Behind the Curtain: Darrell Grand Moultrie

You began studying dance after a third- grade teacher offered to help pay for your lessons. What do you think she saw in you that prompted such generosity? Will you share more about this extraordinary person with our readers?

Her name was Gwendolyn McLoud, and she was my third-grade teacher. She would tell me that what she saw was passion. I loved [musical theater] so much, and she saw that I could do it. I loved learning the script, the music, all the dancing. She passed away about four years ago at 91. She was very passionate herself, and she made sure that I did everything I needed to be successful.

Having benefitted from a personal arts patron, are you involved in any outreach efforts now as a professional?

Yeah! I have kids that I have put in dance classes, and I do tons of teaching all around, whenever I can. Different companies have me teach with their outreach programs. I try to make sure I always stay connected in some way to young people.

You were a dancer before becoming a choreographer. How did this shift develop?

I was performing on Broadway in Billy Elliot in 2009. While I was in the show, I was choreographing at Juilliard during the day and running back to the show
at night. There was a lot of double-duty, and something just said to me, if you really want to do this choreography thing, you’ve got to dive in. With a Broadway show, you could stay forever because it’s convenient. You make good money, and in a way, it’s safe. I just decided — if you take a step all on faith, the universe will always be there to support you.

Were you always interested in choreography?

Always. I’ve been choreographing since I was a little boy bossing all the other kids around!

You’ve been described as one of the most diverse choreographers of our time, with a repertoire that includes theater, ballet, modern, and commercial dance. How have you been able to hop from genre to genre with such spectacular results?

I was born and raised in the capital of the arts — New York City — so I was exposed to all of it. I was also taught to respect
all of it. And I loved everything! I was at operas and jazz concerts and ballet and modern dance shows. I’m from Harlem so we had to know hip-hop. I think that’s it. And as I get older, [the variety] keeps me interested. I’m not doing the same genre all the time, and that keeps me excited and on my toes. It’s a lot of fun. It’s hard, but it’s a lot of fun.

I can imagine! What advice would you give to aspiring creators hoping to achieve a similarly broad scope of work?

Go see everything. Talk to people. Ask a lot of questions, and never look down upon anything else. Right now, it’s a world where we’re all learning about each other, and the main thing is respect. Respect everybody’s craft, and if you want to learn it, try to really learn about it instead of just diving in for five seconds.

What are your hopes for your career that you’ve yet to achieve?

Oh man. Some financial freedom! I’m trying to figure out now what to do to be able to share the art but make money. We get taught “don’t think about money,” but in order to make better art and be better artists, you want to be comfortable. I think now it’s about wanting to find comfort financially. But, there’s so much I love to do. I love to do Broadway shows. There are tons of other dance companies I love to work with. I’d love to do more plays. So right now, I’m just excited about doing more plays and musicals. It’s really exciting for me.

How did you come to be involved with the world premiere of Redwood at Portland Center Stage at The Amory?

I met Chip [Miller, Redwood’s director] and Marissa [Wolf, Portland Center Stage Artistic Director] at Kansas City Rep. I did a production of Evita there. They saw my work and really enjoyed it, and we’ve kept in touch. Marissa did a version of Pride and Prejudice, and she brought me back to KCRep for it. And then she wanted to work with me on something in Portland, but it fell through. Chip wanted to work with me again and had moved to Portland and was directing, so we all connected back at the right time.

Tell us about your creation process for Redwood.

For me, it’s all about the script — learning the script and thinking about what I would want to say in each scene, what actors I have, how they dance. I haven’t seen [the actors] yet. I’ve only seen them all on video, so it’ll be interesting to meet them. It’s really about going through the script and highlighting every moment that Chip may need me. All the choreographic moments are set moments, but there are also transition moments. I have to have my stuff ready and prepped for Chip so that we can start the collaboration process. We’ll be connected at the hip once we start.

So, you’ll have the choreography sort of mapped out, and then …?

I always have it sort of mapped out, but I always wait for the vessel — the actor. If I have steps in my head that their body can’t do, that’s a disservice to the artist. I can usually choreograph very quickly, but it helps me to have the actor in front of me. Then, I can create it on their body so that I can make them look their best without making it too easy for them. I want to challenge them.

Do you have plans for your downtime when you’re in Portland?

Well, I’ve been to Portland for Oregon Ballet Theatre twice, so I know some of the dancers. This time I’d love to do some different things while I’m there — maybe go see the mountains. I’m open to any suggestions because every time I’ve come, I’ve just stayed in the hotel room. I eat; I work. I eat; I work!

You’ll have to get your hands on the Artslandia Annual for some suggestions! Our theme for the season is A Night Out. Will you describe for our readers your perfect night out?

Oh, my goodness! It’s definitely being in New York with friends, going out to eat and have drinks, seeing a show, and then going out to the club to hear good music and do some dancing. We’ve been doing it since high school!