Finis: Andy, I can't tell you how thrilled I was to see you, and hear you sing ­ so beautifully ­ when I saw Fosse, the big hit musical show now on Broadway. I remember you being in my ballet class at Broadway Dance Center and you were having back troubles, weren't you? Little did I know then how talented you are! Tell us what's going on right now.

Andy: I'm finishing up Fosse, as it's been about a year and a half since I first became involved. I'm enjoying Fosse, but a big choreography break has come my way, so I'm going to leave the show soon after the Tony Awards.

Finis: What is this big break?

Andy: I'll be going off to the Williamstown Theatre Festival in Massachusetts to choreograph a new musical called Quark Victory. The Williamstown is a very prestigious summer festival. They play ten shows a summer, mostly straight (non-musical) and Shakespeare, starring major movie stars like Gwyneth Paltrow, and directors who are major Broadway and Film players (people who are V.I.P.).

Finis: What is the show about?

Andy: It's sort of a sci-fi fantasy, where a teen-age girl runs away from home and shrinks herself into an atom, and the show is about her trying to find her way home. Therefore, the producers wanted the director and choreographer to be young enough to be able to work well with the young cast. This will be my first professional choreography job, so it's a pretty big break.

Finis: How will you show her shrinking into an atom?

Andy: I have no idea at this moment. The theater is a unique performing space, so we're thinking of using a lot of movement, such as rollerblading and skate boarding, to signify the neutrons and protons. The music is rock and roll based, so I think I'll use hoofing (tap) and percussive work.

Finis: Who's doing the music, and who's the director?

Andy: The score and script were written by the Realy brothers, who first wrote the piece for the 52nd Project, which benefits inner-city children. The director is Jonathan Bernstein, who is the resident director of Chicago and Iceman Cometh.

Finis: What does resident director mean?

Andy: Jonanthan assisted Walter Bobbie, who directed Chicago, and now that the show is up and running, it's his job to make sure that the show stays in good shape, and he also puts new actors into the show. He'll be doing the same thing for Iceman (sold out on Broadway, and starring film actor Kevin Spacey.)

Finis: You're in good company, working with someone like Jonathan, who can work two such completely different shows as Chicago and Iceman. It sounds like he knows what he's doing.

Andy: This show is a great chance for both of us. For myself, I feel confident in my versatility, and I enjoy moving from Fosse, which is very specific stylistically, to a project like Quark Victory, which offers Jonathan and I the chance to create something brand new.

Finis: You also told me at Broadway Dance Center that you're going to do Saturday Night Fever, the big hit (based on the movie we all know) in London, and coming to Broadway this fall.

Andy: I'm lucky enough that the timing worked out perfectly, to move straight from choreographing and seeing the last night of Quark and the very next day to begin rehearsals for Saturday Night Fever.

Finis: What are you doing in S.N.F.?

Andy: I'm playing a role. My character's name is Double J. It's my first white contract on Broadway.

Finis: What does white contract mean?

Andy: The ensemble players get Pink Contracts; the principals get White contracts. I've been lucky enough to do wonderful shows on Broadway, but I'm thrilled to finally be playing a lead role in such a big blockbuster show as S.N.F. It's exciting, because for the first time on Broadway, I get to do book scenes (dialogue) and I also get to sing and dance. Most Broadway dancers look forward to the time when they get to stop dancing, and play principal roles where they mainly act and sing. I love the fact that this is a musical, where the dance is so integral to the plot, because my main passion is dance.

Finis: Let's talk about your beginnings. Where are you from, how did you start dancing?

Andy: I grew up in Cincinnati, Ohio, and began dancing at the age of 3.

Finis: You're kidding! You're the earliest starter I've met yet. How did that happen?

Andy: Maybe it was just cheaper than babysitting, because my mother sent both my sisters to dance class, and so I just ended going along with them. I grew up in a small dance school in Cincinnati, studying mostly tap and a little bit of ballet and jazz.

