Meet Francesca Harper. This statuesque beauty is a dancer-actor-singer-recording artist-choreographer-director who is moving ahead with the speed of light. Her credits include The Dance Theatre of Harlem, The Frankfurt Ballet, Fosse, The Producers, and The Frogs. In 2005, she’ll do the film version of The Producers, as well as cover a lead role in the new Broadway musical about Elvis, All Shook Up.

Finis: How did you begin dancing?

Fransesca: My mother was a teacher, so as a little girl, I would go watch her teach class. I spent so much time watching the classes, and seeing how exciting it was for the dancers to discover new things about themselves every day. I fell in love with that process.

Finis: How old were you?

Fransesca: I think she started taking me with her when I was around 3 or 4.

Finis: And you took your first dance steps when and where and how?

Fransesca: I started with Creative Movement Classes, at around 3 or 4. When I was 6 or 7, I started ballet classes at the Joffrey School in New York City.

Finis: Did you have a favorite teacher?

Fransesca: My two favorites were my first teachers, Miss Sydney Lowenthal and Miss Dorothy Lister. In fact, I just saw them again, after they saw me dance in Frogs.

Finis: What was your early ballet training like?

Fransesca: I started with about 3 or 4 classes a week, and then it became daily. I started pointe early, at around 8 or 9.

Finis: So you knew early on, that this would be your life?

Fransesca: Oh yes, and I really liked the ballet. Perhaps even more so because my Mom (Francesca’s Mom is Denise Jefferson, Director of The Alvin Ailey American Dance Center School) was a modern dancer, and ballet could be my own thing. And, since there were so few African American ballet dancers in the 70’s, that also made me want to go with ballet.

Finis: When did you first perform professionally?

Fransesca: My first performance was with my Mother, who was performing with Bertram Ross (a famous Graham dancer) and I was the daughter – whom she had to kill – in this first piece. And then, when I went to the School of American Ballet, I was on stage in ballets like Harlequinade, Midsummer Night’s Dream, and The Nutcracker.

Finis: How long were you at SAB?

Fransesca: Two or three years, I think

Finis: And then?

Fransesca: When I was 13, I left SAB, And then I went to study with Madame Gabrielle Darvash. I was with her until I was16. And then I studied with Barbara Walczak.

Finis: I remember the first time I saw you in class, and your turns were amazing. Who taught you how to turn?

Fransesca: Actually, I think it was Madame Darvash. We would do a lot of turns in her class. She had done a lot of analysis on turns, in very detailed work. Where you would have to put your knee, in relation to your shoulder.

Finis: Yes, very important instruction, that works, judging from your turns. What did you do next?

Fransesca: After I studied with Barbara, I finished high school, and then I went to a Competition in Miami, called the National Foundation for Advancement in the Arts. That’s where they select The Presidential Scholars, which I won in my senior year in high school. Desmond Richardson, my good friend and colleague, was the winner the year before. I had academic leanings, so I applied to colleges. I was accepted at Barnard College and went to Columbia University for a summer. And that made me realize it wasn’t for me, and that I wanted to just dance.

Finis: So . . .

Fransesca: I auditioned for the Ailey Company, and Alvin offered me an apprenticeship with the Second Company. However, after the audition, he asked me to come into his office, and he said he really thought I should, as an African American woman, pursue ballet. He said I had the talent for it, and should use it. And, in my heart of hearts, that is what I wanted to.

Finis: That was very generous and farsighted of Alvin. He had such a good heart.

Fransesca: So, I went up to Dance Theatre of Harlem, and was offered a contract with the Second Company. After about eight months, the Director, Arthur Mitchell, chose some of us to go on tour with the Main Company to London and Russia. And it was just so much fun! We had a ball.

Finis: Were you now sure of yourself as a professional ballet dancer?

Fransesca: Yes, it was a really good place for me, professionally and socially. Tai Jimenez, who remains a good friend and colleague today, was an apprentice at the same time. She and I were chosen by Bronislava Nijinska to do lead roles in Les Biches. My role was that of the hostess, which was my breakout part. Soon, I was learning leading roles in Swan Lake and Four Temperaments. It was a very good experience for me. And then we were laid off for eight months, and I got nervous that I wouldn’t be able to pay my bills. A friend of mine had already joined the Frankfurt Ballet under Bill Forsythe, and suggested I come over and audition. I was so impressed with that company, because they were doing socially provocative work that was also classically demanding. I thought Bill was such an original, and that it would be great to work with him.

