creative directors and have made huge breaks through creating dance on film. How did this originally happen?

 With dance on film and choreography in general, my trajectory evolved kind of unintentionally, but now I'm moving with so much purpose and intention. Dance on film specifically started with the Footloose video (https://www.instagram.com/p/CrlRB1NAhag/). Footloose was purely an idea I had to create community, and to give an open opportunity to whoever wanted to be a part of it. The video was purely for fun and to have a good time. That video began my passion which has turned into a career. I remember feeling overjoyed with the response to the video and bringing in so many new dancers to my circle of people in New York. I remember crying tears of joy because it was a one-of-a-kind, New York moment to be able to shoot in Central Park with over 60 dancers. Everyone volunteered their time on that random, sunny day. All of the stars were aligned, and it sparked something in me. I’ve attached myself to finding that feeling which has propelled me into this new avenue.

Where did your passion and love of dance originally come from?

 I always grew up in the theater. I started in church theater and partook in a lot of community theater in South Carolina. The funny thing is: I wasn’t a dancer. I took my first real dance class in college at The Boston Conservatory. The school did placement auditions for dance levels, and I got cut after tendús during the ballet placement. The next day, the list came out and I was placed in the highest level, which I thought must be a mistake. When I got to class, my teacher told me I had nice por de bras and that he saw a strong foundation for training. “If you want to stay in the class, work really hard,” my teacher said. “I will challenge you and I will work with you.” I fell in love with the athleticism of dance and the feeling of your heart racing after a hard dance class. It’s the combination of doing athletic cardio and musical storytelling. I was a football athlete and piano player in high school and sang in church growing up, so it made sense that dance blended everything I loved. The musicality and athleticism is a win-win for me. I just ran with it. I was a late bloomer to dance, but I love it. I love to dance.

 What is your choreographic process with your projects? How do you begin your research at the start of your processes?

The process is different based on the project I’m doing, whether it’s a music video or theater job, the concept is always the beginning marker. I make sure whoever I’m working with, whether they’re a specific artist or corporate client, has a clear mutual understanding of what the goal for the project is. I want to understand their creative vision and then go from there. I also try to find the right song. Sometimes I hear a song and realize, this should be a concept video. For example, I’ve always been obsessed with Paula Abdul’s Cold Hearted, and knew I had to make a concept video. For me, it’s always finding a concept, telling a story, and finding a song which works. Once I get in the room, I start playing around with steps and bodies. I love the artistic process of pre-pro and getting together to throw ideas around and see what sticks and what doesn’t. If I don’t have the answers, that doesn’t scare me, I just go and lead with impulse, which my best work usually comes out of. I think the times I have too much time and prep planned, I tend to overthink and don’t create with my gut. There needs to be a middle ground. A lot of times, regardless of the job, a creative idea may have to pivot right there, so you have to make decisions very quickly.

 Do you find you have choreographic patterns or repetition in your work?

I don't think I have a set pattern. I am inspired by the musicality of the project. There are heavy influences of theater and jazz in all of my work. I gravitate towards focusing on musicality because it helps me determine the style of the movement. Dance-wise, I approach movement with what feels the best. If I’m physically doing the choreography or see someone executing my steps, I ask, “how does it feel?”. If it feels  musical and feels good, then (to me) it’s in the right direction.

Is there an opportunity or project within the last year which caused a shift or meaningful affirmation in your career?

 That’s difficult to answer because within the last year since Footloose, there have been incredible changes, but there are a few moments that come to mind. A game changer in my career occurred last July when I received the opportunity to be one of the choreographers for the Mary Kay Award Show produced by Metropolis Productions. It was the first time I worked on a platform of that size with that many dancers. I cried tears of joy during the process because I was so grateful to be there. The opportunity began when I took a risk and messaged the team, Lisa Compton, who owns Metropolis and Amanda Simpson-Rojas, who is the creative director. Nothing immediately came from the message, but I happened to be in Orlando for a job last year, and decided to call their office. After making the phone call, they asked me to come by and show some of my work, which happened to be the same week Footloose was dropping. When they asked me to show them something with a lot of people in it, I showed them Footloose.  I think Footloose was a huge catalyst for receiving the opportunity to work with Metropolis. The other projects that come to mind are the three videos I've done with Plasma (Don’t Rain On My Parade, Bloody Mary, Anything Goes). I am a big believer in going after whatever you want in life with full force and not holding back. I am a risk taker.

You’ve recently collaborated with Plasma (https://www.instagram.com/plasmanyc/), most famously known from Season 16 of RuPaul’s Drag Race. What’s been your experience with this collaboration?

