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by Dana Wilson
The dance podcast where movers and shakers like you get the information and inspiration you need to navigate your creative career with clarity and confidence. Master mover, Dana Wilson, taps into 20 years of industry experience, and talks to some of the best in the entertainment biz, who have been there and done that so that you don’t have to… do it alone.
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- 2 weeks ago40 min
283. DANCE + RACHAEL MARKARIAN
THIS IS DANCE + RACHAEL MARKARIAN Rachael Markarian is a dancer, actor, choreographer, and author whose résumé runs from two Super Bowl Halftime Shows and world tours with Rihanna, Katy Perry, and Chayanne to Captain America: Brave New World, Top Gun: Maverick, and Netflix’s Sweet Magnolias. But the story that stayed with me wasn’t a credit, it was what happens when you’re at the top of one field and have to start over at the bottom of another. What does it take to build the room you aren’t being invited into, and what do you do when the door finally opens two days before the shoot? Here’s what we’re exploring: The transition from in-demand pro dancer to actor, and the humbling reality that “because I said so” belief only gets you so far A booking story that nearly slipped away How she wrote The Dancer’s Edge, from a little student workbook to a four-act guide on mindset This one’s for anyone who’s ever had to start over, or been told “we’ll get the next one” and kept going anyway. Rachael’s answer: advocate for yourself, create the opportunity if nobody hands it to you, and be ready for the “yes” before it arrives. Watch the full episode here. Show Notes:Connect with Rachael on IG Buy Rachael's book: The Dancer’s Edge Listen to Joe’s episode Listen to Nick’s episode Listen to Liana’s episode For more DANA For coaching with me, join the WTMM COMMUNITY To shop for GOODIES & SERVIES Watch and Subscribe on YOUTUBE Stay connected with us on IG and TikTok
- 4 weeks ago1h 5m
282. DANCE + BOBBY AMAMIZU
THIS IS DANCE + BOBBY AMAMIZU Bobby Amamizu is a dancer, educator, and choreographer whose résumé runs from Cirque du Soleil's original Viva Elvis cast to The Marvelous Mrs. Maisel, and Etoile, But the story that stayed with me wasn't a credit, it was a 17-year-old at an open call getting stopped mid-combo and asked, "Who are you?" What does it actually take to get kept in the room, and what do you owe the people standing next to you once you're in it? Here's what we're exploring: The Fame audition where Marguerite Derricks stopped the music, called Bobby out by name, and told him she couldn't hire him if he kept dancing like a soloist, "so I can't hire you if you're gonna dance like that" A case study in Networking that is literally money in the bank What it meant to be trusted with a 5am ballet class before an 8am call, part of the job of keeping a company of dancers ready to be as authentic as the story asked them to be This one's for anyone who's ever had to prove they could be trusted with more than their own moment. Bobby's answer: show up exact, show up for the people beside you, and let the work speak before you do. Watch the full episode on YouTube. Show Notes:Connect with Bobby on IG For coaching with me, join the WTMM COMMUNITY To shop for GOODIES & SERVIES Watch and Subscribe on YOUTUBE Stay connected with us on IG and TikTok
- Sep 30, 20261h 13m
281. DANCE + DANI VITALE
THIS IS DANCE + WHAT WE OWE EACH OTHER Dani Vitale is a Choreographer, Creative Director, + Movement Coach who by September of this year had already wrapped four films and two tours. But what stuck with me in this conversation wasn't the résumé, it was her definition of loyalty: to the dancers she leads, to the truth about hard jobs, and to the people she loves through loss. What do we actually owe the people around us, and what happens when we pay up? Here's what we're exploring: The one thing Dani never bent on when she started choreographing: dancer rates and conditions, because "once you lose the support from dancers... you can't gain that back" Why she pushes back on "choreographer vs. dancer" and thinks of it instead as one team doing one job: movement The gap between what happens on a brutal set and what gets posted after, and why she'd rather "report the facts" than romanticize the process This one's for anyone who's ever had to decide what they're actually willing to bend on, at work, on a team, or at home. Dani's answer is the same in every direction: tell the truth, and show up. Watch the full episode here. Show Notes: Connect with Dani on IG Learn more about Dancers Alliance For more DANA For coaching with me, join the WTMM COMMUNITY To shop for GOODIES & SERVIES Watch and Subscribe on YOUTUBE Stay connected with us on IG and TikTok
- Sep 23, 202618 min
280. DANCE + CONFLICT AND TEAM DYNAMICS
This is DANCE + CONFLICT AND TEAM DYNAMICS I've been sitting with this idea that wherever you put art, money, a deadline, and a hierarchy in the same room, conflict is coming. That's not a flaw in the system, it's actually a good thing! What I want to answer with this conversation is this: How do we navigate inevitable conflicts and criticisms in a way that neither the people or the product suffer?! Here’s what we’re exploring: Why art, money, deadlines, and hierarchy each carry their own built-in opportunity for conflict, and why that center overlap is where teams actually fracture The trap of "it should be different" and how it quietly drains my empathy out of a room full of talented people A simple mental tool I use to get unstuck: asking whether the opposite of my assumption is just as likely to be true The best teammates know how to do two things: Give constructive criticism + receive constructive criticism This one's for anyone who's ever felt small on set, or big on set, and let that feeling run the show. Empathy isn't the soft option here. It's the thing that turns conflict into better work. Watch the full episode on YouTube. Show Notes: For more DANA For coaching with me, join the WTMM COMMUNITY To shop for GOODIES & SERVIES Watch and Subscribe on YOUTUBE Stay connected with us on IG and TikTok
- Sep 16, 20261h 4m
279. DANCE + MAKENZIE & PHILLIP CHBEEB