Finis: How did you bear up under peer pressure? Wasn't it difficult to grow up dancing?

Andy: Ballet especially, made me feel uncomfortable, so unfortunately I didn't apply myself the way I wish I had. I really enjoyed tapping, and being the only boy in class really boosted my confidence.

Finis: Did you continue dancing all the years you were growing up?

Andy: I continued the whole time, sometimes more enthusiastically than at others. The turning point for me was when I started working on musicals in high school.

Finis: Were you singing then?

Andy: I was singing then, but it was my dancing ability that got me noticed. So then I started studying dance more aggressively, knowing that dance could be a big opportunity for me.

Finis: Where you already thinking about a professional career on Broadway at that time?

Andy: Yes, I had started dreaming about it, but I was attending a college prep school, where the emphasis was on entering a professional career (lawyer, doctor, investor, etc) but the more I danced, the more I fell in love with it.

Finis: So what did you do about it?

Andy: The summer before my senior year, I studied at Gus Giordano's in Chicago, and from that point on, I knew I was headed for a dancing career.

Finis: What kind of dancing, and where, and how, and when?

Andy: From the beginning, I sort of loved everything -- hoofing, Broadway, music videos -- so I didn't know whether or not I should move to L.A. or New York. But, I knew I had much more training to acquire before beginning any sort of career. So luckily, because of my high school preparation, I got a full scholarship to Southern Methodist University in Dallas, Texas.

Finis: That has a very strong dance department, doesn't it?

Andy: The dance department really appealed to me, because it offered very strong classes inn jazz, modern, and ballet. I knew that I didn't want to pursue a career in concert dance, but I knew that there was no substitute for that kind of training.

Finis: Did you graduate? How did you make the move to New York?

Andy: I didn't graduate, because after my first year, I was offered a job dancing at Tokyo Disneyland, and I decided at the time that the college environment wasn't my highest priority. I knew I wasn't finished training, but I knew that with the money I could save from Disney, I could afford a comfortable transition and begin studying in New York.

Finis: What did you do when you first came to New York?

Andy: I took three classes every day, and went to every audition that I could. And, luckily, I ended up in not only good classes, but meeting great people in those classes. I studied with Michele Assaf (who teaches at The Broadway Dance Center) a lot when I first moved to NYC, and she really took me under her wing and made me feel comfortable in New York. In her class, I met people who are among my closest friends today.

Finis: Tell us more.

Andy: I decided to take as many different kinds of classes as I could, and after a few months, I found a few teachers who were really helping me to grow. I remained in Michele's class regularly, I took your ballet class regularly, I started studying modern jazz with Max Stone, and most importantly, I studied theatre-jazz with Chris Chadman. Two things are really important to me about dance class: first of all, there is the concentrating on technique, and learning about improving my facility as a dancer; and second, is learning through the example of everyone around me. I quickly learned what it was that I needed to improve about my dancing and performing in order to begin landing jobs on Broadway.

Finis: What can you share with our aspiring professionals who are reading this interview?

Andy: I found that the most important thing for me was connecting to the music and making an emotional connection to the audience. In Chris Chadman's class, he taught me so much about musicality and intensity, but I found that I couldn't accomplish what he was asking if my dancing wasn't in top form technically. So, I was inspired to continue my training and concentrate on my technique. Musical theatre dancing is all about character development and plot development, so dancing needs to be second nature so that we are free to concentrate on the acting and performing. In other words, you need to be technically secure.

Finis: That really is the bottom line for all good performing. Mastery of the technique so that you are free to develop artistically. Let's talk about your performing history on Broadway.

Andy: I made my Broadway debut with Guys & Dolls, choreographed by Chris Chadman. I couldn't have asked for a more golden theatrical experience. I spent a year and a half on the road with the touring company, before moving into the Broadway company. Chris loved dancers who worked hard. When I started the show, I was only 22 and hadn't really done much. In the beginning I was dancing in the back, but by the time I got into the Broadway company, he had promoted me to a featured dance role. It was a thrilling way to make my Broadway debut.