Finis: Bill Forsythe was one of my first students, in 1972. He was in Ballet Brio, several dancers who traveled by station wagon all over the country, performing Don Q pas de deux and other small works. I never would have dreamed he would have gone on from there to become such a force in contemporary ballet. So, you went to Europe -

Fransesca: Yes, in 1991, I went to Europe to audition for Frankfurt, Stuttgart and Hamburg Ballet Companies. I got to Frankfurt, and I just stopped, and said this is just brilliant and exactly what I want to do. Bill had hired such smart, dynamic dancers. I was there for a couple of weeks, and expressed my desire that to audition. Bill’s process is to work in the studio with you, to see if he likes you socially and professionally. Nora Kimball taught me the variation from In the Middle Somewhat Elevated. I learned it in a couple of days, and worked with Bill for about an hour, and then he hired me.

Finis: Tell me about your life and career with Bill in Frankfurt. What did it do for you as an artist?

Fransesca: Gosh! It was the most fulfilling experience I could have hoped for, as an artist. I was there for eight years, and only left because I missed New York so much. While I was there, I learned to think for myself. I got to dance a lot, very early on. Bill and I clicked as friends. He liked to hire friends of people he knew, so that we would all get along together. On one of my first nights there, I went out with some friends for beer, and Bill appeared. My friend whispered in my ear, “This is part of the audition.”

Finis: Ha! Who knew having a beer with the friends and the Director had anything to do with getting into a ballet company?

Fransesca: Right! Exactly! That was part of it. I so enjoyed Bill as a person. The whole experience was very collaborative. I did a lot of original works with him. He made Hermann Schmerman for The New York City Ballet. I learned the lead role danced by Kyra Nichols, and when he created the duet in Frankfurt for his wife, Tracey Kai Maier, I learned it too. This was all during my first year with the company. I was only 22 then, and he was pushing me. I did a lot of the ballet stuff, but there was a year when he started experimenting with me in acting and improvising. We saw that I could do it. And I enjoyed doing it, too.

Finis: In most Ballet Companies, you’re hired for your physique and technique, and not your brain or personality. Unfortunately, it may account for the great lack of interesting stage personalities today.

Fransesca: Bill separated us into the ballet people and the “improv” people. He created a whole acting and singing role for me, and I had to create my own solo. That was the beginning of my getting into more experimental things. I not only did the very demanding ballet roles, but also the acting, singing and dancing roles. It was such a rich experience. It was years of such interesting work. I had no problem being there. And then I realized I enjoyed choreographing. That was something else I liked about Bill, that he was not threatened by any of us showing our abilities.

Finis: That’s the true sign of greatness, when you want to raise your dancers to be better than you. We could certainly use some of that generosity here in America. When you came back to New York, what did you do?

Fransesca: Well, Bill had really opened the door to acting and dancing, and singing.

Finis: What kind of singing did you do?

Fransesca: Different kinds. It depended on what mood he was in. Some R & B. Some Prince songs in Alien Action. We made up some original things. I did some experimental voice distortion. A lot of acting, and speaking. In Loss of Small Detail I did one of the main roles. Bill enabled me to realize that I had other sides to myself. So, that led me to look at Broadway.

Finis: What your first Broadway show?

Fransesca: Fosse. I was a replacement on Broadway, and then I did the tour. At the same time, I also choreographed Apex for the Ailey Main Company.

Finis: Well, judging from your reviews, you must be setting some sort of record for wearing several hats, expertly, at the same time. What was next?

Fransesca: I did The Producers on the road, and then I got The Frogs in New York City. That was my first original production, and Susan Stroman choreographed a solo for me. I had a wonderful time.

Finis: What stage of your life are you in now?

Fransesca: The Frogs is over. I have finished an album’s worth of songs.

Finis: What songs?

Fransesca: I wrote some original songs.

Finis: The album is all your own material? How did you do that?

Fransesca: I worked with a couple of different teams of producers, and I would write lyrics and melodies and harmonies.

Finis: Wait a minute. When did you to learn to write music?

