I moved to New York City in 2006 in the spirit of Peggy Sawyer, to dance on Broadway. By this point in my still young career I had 3 touring production credits on my resume, 2 of which were road productions of Broadway shows, and most recently had danced as a featured soloist beside Broadway legend Carol Lawrence (wow...what a story that is), and recording legend Ed Ames in Branson, MO. Taking my shot at 'the Great White Way,' seemed like a natural next step. Neither Jason nor I can remember exactly how we got back in touch, but we do know it revolved around seeing each other at auditions. In fact, I do remember us both having NYC auditions to join the Broadway production of 42nd Street, however neither of us fit the tracks that needed replacements at the time. But I digress.
After 6 months of beating the audition path, and if I may say so myself coming very close to booking that Broadway contract (snaps fingers), an opportunity presented itself to me that drastically changed my direction. This slight tangent is the part of my story where I meet Ahkai Franklin, discover what 'Hip Hop' is and begin my journey as a producer and entrepreneur, which is a very different story all together; however, is important to quickly take you through it's beginning...
By 2007, Ahkai and I had produced our 1st Off-Broadway production under the name In It For Life Productions, largely held together by none other than Mr. Jason Marquette. Jason not only contributed choreography to the project but stage managed the show, helped to hang and design the lighting with Ahkai, loaded the show in and out, and basically did anything that needed to get done. Producing this show was largely done in the spirit of an old Mickey Rooney and Judy Garland film, (Let's put on a show!) which I say only partly in jest. Looking back on it now I can fully admit that at the time I knew how to put on a show, but I didn't know the multitude of little details that go into the each, and every, part of the process, let alone the ins and outs of running a successful business. In the years that followed, Jason helped in any way and all ways possible with each In It For Life production. His knowledge and variety of skills combined with his passion and work ethic were invaluable during these first few intense years of carving a path for my company, and trying to make a name for myself in NYC. If it weren't for Jason, my career as a producer might have been over before it started to be completely honest. And if it weren't for me, Jason's life and career could potentially have taken a very different turn as well, and for sure Jason would be out of debt as I type this.
In 2009, Jason and I co-produced an Off-Broadway showcase of his choreography called "The Next Step" at the Theatre at Saint Clement's on 46th Street in Manhattan. The show itself was fantastic! Two acts of excellent choreography, a cast full of incredible singer/dancer/actors who gave consistently outstanding performances, met with rave reviews from everyone who saw it. The 'production process and it's aftermath' (let's just say) left a lot to be desired. The show left us both physically, mentally, emotionally and perhaps most devastating, financially drained. I won't go into any of the depressing details, but J and I didn't speak for a couple years. In fact, as I remember it, it was our intention to stop speaking completely. I ended up moving back to LA by the end of the year, and Jason continued down his path as an artist/entrepreneur - parts of which relate directly to the formation of MPower Dance Workshops itself; an incredible testimony which you must hear from his perspective. Again, I digress…
They say that 'hindsight is 20/20,' and looking back, 11 years now, on Jason's show I can honestly say that if I had given him the same courtesy and presence while working on his vision that he always gave me while working on mine, 'The Next Step' could have been a very different step for both of us. I won't make any excuses for myself. Regardless of how much was 'on my plate' at the time, there were a lot of things that I could have, and should have, done differently. The way that things ended between us, truly was terrible, and never really stopped bothering me, which is why when Jason threw me a bone a couple years later, I was ready to catch it.
In early 2011, Jason calls me, out of the blue. We hash out what was still raw and unfinished business, took ownership of our mistakes and apologized. And if I remember correctly, there were even a couple points that we simply agreed to disagree on. He had already forgiven me, or was prepared to, and I him. This is what you do with family, and as I mentioned in part 1, Jason and I are brothers.
J tells me about an idea for a workshop, a dance experience geared towards connecting the lessons we learn IN the dance studio to our lives OUT of it, a workshop focused on expressing the value of making good decisions and developing habits in training which are then carried over into real life. Jason had found his vision that was motivated by inspiring his students to hopefully never make similar mistakes to his own, and THAT my friends is a noble cause. He said that all the pain he endured not only in the couple years we hadn’t been speaking and ultimately in his life HAD to be for a reason, and that something good HAD to come from it. He also tells me that I was person he felt could bring the balance to the force (if you will) that he wanted in his vision, and asks me if I will join him.
I mean, what else do you say to that?
Co-founding MPower Dance Workshops with Jason (the 'M' in MPower is for Marquette & Minniti) was an opportunity for me to support his vision and help him achieve his dream the same way that he did mine with In It For Life Productions. In a way, in my mind it was a way to 'make up for' what I had failed to do years ago. Helping Jason to create MPower over these last 6 years has been both one of my life's greatest pleasures, and perhaps, one of my greatest purposes; sometimes as a co-Cheif and others as indian.
This post is long enough, so I want to sum it up with this thought. One of the most important lessons that I have learned from Jason is the importance of knowing when you are the 'indian' vs. when you are the 'chief.' A simple concept that is addressed and reinforced IN the dance studio. I am student (indian), meaning I give 110% commitment and focus to the 'task at hand' because I, and those around me, are depending upon my completion of that task. For example, in class, when you are improvising, you're job as the student (indian) is to go for it; to take in the thoughts and instructions for your teacher/choreographer/director (Chief) and apply them to your movements and feelings in that moment. When everyone dances with passion and intention it creates a safer environment to take risks and encourages everyone to rise to their fullest potential, rather than shying away from it, which in turn leads to growth. Applied to life, there are many more roles that you will play above indian and Chief. You will be worker, employee, family member, friend, lover, entrepreneur, teacher, student, mentor, care giver, blessing receiver, and so many many more. To be the most effective in any of these rolls, and others, that you will play through out your life, it's important to know which one you are playing at the moment, identifying the appropriate responsibilities, and making the present choices that will lead you to accomplishing said goals, and thus being the best (insert position played here) that you can be...which in turn creates that same dance class environment, where risks are taken and benefits are reaped.
Thanks Jason for seeing more in me than often times I see in myself. Thank you for your vision, compassion, and the unconditional love and support that you have always given me. I hope someday I can fully return the favor.