 The videos I've done with Plasma have been game changers. They were heavily creative, and Plasma is an incredible talent. Recreating Don’t Rain On My Parade(https://www.instagram.com/p/C82LmcQRw0u/) was so much fun because it’s such an iconic movie musical moment that everyone knows. To be able to get a shot of Plasma on a 1930’s tugboat (courtesy of the South Street Seaport) in front of the Statue of Liberty, a symbol of America, is so amazing to me. The moment of capturing the shot is a core memory. Plasma has given me access to more people and performers within the Drag community. I’ve now choreographed my first North American tour for Sapphira Cristal (The Cristal Ball) which is playing right now all over the country. Some of my favorite work has come from collaborating with Plasma because the videos are so varied. We’re always trying to find ways to work together more. Meeting Plasma was truly a faith thing as well, it all happened randomly.

 How did you originally connect with Plasma?

 I was choreographing a show called Shooting Star that played at 3 Dollar Bill and the show had a walk on drag queen role. Plasma walked in to appear in one of the roles, and that’s when we met. Later in 2023 I was trying to find someone who could play the Barbie role in my video Come On Barbie, Lets Pool Party. I wanted a drag queen, and Plasma came to mind. We hadn’t spoken since seeing each other at Shooting Star. I asked if she was available and she said, “Oh my God, this sounds so fun,” and we’ve been working together since. The Bloody Mary video (https://www.instagram.com/p/C3_9mBju8PQ/?hl=en) was iconic because it’s a video concept based around the outfit and lip sync that sent her home from Rupaul’s Drag Race. I just love working with her.

How do you respond to the positive feedback and affirmation which comes from presenting your work online and in the social media sphere?

 It feels incredible and pushes me to keep going. The thing is, there isn’t a return on investment for most of these videos. Specifically the ones where my company Michael McCrary VIBE creative directs and produces the full project. But, if I can pay the rent, eat, and have a little extra to make these videos then I will, because I love staying creative. My creativity has led to great things like corporate clients, new dancers, and other artists who see my work and want to work together. But that’s not the main goal. The goal is to put out great work, work with great people, create space and opportunities for dancers and artists, and that’s it. If I can do that, I think I’m doing right by the world, and sharing my joy through dance. The power of digital and social media is the reason so many people have seen my work and reached out to me. So if anyone is hesitant about sharing their work, I encourage people to put it out there. You never know what may come. If you have something to share, share it. Share your voice, story, work, and art, because that’s the beauty of the platform. We live in a social, digital world, and it can truly change your life.

Your work truly emphasizes community and inclusivity. How do you maintain your artistic mindset and remain positive?

 I think it comes down to community. I enjoy having anyone that wants to be in a project be involved because we live in such a world, especially in entertainment, that’s extremely selective at times; I was unable to pay anyone for the first two larger videos I created, but moving forward, I make sure I pay everyone if I’m self-producing a project. It adds up, but I think it’s important to pay artists for their time and talent.  When I do these videos, I always invite dancers on my Instagram story, because truly everyone is invited. What makes my videos so fun is the fact that everyone involved wants to be there. And secondly, I cast all walks of life in terms of people, talents, and skill sets. It’s so fun as a creative to work with so many talents. That’s when the magic can happen, and pushes me to work harder and smarter. Whether it be a personal project or for a client, I make sure representation is there. There are so many people that we know and love that just want to get in the room and be given a chance. I was on that side of the table for so long, and I know what it felt like and still feels like. It’s a hard business and city. It’s important to find your people and build your community to lean on. Bring people in, speak names in rooms, because there’s truly room at the table for everyone in this industry. If we all supported each other a little bit more, I think there would be way more success for everybody.

 What are you most excited for next?

 There are a few things I’m excited for. I have a video which just dropped I’m excited about. I worked with Selma Nilla (https://www.instagram.com/selmanillanyc/), starring in the Hot To Go video (https://www.instagram.com/p/C-LGMFou4a_/) inside a roller-skate themed diner arcade in Brooklyn (All Night Skate). I’m really excited about the video because I’m obsessed with Chappell Roan and would love to work with her. I’m also choreographing the Off-Broadway show Little House on the Ferry. We just had callbacks for the show opening in New York City in October, which I’m excited about as well. I’m also excited about what I don’t know and what’s to come. I embrace not knowing, it inspires me to hustle and create opportunities for myself.  As artists, we’re lucky to live in New York City because we have access to so many talented people and incredible locations to shoot in. Anything goes, really. I don’t think we could do the kind of work we’re doing anywhere else.

Photo Credit by Order

Headshot: L Morgan Lee, Photo 3: Trey Thomas, Photo 1,2,4: Courtesy of Michael McCrary

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