This is DANCE + Makenzie & Phillip Chbeeb Makenzie and Phillip Chbeeb are the dynamic duo behind the new Netflix coming-of-age dance comedy movie, “Best of the Best” (Premiering September 18, 2026). In this episode, we unpack what it means to choreograph across cultures, across dialogue, and three weeks postpartum. If you’re into being impressed, this episode is for YOU! Three weeks after welcoming their first child into the world, they walked straight into their first pre-production meeting of their on Best of the Best, a film that asked them to hold two things at once: honor the specificity of Western hip hop and South Asian dance forms like Kathak, and build choreography that could survive dialogue, alt takes, and lines that changed on the spot. What they found, again and again, was that the tightest constraints produced the most original ideas. We explore: The shoes-on, shoes-off problem between Chicago footwork and Kathak, and the jump-out-of-your-sneakers solution that turned a limitation into one of the film's best moments How they built "cushion" choreography, loop-able movement with matching in-and-out points, so a scene could breathe as long as a director needed and the music could be solved in post Making a Netflix film three weeks postpartum, and the very literal system they invented for handling a body and mind that felt, in Makenzie's words, "scrambled" This one's for anyone who thinks creative limits are the enemy of good work. For Phillip and Makenzie, the limits were the work. Watch the full episode here. Show Notes: Connect with Mckenzie on IG Connect with Phillip on IG Listen to Phillip’s episode Listen to How Do Dancers Make Money? Learn more about Feybl For more DANA For coaching with me, join the WTMM COMMUNITY To shop for GOODIES & SERVIES Watch and Subscribe on YOUTUBE Stay connected with us on IG and TikTok
- Sep 9, 20261h 8m
278. DANCE + NATHAN KIM
This is DANCE + Nathan Kim The choreographer behind the newest Spider-Man, on how dance found him almost by accident. Nathan Kim didn't grow up dreaming of being a choreographer. His meet-cute with dance happened almost by chance, with an open slot in an Afro Brazilian dance class, and one impossible-to-mark movement across the floor that cracked something open in him. From there, dance became the throughline of a career that's taken him behind the camera and back, from his early days shaping movement for Charli XCX, to leading the choreography team on Spider-Man: Brand New Day. We explore: The happy accident that got him into that first dance class, and the moment mid-warmup when he stopped holding back The wild logistics of choreographing Spider-Man's biggest movement sequences, in-ears, hand cues, counts, and dancers who can't see what's coming from behind them Why "kill your darlings" hits different at a blockbuster budget, and how the ideas that get cut still ripple through everything that survives This one's for anyone who thinks their path has to be a straight line. Nathan's wasn't, and it swung him to Spider-Man. Watch the full episode on YouTube. Show Notes: Connect with Nathan on IG Listen to our episode with Miquel Zarate For more DANA For coaching with me, join the WTMM COMMUNITY To shop for GOODIES & SERVIES Watch and Subscribe on YOUTUBE Stay connected with us on IG and TikTok
- Aug 19, 202634 min
277. DANCE + TEDDY FORANCE
This is DANCE + Teddy Forance Coming to you LIVE-ish from CLI Conservatory, with the guy who built the place he wishes existed when he was 17 and googling "which college has a dance program for me." Teddy Forance didn't set out to become a studio owner. He set out to dance, and he did, big: Madonna, Lady Gaga, Cirque du Soleil, the Oscars stage. But underneath all of it was a gut feeling that never went away. That there wasn't a space built for dancers like him. So with his brother Jonny, he built one. Literally, twenty seconds down the road from their mom's studio in Southampton, Massachusetts. We explore: My new position at CLI: Director of Professional Development Why Teddy skipped college for a career that found him at 17, at NYCDA Nationals The "Costco math” behind 100 guest choreographers and a fraction of the cost The budget-and-schedule advice Teddy gives every dancer terrified to move to a big city What it feels like to watch five conservatory years soak into the walls of a building you built from nothing This one's for anyone chasing a career nobody handed them a map for. Teddy didn't find the space that fit him, so he built it. Watch the full episode on YouTube. Show Notes: Connect with Teddy on IG Learn more about CLI For more DANA For coaching with me, join the WTMM COMMUNITY To shop for GOODIES & SERVIES Watch and Subscribe on YOUTUBE Stay connected with us on IG and TikTok
- Aug 12, 202616 min
276. DANCE + FANTASY NIGHT
This is DANCE + Fantasy Night Coming to you LIVEish from CLI Conservatory, with a story I NEED to tell you while it’s still fresh in my mind. It's a tribute to my acting teacher Gary Imhoff, whose class taught me that losing can be winning, and that the greatest gift we can give is to support each other in the pursuit of our wildest dreams. We explore: How Gary's class and this once-a-year tradition rewired my relationship to failure and gave me the confidence to finally call myself a choreographer The three rules of my Fantasy Night Party: no bystanders, you can't perform the thing you're known for, and everyone gets a standing ovation. What it felt like on the other side of singing all five verses of "Fast Car" in front of my friends…. I almost threw up. This one's for anyone who desires to express themself in a way they haven’t yet… Consider this your permission slip. Watch the full episode here. Show Notes: For more DANA For coaching with me, join the WTMM COMMUNITY To shop for GOODIES & SERVIES Watch and Subscribe on YOUTUBE Stay connected with us on IG and TikTok
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About DANCE +
The dance podcast where movers and shakers like you get the information and inspiration you need to navigate your creative career with clarity and confidence. Master mover, Dana Wilson, taps into 20 years of industry experience, and talks to some of the best in the entertainment biz, who have been there and done that so that you don’t have to… do it alone.
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