Conversations with Creators: Aaron Alexander Gordon and the Art of Versatility

“I used to identify as a dancer and choreographer, now I identify as a creative,” says Aaron Alexander Gordon. “I’ve done a lot of different things, and I think when you combine all of those creative mediums together, that’s when you create the most magic.” Aaron is a singer with The Four Seasons, currently touring with the world-famous frontman, Frankie Valli. Before that, he was an original cast member of the LA and Chicago companies of the hit musical Hamilton, having had both the opportunity to swing the show, and to play Samuel Seabury full-time. Other notable credits include Prom (Netflix), Soundtrack (Netflix/Hulu), Kennedy Center Honors (CBS), and the Lindsey Stirling music video for “Master of Tides.” In his free time, Aaron DJ’s and produces music under the name Qurly Cue. He has produced and mixed music for Seattle PrideFest, Purple Lemonade, ZTHEORY, and Seattle Art Museum. 

How did you originally enter the world of dance?

I started off in competitive gymnastics until the sport became too dangerous for my comfort. After leaving, it became clear that I needed another activity to release all my energy, which landed me in dance. I had always been super inspired by music videos on MTV - imitating the artists and their dance moves - so my parents put me in an adult hip hop class. I was the only kid but I loved it, and the rest is history!

How would you describe yourself as a dancer now?

As a young teen, I had a lot of raw energy and was eager to try anything. Now, I’m more calculated in the energy I put out into the world. I have a distinct voice, while also leaning into other styles. I love the inspiration that can come from trying new things.

Was there a certain point when you realized this is something you’ll be pursuing long term and as an adult?

I never viewed dance as a prospective career until I was without it. When I went left home for college, I was cut off from dance almost entirely. Once I felt that void, I knew that dance was more than just a hobby, it was something I needed in order to express myself. This led me to move back home and immerse myself in as much dance as possible, both as a student and as a choreographer.

How did your debut in Hamilton occur and what was your experience like?

I had heard that Hamilton mixed hip hop dance and music with musical theatre. Considering my background, I thought this might be a good fit, so when they had auditions in LA, I jumped at the opportunity. The audition went well and led to a final callback for the Chicago company. I flew to New York, gave it everything I had, and it worked out - I found out I booked the show as a swing on my birthday. The perfect gift!

How did being in the Hamilton cast for so many years influence you as a creator?

Hamilton started a new era of my career. Being in an original cast of such an iconic show, particularly as a swing, was both humbling and inspiring at the same time. It encouraged me to look at the big picture of what’s happening onstage and offstage. There are so many roles in a musical, from the performers to the creatives to the producers, each with their own layers of decision making that I won’t always be privy to. There’s power in accepting that. It’s very easy to hold everyone to a strict standard and blame them if anything goes wrong, but that’s a short-sighted outlook because everyone has someone they’re answering to, who have people they’re answering to, etc. I think that’s a life lesson - we all know how we want things to go in life, but that’s rarely what actually happens, because there are always restrictions and barriers. Sometimes limitations breed the most beautiful and creative results.

What was being a swing like?

Swinging a show like Hamilton helped me hone my ability to see the stage from a bird’s eye view, especially as I was learning six different tracks. Looking at any given moment of a piece, you need to understand the visual that the choreographer is aiming to put together. This can help you fit yourself into any particular track. I think everybody swings differently- some people do it in a more linear way, looking at which wing and number they need to be aligned with at any given moment. However, I found it more helpful to look at the formation and then figure out where I had to be in that bigger picture. This would help me adapt to the particular cast members on stage each day.

How has your perspective since being a swing dancer in a production carried with you into the world outside of dance?

Swinging taught me that it’s better to have patience and flexibility rather than be stuck in what you think should happen. It’s all part of that big picture mentality - when you really accept what is out of your control, you take things less personally.

What does your choreographic processes look like in a rehearsal space? Where does your inspiration typically come from, or is it project dependent?

 The music inspires everything - the style of dance, the wardrobe, the lighting, the storyline or theme. As a music producer and DJ, music is such a huge part of my life. Music and dance are inextricably linked. If there's a moment in a song that gives me chills, I want to try and evoke that through dance. I try to capture that feeling and deliver it to my audience.

I view rehearsal as part of the creative process - a time to explore with the artists in the room and see how they move. This ultimately inspires my choreography and allows me to best showcase the talent I’m working with.

Can you talk about your passion in music and DJing you pursue?

I've always been into music - I  just lacked the technical prowess. However during the pandemic I took music production classes from Berkeley online and developed the tools to actualize all of the musical ideas in my head. It's really fulfilling to execute my own musical ideas rather than try to translate them to someone else. Now if I want to create an original song for a dance, I can do it myself.

How has music shaped your identity?

Music is at the core of my creative identity. Choreography and dance have always been a way to visualize the feelings that I have when I hear a powerful song. Oftentimes I produce music with dance in mind. Adding DJing to my skillset feels like another way to express my musical ideas.

How do you deal with new and uncomfortable environments?

Being uncomfortable or nervous forces me to prepare and ultimately rise to the occasion. Any form of stress or anxiety I may feel leading up to a new experience is more than often offset by the immense gratitude, pride, and rush I feel after doing something new. When choreographing a new piece, working on a new song, or DJing, you always must adapt to your environment, which can be hard, but is always so rewarding in the end. 

What are you most excited for?

I recently moved back to Seattle after 12 years. It feels great to return to my hometown with all these new skill sets and desires. I have a much broader sense of who I am and what I want to do. I want to create experiences for people that expand beyond one art form, involving dance, music, choreography, and fashion. Whether DJing, choreographing, producing music, or anything in between, I’m excited to put all my passions together.

Photo Credit: Headshot: Studio 22 Photography Photo 1: Megan Allen, Photo 2: Flavio Santanna, Photo 3: Josh Lehrer, Photo 4: Joe Moore

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