Finis: Yes, it was a fabulous show, with such great dancing. What did you do after that?

Andy: During my time on Broadway with Guys & Dolls, I had neglected the technical maintenance that dance class offers. My body got more and more lopsided, performing the same choreography every night and not balancing it with dance exercises. I ended up herniating two discs in my back while performing one night. I had to leave the show, and began a long, grueling path of physical therapy and rehabilitation which lasted eighteen months.

Finis: I remember seeing you in and out of class at that time, and you weren't a happy camper.

Andy: I was very anxious to return to dancing, as patience has never been one of my strongest characteristics. But, actually, I learned many invaluable things during the time I wasn't performing. I learned a lot about the Pilates Technique, which is a regimen of strengthening exercises concentrating on the abdominal region. I also began taking Yoga, and spent a great deal of time doing Zena Rommet's Floor Barre.

Finis: Where did all of these new activities lead you?

Andy: By the time I was ready to return to performing, I had learned a lot about myself. More than anything else, I learned that I wanted to be a choreographer. I spent so much of my down time simply listening to music. When I started dancing again, my priorities became much different. It wasn't about steps or how high I could kick my leg, but it was about expressing emotion and telling stories that were hidden in the music.

My rehabilitation taught me so much about both the body and the spirit. I think those lessons have added a lot of depth to me as a performer, and I know those lessons were a God-send for me as a teacher and choreographer.

Finis: You know, I'm a Buddhist, and we believe in turning 'poison' into 'medicine.' We always learn from the bad times. Well, obviously, you recovered and continued. Go on with your story.

Andy: After my return to the stage, I was fortunate to continue working with wonderful directors and choreographers, and just as when i had first moved to New York several years before, it seemed that my training had begun all over.

My first show back was the national tour of Andrew Lloyd Weber's Music Of The Night. After six months on the tour, I returned to New York to take part in the workshop of the new Broadway show, Steel Pier. I was very excited to finally be working with Susan Strohman, whose work I had always admired.

Finis: What was it like?

Andy: Steel Pier was about the dance marathons in Atlantic City. It was very exciting working on an original project from the ground up. We spent eight weeks in the studio with Susan and the director, Scott Ellis. Every day, the music would change, the script would change, and the dancing would change. I learned so much about the teamwork involved in the creation of a brand new work. In working with Susan, I learned a lot about how valuable a positive working environment can be. The creative team had such a high appreciation for the cast that we were always inspired to give the most that we could give, and to take the chances that were necessary in he development of a new piece.

Finis: This is all good for you to remember as you begin working on your own show, isn't it?

Andy: Yes. The dance steps are always important, but what I think is most important is creating a very positive working atmosphere. Working with Susan on Steel Pier, and later on the Broadway musical Big, have definitely shaped my point of view as a choreographer. I want to be the kind of choreographer that people want to work for. I hope that the dancers enjoy working for me the same way I enjoyed working for Susan Strohman.

Finis: What came next in your career after Steel Pier and Big?

Andy: I had the great privilege of working on three more original projects. First, the revival of On The Town staged in Central Park before opening on Broadway, directed by George C. Wolfe. This show meant a lot to me because I had been so inspired by George's production of Bring In Da Noise.

After that, I went straight into the pre-Broadway production of Parade, directed by Hal Prince, the Broadway legend. Again, as with Steel Pier, it was thrilling to be in a project from the ground up. The composer, Jason Robert Brown, and the author, Alfred Uhry (Driving Miss Daisy) created material which never ceased to inspire me. During this workshop, the show's producers (LivEnt) approached me with a very exciting offer. They were bringing both Parade & Fosse to Broadway, and they offered me my choice of either show. Since I had always idolized Bob Fosse, the decision was simple.

Finis: All performers should have such choices to make! Lucky you!

