Interview: Theatre Life with Derek Brockington

Today’s subject Derek Brockington is currently living his theatre and dance lives onstage as a principal dancer for the esteemed Dance Theatre of Harlem (DTH). The company will be performing here in DC at The National Theatre for three performances only on September 25th at 7:30pm and September 26th at 2:00 and 7:30pm. The program will feature the return of one of the company’s signature works Firebird and more. The performances are being presented by Washington Performing Arts.

Besides performing with DTH, Derek has also danced with Cincinnati Ballet, Grand Rapids Ballet, and as a guest artist with Houston Ballet.

His repertoire includes works by such legendary choreographers as George Balanchine, William Forsythe, Robert Garland, Claudia Schreier, Stanton Welch, Annabelle Lopez Ochoa, Darrell Grand Moultrie, and Jodie Gates.

Derek was also recognized by Crain’s New York Business as one of its 20 in Their 20s for his contributions to Dance Theatre of Harlem’s digital media presence.

Derek Brockington has a giant love for Dance Theatre Of Harlem and a passion for his craft. He is only one reason to grab your tickets to Dance Theatre of Harlem this weekend. You also have the costumes of the man who single handedly saved The Wiz from closing out of town in 1975 after he took over as director while still designing all the costumes Geoffrey Holder. The biggest reason of course is that you have a chance to see one of the most legendary dance companies perform live again. What more do you need to attend?

Derek Brockington is truly living his theatre and dance lives to the fullest.

At what age did you get interested in dance?

My mom started me in dance when I was around five because I was energetic and a little clumsy. I started with tap, and over the years I also did jazz and contemporary before beginning ballet when I was 14.

As I got older, I realized how much dance gave me a way to express things that I didn’t always have words for. That was when I really started taking it seriously and began to see it as something I wanted to pursue professionally.

Where did you receive your training?

I’m originally from a small town called Saugatuck, Michigan, and I began my training at a school called Dance Asylum. From there, I trained at Grand Rapids Ballet before attending Interlochen Arts Academy for my junior and senior years of high school.

I also had the opportunity to attend summer programs at Blue Lake Fine Arts Camp, Ballet West, Pennsylvania Ballet, and Central Pennsylvania Youth Ballet. I feel really fortunate because I was exposed to so many different teachers, schools, and approaches to dance. All of those experiences gave me something different and helped shape the dancer and artist I am today.

What was your first professional job as a dancer?

My first professional experience was as a trainee with Grand Rapids Ballet under Patricia Barker, and from there I joined the Second Company at Cincinnati Ballet.

Those early professional experiences were really important because I had the opportunity to dance a lot and understand what it meant to be a working dancer. It wasn’t just about the dancing anymore, it was learning how to be part of a company, how to work with different choreographers and personalities, and how to constantly adapt and grow.

What was it about Dance Theatre of Harlem that fueled your decision to join them over another company?

There was something about Dance Theatre of Harlem that felt really personal to me. I knew the history of the company and understood the importance of what DTH represents, but I also felt like there was room for me to bring my own identity into that history.

I was really attracted to the idea of being part of a company that could honor the classical tradition of ballet while also pushing it forward and making space for new voices. I wanted to be somewhere where I could continue growing, not just technically as a dancer, but as an artist and as a person.

Now, being in my ninth season with the company, I think that feeling has only become stronger. The longer I’m here, the more I understand the legacy I’m a part of, but also the responsibility and opportunity we have to keep moving that legacy forward.

Can you please tell us which roles we will be able to see you dance when the company comes to The National Theatre this weekend?

I’ll be performing in works by Robert Garland, George Balanchine, and John Taras. I’m especially excited about Firebird, where I’ll be dancing the Prince.

It’s a really exciting role for me because Firebird has such an important history with Dance Theatre of Harlem, and this is the first time we’re bringing it back into the repertoire in more than 20 years. Getting to step into that history and be part of bringing this production back to the stage is something I’m really proud of.

The company is reviving Firebird after more than 20 years of it being out of the repertoire. Why do you think now is the perfect time to bring back this piece?

I think Firebird is one of those stories that can always find a way to speak to people. At its core, it’s about courage, love, and finding light even in the darkest times. Ideas that will always resonate.

There’s also something really powerful about DTH bringing it back now because we’re a new generation of dancers experiencing this work. We have the opportunity to carry the legacy and magnitude of this production while bringing the energy, individuality, and experiences of the company we are today.

For me personally, there’s something incredibly special about having learned the role from Donald Williams, the original Prince. There’s a history being passed directly from one generation to another. When someone who was there at the beginning is in the room giving you that knowledge, you realize you’re not simply learning steps, you’re inheriting something. It makes the role feel much bigger than just me.

Have you ever choreographed a piece for Dance Theatre of Harlem or elsewhere?

Yes, choreography is a really important part of my artistic life. I’ve choreographed for Dance Theatre of Harlem and have also created work for other projects, including Columbia Ballet Collaborative and the New Jersey Festival Orchestra.

I really love choreography because it allows me to communicate in a completely different way. As a dancer, you’re interpreting someone else’s vision, whereas as a choreographer, you’re starting with something that exists in your own imagination and figuring out how to give it a physical life through other bodies.

This summer, I also made a dance film that I choreographed and produced. It was my first opportunity to take on a project of that scale, and it taught me so much not only about choreography, but about what it takes to organize and build an entire production from the ground up. I even ended up designing and building a portable dance floor for the film and shot it in public spaces in Harlem, so the whole experience really pushed me outside of what I normally do.

I’m at a point where I’m really interested in expanding my artistic horizons. I definitely want to continue choreographing, and I’m still discovering what my voice as a choreographer is. I think that process of discovery is one of the most exciting parts.

Of all the pieces you have danced thus far with Dance Theatre of Harlem, which stand out as particular favorites, and are there any you are most looking forward to dancing someday?

That’s a hard question because I’ve had so many experiences with the company that have meant different things to me. Firebird definitely stands out, especially now that I’m dancing the Prince. There’s something really meaningful about being part of the revival, I’ve also really loved working with Robert Garland. His choreography has such a strong musicality and personality, and I feel like there’s always room to bring a lot of yourself into his work.

But I think what I’m most excited about is what I haven’t done yet. I’m at a point in my career where I want to keep challenging myself, whether that’s through new classical roles, contemporary work, working with new choreographers, or creating more of my own work.

That’s one of the things I love most about being a dancer. No matter how long you’ve been doing it, there’s always another role, another choreographer, another experience waiting to reveal a different part of you. You’re constantly becoming someone new through the work.

Special thanks to Bucklesweet's always en pointe Brittany Laeger for her  grand jeté assistance in coordinating this interview.