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by Matthew Shaffer © 2016 www.MatthewShaffer.com
Contact: [email protected]
™ Matthew Shaffer wrote, directed and starred in his first production when he was seven years old and has been entertaining his family (and audiences) ever since. After attending the prestigious Orange County School of the Arts, Matthew continued his professional career as a principal dancer for the world-renowned company, Giordano Dance Chicago. Highlighted roles include: The Christmas Spectacular at Radio City Music Hall, Hansel & Gretel at The Dorothy Chandler Pavilion, Earth to America with Jason Alexander, Broadway Cares with Rosie O’Donnell, Kickin’ It, Bunheads, with Paul Rudd and Amy Poehler in the Netflix series Wet Hot American Summer and most recently on Broad City. As co-founder of A Group Production, LLC he has performed in, choreographed, directed or produced over 40 projects between Broadway, Film and Television. As a choreographer Shaffer’s work has been performed by A- Lister’s like Ben Stiller, Rachel Platten (Fight Song), and Rebel Wilson. He has worked as a master teacher for over fourteen years at leading performing arts conservatories and conventions across the United States and Europe including the Broadway Dance Center and Giordano Dance Center. For Matthew’s full résumé, reels, book, current projects and more, please visit www.matthewshaffer.com, Facebook, Instagram and Twitter.
So You Want To Be A Dancer™ © 2016 www.MatthewShaffer.com Contact: [email protected]
Click here to watch the trailer for So You Want To Be A Dancer.
Click here for Matthew Shaffer’s full press kit.
Matthew Shaffer Choreographer • Educator • Performer • Author
Amazon #1 New Release
Workshops:Everyone CAN dance! Regardless of your age or dance experience, workshops provide a unique experience to grow as a person. In a safe and creative environment, Matthew encourages students to explore their personality with a series of combinations custom tailored for the age and level of the dancer(s). Collaboration, team building and self-empowerment are words that describe the tone of the workshop. Matthew pulls from his twenty years as a teacher, successfully leading non-dancers in after school enrichment programs to professionals at the peak of their career. His number one goal is to inspire, motivate and awake self-confidence. (Length 90 - 120 minutes, plus Q&A book signing)Lectures & Assembly speech:The only thing Matthew loves more than dancing, is talking. Especially when it comes to evoking the creative, artistic and collaborative side of life. Whether talking to a group of elementary students or sharing his stories and practical advice to university dancers ready to embark on their professional lives––Matthew draws from his unique past and blends advice with hands on (on your feet) activities, exercises and stories. (Length 60 - 90 minutes, plus Q&A book signing)Master Classes:For the trained “studio” dancer, Matthew offers a series of master classes. Harnessing his extensive background in ballet, modern, jazz, tap and musical theater Matthew leads classes in: commercial jazz, musical theater, audition technique and acting for dancers. Additionally, Matthew offers an industry class for both parents and students, where he hosts an in-depth conversation about: training, universities, agents and transitioning into a professional career. (Length 90 minutes per class *minimum 3 classes)Residencies:High school and university residencies include working with dancers through a series of classes and discussions––examining layers in technique, emotion and performance through story-driven choreography which can be set for performance opportunities. (2 days - 2 weeks)
by Matthew Shaffer © 2015 www.MatthewShaffer.com
Contact: [email protected]
™
So You Want To Be A Dancer™ © 2016 www.MatthewShaffer.com Contact: [email protected]
Outreach OptionsIn the true spirit of collaboration, Matthew remains open and flexible in his approach to sharing his passion for the performing arts. Accordingly, his classes and lectures are tailor-made to accommodate the needs, levels and demands of his audience. Matthew has twenty years of experience working with dancers (and non-dancers) at every stage––from beginners in after-school enrichment programs to working professionals and everyone in between. Here are some popular and successful options to choose from:
So You Want To Be A Dancer™ © 2016 www.MatthewShaffer.com Contact: [email protected]
by Matthew Shaffer © 2015 www.MatthewShaffer.com
Contact: [email protected]
™
FAQ’sDo we have to have a stage or a theater?The beauty of dance is that it can be done anywhere! From the classroom to the cafeteria, gyms, theaters and blacktops, too––wherever there is a passion for dance!How much does all this cost?Master Classes: $250 per 90 minutes.Workshops, Lectures and Residencies are negotiated based on the structure of the program and your school’s financial limitations and budget.Is there an age limit? Dance has no limits!What is the perfect class size?Minimum class size: 15 / Maximum: 50Assemblies & Lectures: 50 - 500How do we order books?For orders of 25 or more contact Rick Rinehart [email protected] Smaller orders can be purchased here: Amazon Barnes&Noble
Past Bookings Include:Oklahoma City University
PACE UniversitySlippery Rock University
Orange County School of the ArtsLincoln Park Performing Arts School
Broadway Dance CenterRock City Dance
(Full list available on request.)
"Matthew's energy, enthusiasm, and versatile knowledge of the professional dance industry was
invaluable information for our students!"- Lauren Gaul,
Assistant Professor PACE University School of Performing Arts
by Matthew Shaffer © 2015 www.MatthewShaffer.com
Contact: [email protected]
™
Praise for So You Want To Be A Dancer"Matthew Shaffer has written the kind of book I wish I would have had available to me as a young dancer. This is a great guide for young dancers and parents alike to understand the
many different aspects of this crazy world we call show business. If you are a dancer wanting to know more, I recommend you read this book!"