Andy: About eighteen months ago, I went to Canada and began an eight week workshop of Bob Fosse's choreography. It was thrilling to learn the original steps from Chet Walker, Bill Hastings, and of course, Gwen Verdon. Several weeks into rehearsal, I found out that I would be dancing the duet 'From This Moment On' from the film, Kiss Me Kate. I had grown up watching the film, which was originally danced by Bob Fosse himself. I knew all the steps by heart, and had idolized the piece my entire life. This was a dream come true.

Finis: That dance is incredible, and so much fun to see. And you do such a great job with it! Tell us more about the show.

Andy: The work is incredibly hard, physically. But the material itself is so inspiring, that I don't seem to have a problem keeping every performance fresh and alive.

Finis: Speaking of that, I couldn't believe it when I heard you sing Mr. Bojangles. First of all, I've never heard you sing, and hadn't seen that much of your stage work, so it was mind-boggling to hear what you do with the song and to see what a complete performer you are. How did that role come about?

Andy: During the workshop, the creative team heard several of us sing the song. Luckily I had worked with the director, Richard Maltby, Jr., on his musical Big, and he knew I had the right vocal quality for the number.

Finis: I have to say, in all honesty, and not because you're sitting here (and are a former student) that Mr. Bojangles is the emotional high point of the whole show, and makes the audience misty-eyed. It's so touching, thanks to your wonderful vocal interpretation. Bill Hastings was raving about your performance in the CD recording of Fosse.

Andy: I think that Mr. Bojangles is the best composition inn the show. Between the story telling and the acting, the choreography, and the song itself, it creates a perfect gem of a number. I cherish it every day. It was the hardest thing, when I considered leaving the show for Saturday Night Fever, knowing that I wouldn't be doing that song nightly.

Finis: I think we should mention that you do that number with two fabulous dancers I've had the privilege of teaching: Desmond Richardson (formerly of the Ailey and ABT) and Sergio Trujillo (who has performed on Broadway and with most major recording stars from L.A.)

Andy: Sergio and I were roommates on the tour of Guys & Dolls eight years ago, and he remains one of my best friends today. It's thrilling doing the number with Sergio playing the aged Mr. Bojangles, and Desmond dancing the spirit.

Finis: It's such a special moment because all three of you are so special. And I believe you're all special because you all have that ability to concentrate, learn and perform that comes from years and years of dedicated dance study, as well as working with great directors and choreographers. Tell us more.

Andy: Anne Reinking, the Broadway Legend who choreographed and starred in Chicago and co-directed Fosse, often told the three of us about her memory of Bob originally choreographing Mr. Bojangles. Even though Bob wasn't really as old as Mr. Bojangles, his movement was so filled with tenderness and experience that it clearly told the story of a song and dance man who'd spent his life perfecting his craft. I never had the chance to work with, or even meet Bob Fosse, but watching Sergio, I feel Bob's touch on the stage.

Finis: Well, Andy, all your years of study and hard work are paying off in a most exciting way! You're leaving a fabulous Broadway hit show, embarking on your professional choreographic career, and coming back to New York in the fall, with your first principal role in another sure-fire Broadway hit. You've paid your dues, and things are falling into place. In closing, any advice for the aspiring professionals who are reading this?

Andy: I think that we need to never stop learning. I think performers should take every opportunity to refine their stage craft. There is so much to be learned from every show, from fellow performers, and from all of our directors and choreographers. And, hopefully, the dancers out there won't have to go through an injury like I did to be reminded of the importance of continuing training through taking daily technique classes.

As I mentioned earlier, our training needs to be the foundation which we can then build upon with our stage craft. And, once we have become secure and confident with our technique, the biggest piece of advice I could ever give is LISTEN TO THE MUSIC. The music is our blueprint. I believe that the riches which music has to offer can teach us invaluable lessons in performing.

Finis: Yes, as Balanchine often said, 'See the music' when the dancers dance. Thanks so much, Andy, for sharing your good fortune with our readers. we all wish you all the best with Quark Victory and Saturday Night Fever. See you on Broadway!