Interview: Choreographer Vincent Paterson's A Favorite of Michael Jackson & Madonna, But Not Sondheim

What do Madonna, Michael Jackson and Stephen Sondheim have in common? Choreographer extraordinaire Vincent Paterson! Vincent new book Icons and Instincts: Choreographing and Directing Entertainment's Biggest Stars has just been released and Vincent will be appearing at Book Soup September 23, 2022, to sign copies of it.

Thank you for taking the time for this interview, Vincent.

With your over three decades in show biz, what actually was the catalyst to writing Icons and Instincts now?

I have slowed my workload down after many wonderful years of creating under the microscope. I wanted to share stories about my life and career in the hope of inspiring other artists who are on a path, let those struggling know that commitment and focus pay off, and to allow readers an intimate look at my process of collaboration with some of the world's most celebrated artists during some very memorable and iconic dance and film experiences.

You're pretty candid on aspects of your childhood and relationships. Did you always intend to include your personal history to go along with your many work stories?

Once you begin to write, the book takes on its own voice. My co-author, Amy Tofte, and I believed it important to share my intimate life stories because, as an artist, my life and my creations are intricately and intimately entwined. My choreography has always come from character, as well as letting the music tell me what it wants to be... something Michael Jackson once told me. We know best our own life as well as the people and experiences that are nearest to us. Somehow, they affect my creations even on a subliminal level.

You originally studied law before training for the entertainment field. Were you ever as passionate about law as you are dance?

I had begun my liberal arts education with the intention of studying law, but quickly entered the world of theater at Dickinson College. I had considered briefly a career in trial law because: I thought it would be theatrical, I liked debating in high school and I was poor and thought being a lawyer would bring me some cash flow. But theater, acting, and performing were lurking in the world of "but, what if..." Once I stepped foot inside Mathers Theater at Dickinson, I knew I had no other choice. I was fortunate to be able to create a major in Theater Arts and Dramatic Literature and graduated with that degree.

You became friends with Marcel Marceau while attending Dickinson. What words or mimes of wisdom did you learn from this great artist?

My conversations, correspondences and friendship with Marcel Marceau were more about life. But watching him perform, I was thoroughly inspired by his ability to draw an audience into a magical world and by his attention to detail. These are both essential traits I strive to employ in my creative process.

What was the name of your twelve-man theatre group at Dickinson?

We began as a "mime" troupe and were titled The Dickinson College Mime Troupe. Not very original! We quickly evolved into an experimental-theater company, creating performances in "non-theatrical" spaces, writing works that involved a lot of physicality and establishing ourselves as the avant-garde/alternative theater company on campus. We actually never named the company. But no dance. I began dancing at 23-24 yrs old.

How many years did you have long hair down to your waist?

I had very long hair for about two and a half years. I attended college during the hippy years, and, yes, I was a hippy. It was an important and inspiring era with so much happening in regard to human rights, protests against the Vietnam war and the killings at Kent State. New forms of theatre were being created by companies like The Living Theater, the Open Theater and Artaud's Theater of Cruelty, as well as the work of director Peter Brook. These works opened my mind to possibilities.

You covered up with a short-hair Liza wig to wait tables. What made you decide to finally chop it all off?

After acting in The Screens by Genet at Society Hill Playhouse in Philadelphia --wearing that wig -- I decided to make a huge life change. I moved to Tucson, Arizona. I wanted a new beginning. A new beginning meant a new look, something symbolic. I was a huge fan of David Bowie and loved his look on the Ziggy Stardust album, so I took some scissors and chopped off all of my hair one day. It felt great!

A good portion of your book covers your time with Michael Jackson and Madonna. What project are you the proudest of: Michael Jackson's Thriller or Madonna's Blonde Ambition tour? Or...?

Thriller was choreographed by Michael Peters. I was fortunate to be his assistant choreographer and a dancing zombie! I created and choreographed Smooth Criminal and many other projects for Michael Jackson over our almost two decades of working together. I created the iconic "lean" -- the image is recognized globally, the Superbowl, the Grammy Awards, his BAD tour, many music videos as well. Mike and I flipped the Superbowl halftime show from marching bands to spectacular celebrity performances. But I'm most proud of Smooth Criminal and was elated the many times Michael Jackson called that his favorite short film.

I am very proud of the work I did for Madonna directing and choreographing the Blonde Ambition Tour. I love sharing this story in my book. With this tour, Madonna and I changed the face of pop tours. From mainly pure musical events, we brought theater to the pop world with magical sets, extravagant costume changes, scintillating dancing and an actual thru-line. I'm also proud of the Marie Antoinette version of Vogue that I created for her for the MTV Awards. This became viral before we knew what viral was!

If financial compensation was not a factor, which field of entertainment would you prefer to share your talents in?

Choreographers are the most underpaid and overlooked creative artists in this industry - unless you create for Broadway only. I certainly didn't become a choreographer for the money. I dedicate an entire chapter in my book as a rallying cry to give choreographers equal compensation, ownership, credit, PH&W (pension, health & welfare), as those with whom we work elbow to elbow.

It has always been about directing and choreography for me, though I loved being an actor. I cherish teaching dancers how to become actors. It makes every performance resonate with a much deeper truth.

Did not receiving individual dance credit in your television days (the Scott Salmon Dancers, the Walter Painter Dancers, and the Alan Johnson Dancers) spur you on to name all your dance instructors and dancers in your book?

Absolutely. Without credit, we do not exist. No one knows who we are as artists. Credit should be given to every dancer and choreographer, as it is given to directors, writers, producers, actors, cinematographers, set designers, hairdressers, and animal wranglers (I'm not kidding!). It's about education as well. Many people in and out of our industry are not aware of all the tasks a choreographer performs on any gig, from writing to casting to collaborating with the director on camera shots.

How is your rightful campaign for an awards category honoring choreographers going?

Julie McDonald, of MSA agency in LA, and I are working to create a dialogue with the Academy regarding admitting more film choreographers into the Academy's fold. Broadway is far ahead of the game where Choreographers equality is concerned. It's long past due for the electronic and live non-theatrical arenas to catch up. However, the CG (Choreographers Guild) has been officially created. We have a president and cabinet, an executive director and a prestigious executive board. We are soon opening a membership drive and support among choreographers has been exceptional. Those who work in electronic and non-theatrical live performance genres are Union ready, as seems to be the cry across the U.S. right now.

What's next in the near future for Vincent Paterson?

Besides the excitement of promoting my book, I am off to Amsterdam to direct the reading of a new musical I will direct early next year. It's an exciting project filled with dance and martial arts, propelled by a thrilling story about girl power.

Thank you again, Vincent!

Vincent will be signing his book Icons and Instincts: Choreographing and Directing Entertainment's Biggest Stars at Book Soup September 23, 2022. For book outlets carrying Vincent's book, click on this link.

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