Interview: Bryce Valle of AIN’T TOO PROUD: THE LIFE AND TIMES OF THE TEMPTATIONS at Fred Kavil Theatre

Ain’t Too Proud: The Life and Times of The Temptations hit Broadway in 2019, earning 11 Tony nominations and one win for Sergio Trujillo’s choreography. Though it was cut short by COVID in March 2020, the show returned in May 2021 and ran until January 2022. It now lives on through its national tour, reaching 24 U.S. cities. The current tour is notable for being supervised by the original director, Des McAnuff, and Trujillo. I spoke with Bryce Valle, the tour's dance captain and the lead actor portraying Paul Williams of The Temptations.

Jonas: Why don’t we start with your background?

Bryce: I did all my schooling in New York, and after college, I performed in regional productions across the U.S. I spent five years with Carnival Cruise Line, including during COVID when I was stuck on the ship. I eventually took a year off to focus on theater and set a goal to book a tour for 2024. This tour came up, and I was able to combine everything I’d learned—acting, singing, and dancing. I grew up in a musical family and started dancing in hip-hop and step dancing before receiving formal training in musical theater at Marymount Manhattan College.

Jonas: What roles have you played in regional theater?

Bryce: I’ve done various roles, including Rudolpho the Italian Dancer in Matilda and Ritchie in A Chorus Line. I was a Drifter in Beautiful: The Carole King Musical and part of the ensemble in All Shook Up and 42nd Street. I also participated in a new musical called Present Perfect, which tells the story of immigrants learning English.

Jonas: Is this your first time as the dance captain?

Bryce: No, I’ve been dance captain before, for a musical version of Shakespeare’s Love’s Labour’s Lost and on cruise ships. But being dance captain on a tour while also performing a lead role is a first for me. It’s a balancing act—sometimes one job takes priority over the other. My assistant helps immensely by watching things offstage, which I can’t always catch during my own quick changes.

Jonas: What does a dance captain do?

Bryce: A dance captain ensures that the choreography stays consistent throughout the show’s run. Over time, small changes can occur in the movements, and it’s the dance captain’s job to make sure everything stays true to the original vision. It’s about maintenance—keeping the show as close as possible to how it was at the beginning.

Jonas: How does one become a dance captain?

Bryce: Becoming a dance captain is about showing up, doing your best, and being present. You need to be proficient in multiple dance styles, be able to teach, and have strong attention to detail. I didn’t expect to become the dance captain since I was already in a lead role, but after three weeks of rehearsals, I was asked to take on the role. I immediately started paying attention to every detail, from choreography I wasn’t in to entrances and exits. Being chosen by Sergio Trujillo and Brett Lockley was humbling, and I’m honored to uphold their work.

Jonas: Does this production have a resident choreographer, or do you teach new cast members yourself?

Bryce: When a swing left, who had been my co-dance captain, we got a replacement. The choreographers taught her as much as they could in New York, and then I installed her into the show on tour. Performing on tour is different from rehearsing in a studio, and I helped refine what she had learned to make sure she fit into the show smoothly.

Jonas: Do you work directly with Sergio Trujillo or a choreographer hired specifically for the tour?

Bryce: We had the original creative team—Des McAuff and Sergio—throughout the process. I learned a lot just by observing them, from how they make decisions to their overall process. Brett taught the choreography, but Sergio was always there to provide input during rehearsals.

Jonas: Do you rely on video references to maintain the show’s accuracy?

Bryce: I mainly use video references—about 80% of the time—and a dance Bible for the rest. I’m a visual learner, so I film rehearsals, capture what’s being taught, and compare that with the original videos to ensure consistency. I also make decisions in the moment about what works best for the tour.

Jonas: Is it daunting to be responsible for Tony-winning choreography?

Bryce: It’s definitely challenging. The hardest part is finding the balance between the choreography’s original intent and the individual creativity of the dancers. It’s about knowing when to let performers infuse their own style into the choreography and when to pull it back to maintain the show’s integrity. It’s a constant balancing act of making the show feel fresh while respecting the original work.

Jonas: As an onstage cast member, how do you manage to keep an eye on everyone else’s performance?

Bryce: I make a decision before each show whether I’ll focus on my performance as Paul Williams or my dance captain duties. If something catches my eye during a performance, I’ll address it, but I’ve learned that I can’t let my responsibilities as a dance captain interfere with my role onstage. It’s about knowing when to prioritize one responsibility over the other.

Jonas: What’s your policy on ensemble members giving swings notes directly?

Bryce: I always encourage swings to come to me if they have questions about choreography. I’m not here to change how they learn, but when it comes to set choreography, those notes should come from the dance captains. It’s important that the correct version of the choreography is being passed on.

Jonas: What does your pre-performance warm-up consist of?

Bryce: I don’t do group warm-ups because I believe everyone should do what works best for them. I help individual cast members with specific issues, such as pain or tension, by creating personalized routines. I focus on maintaining the show and fixing issues when they arise, but I don’t feel the need to micromanage everyone’s routine.

Jonas: What are some of your choreographic influences?

Bryce: I started in hip-hop, and I’m very big on style. After college, I merged technique with style, and storytelling became important to me. I admire choreographers like Marc Kimelman and Camille A. Brown, who create choreography with deep meaning and authenticity. I look for choreographers who are truth-tellers in their art.

Jonas: Do you aspire to choreograph yourself?

Bryce: Choreography is definitely one of my interests. I love the creative process—finding different ways to tell a story through movement. I also enjoy directing, producing, and coaching auditioners. I just participated in a master class in Riverside, helping aspiring performers improve their audition skills.

Ain’t Too Proud will be local to Southern California from 3/11 to 3/12 at the Granada Theatre in Santa Barbara, from 3/14 to 3/16 at the Fred Kavil Theatre in Thousand Oaks, and from 3/28 to 3/30 at the San Diego Civic Theatre, before traveling across the country. Tickets can be purchased at https://ainttooproudmusical.com/#tickets. 

Photo Credit: Joan Marcus

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