Fransesca: I studied piano for six years, and also studied voice seriously. So I put my piano and singing training together with my affinity for popular music, and had a couple of songs released in Germany while I was working there. This spring, I hope to be performing at the theater at the new The Ailey Studios. I’ll be working with a band and showing my choreography.

Finis: Is this a one woman show?

Fransesca: I don’t know yet. I would like to share an evening with artists that inspired me in my life.

Finis: Who are?

Fransesca: Anna Deavere Smith, Mercedes Ellington, and Margo Jefferson. And, maybe Daniel Bernard Romaine, who is the musical director for Bill T. Jones. There are other artists I’m thinking of — I just want to make a wonderful evening. I’m going to start raising money for that now.

Finis: Well, I knew it would be interesting to interview you, but you’re blowing my mind. I had no idea you had so much going on! And you’re in a new show headed for Broadway?

Fransesca: Yes, I’m going to be in All Shook Up, which is the Elvis musical, and I’m covering the role of Sylvia, one of the lead roles. The woman I’m covering is a major singer, so I have to get very serious vocally in the next few weeks. And, in January, Susan Stroman has asked me to be a part of the filming for the feature film, The Producers.

Finis: That’s all?

Fransesca: Oh, one more thing, this summer, I did a workshop called Beehive on Broadway directed by Debbie Allen. I originated the role of Sally in that, and hopefully, it’s going to be coming to Broadway in 2005.

Finis: Unbelievable. I’m laughing myself silly here. Anything else happening? I feel like I’m talking to about 5 different people.

Fransesca: I know! But you know, I feel like this is my year. I’ve been doing a lot of searching for the past few years. My father passed away last year, and that made me realize I should make the most out of life while I can.

It’s been a wild year, and I’ve just said to myself “let me just give myself completely to whatever comes along.” You know, it’s hard being an artist in New York. I’d been tour for a while, and I really wanted to be able to spend time in the city. So that’s partly what’s been driving me to make the decisions I have.

Finis: It’s kind of like the idea in the movie “Field of Dreams” — if you build it, they will come. If you make yourself as open as you are – things will come to you.

Fransesca: You know, it’s interesting about Broadway work. When I was on tour, I would make sure that every day I warmed up for at least a half an hour before each show. I’ve had ankle problems, and knee problems, but because I’ve been so diligent about working out and taking care of my body, I’ve stayed strong, and am in good shape. It’s so interesting, how you go through so many phases with dance. I feel now I’m letting all those years of hard work for me. I’m letting all the past experiences support me. I remember Desmond Richardson and Tai Jiminez telling me that when I began work on Broadway, taking class every day was so important.

Finis: They’re right. Think of Broadway Legends like Chita Rivera and Bebe Neuwirth. They look terrific because they stay in shape. Before you leave, what advice do you have for young performers?

Fransesca: I would say that you should follow your heart and passion. The more you commit, the more you receive.

Being a performer is not the most secure career in the world. You’ve got to love the process, the work of the creative effort, more than the material comforts and the security of fame.

My father, who passed away last year, was a civil rights lawyer. He died with no money. He had been defending African Americans who couldn’t afford representation. When I went to the funeral, what amazed me was the spiritual outpouring from the people he had touched, and how much love and respect they had for him.

My point being, that art affects people in a deeper way then we realize. You have to be clear about being true to yourself and the art form. Because that’s where inspiration is born. Even when you think things aren’t perfect, the more honest and true you are and give yourself to the moment, the more you get back

You have to commit yourself to the good and the bad. You just want to enjoy the ride, good or bad. For myself, there is no substitute for the spiritual rewards I’ve received.

Finis: Exactly. So many performers today either look like they don’t want to be there, or don’t know how to be there, which I think comes from their inability to give themselves completely to the process, without reservation. They always appear to be preceded by their ego. Much ado about nothing, is what I say.

Fransesca: It’s important to come into the studio every day and recognize that this is a spiritual journey. And that’s what it’s all about. You can change people’s lives with just a single movement. Look at the Chinese women on the streets of New York who belong to Falun Gong, demonstrating, by standing silently, in poses of meditation. That reaffirms the whole power of movement to me.

Finis: It’s beyond words. Thank you, Francesca, I’m so glad we did this.