-Mandy Moore, Two-time Emmy Award nominated choreographer for So You Think You Can Dance
"If you're planning a career in the industry as a dancer, do yourself a favor and read Matthew's book. His stories shed light into a world that is often difficult to navigate. It is full of insight and
will inform you in invaluable ways."- Kenny Ortega,
Three time Emmy winning Director and Choreographer; High School Musical and Dirty Dancing
"Matthew has created great insight to the world of dance. Such important information for any dancer!"
-Tyce Diorio, Emmy award winning choreographer and artistic director
So You Want To Be A Dancer™ © 2016 www.MatthewShaffer.com Contact: [email protected]
So You Want To Be A Dancer™ © 2016 www.MatthewShaffer.com Contact: [email protected]
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When Ebony Williams goes grocery shopping, people often stop her. “Do the ‘Single Ladies’ dance!” they beg. Seven years after Beyoncé’s “Single Ladies” video debuted, Williams—one of just two backup dancers in the video—still gets called out in public. “People have said they recognize my butt cheeks,” Williams says, with a laugh. Although she spent 10 years as a veritable star in Cedar Lake Contemporary Bal-let, it was her performance with Beyoncé that skyrocketed her to household-name fame.
Concert-dancer-turned-commercial-superstar stories like Williams’ are inspiring. But they’re not typical. Making the transi-tion from the concert world to the fast-paced and unpredictable commercial scene requires adaptability, persistence and thick skin.
WHY MAKE THE SWITCH?Matthew Shaffer started his career with the Giordano Dance Chicago touring company. But he craved variety. “I get bored easily,” he says. “One of the biggest appeals of the commercial world is you’re doing something different every day.” Once you’ve wrapped, it’s on to new cho-reography, new costumes and a new set.
The same was true for Williams. “I wasn’t doing any hip hop,” she says. So she sought out the style in her spare time. “I would rehearse from 10 to 6 with Cedar Lake, and then I would go to Broadway Dance Center to take hip hop,” she says. “It felt like recess!” Williams booked her fi rst commercial job performing with Rihanna at Fashion Rocks and eventually signed with Clear Talent Group.
TYPECASTING TRUTHSRemember that commercial auditions are unlike company auditions. “Your look takes prece-dence,” says Williams. “A haircut can get you a job.” Know what you’re auditioning for, and outfi t yourself accordingly—while maintaining your personal style, so the casting team will remem-ber you. Consider having a signature hairstyle, accessory or shoe to brand yourself.
Typically, the casting team is looking for someone specifi c: They may need a tall blonde who can vogue, or a short Asian with huge muscles. Typecasting is unavoid-able. “They’re looking for the best match, not the best dancer,” says Jessica Lee Keller, a former member of Cedar Lake who has danced on “Dancing with the Stars,” “The Voice” and in Teen Beach Movie.
Whether or not you’re the best match, you’re likely replaceable. “If you can’t make it, they move on to the next person,” says Williams.
GET AN AGENTMost agencies hold open calls, but if you have connections, a referral helps. Once you land an agent, they will tell you about upcoming
auditions and negotiate your working condi-tions, salary and other legal items, explains Shaf-fer. Your agent will also help you navigate the SAG/AFTRA union, which protects dancers.
NETWORK STRATEGICALLYWhen you were dancing with a company, you probably had class every day. Now you have to take control of your training. “Take classes that are foreign to you,” says Shaffer. “You’re already great at contemporary—now take jazz, hip hop or whatever class is taught by the cho-reographer you want to work with.”
While the best way to network is in person, there is tremendous power on social media. Post
videos on your channels, interact with your favorite choreographers and
share posts you fi nd valuable. The more people in your network—both in real life and on the internet—the better.
It’s also wise to enroll in singing and acting classes. “We’re used to using our bodies
to convey emotions,” says Shaf-fer. “But it’s no longer just about
the kick-ball-change.”
THE PAYOFF“I make four times as much money on commer-cial jobs as I did when I was in a company,” says Shaffer. The major variable is that with a com-pany contract comes a steady paycheck, plus benefi ts, while on commercial gigs, you may get one huge check, but you have to make it last until your next job. If you work on a television show or in a movie, however, you can expect residuals. “You can go to the mailbox and have a check for a movie you did two years ago,” says Shaffer. “It’s the gift that keeps on giving.” ■
yourcareer
Body BusinessWhen you’re on set, remember to take care of yourself. “You don’t get an hour to warm up,” says dancer Jessica Lee Keller. “You’ll be in hair and makeup for two hours, and then you get dressed and go right to set. It’s up to you to know how to get your most effi cient warm-up in a short amount of time. The cameras need you to be full-out, so take the fi ve minutes you have to do what best serves your body, whether it’s a few splits or a quick core workout.” —AF
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Lights, Camera, A ctionMaking the shift from the concert dance world to the commercial industry? Here’s what you need to know. B Y A L I S O N F E L L E R
You’re going to want to be where the action
is, and most of it is in Los Angeles. While there are
opportunities elsewhere, like in New York City, Atlanta or Chicago, the heart of the
industry is in Hollywood.
Ebony Williams advises dancers to highlight their personal style in auditions.
So You Want To Be A Dancer™ © 2016 www.MatthewShaffer.com Contact: [email protected]