‘Mikado’ Choreographer Believes In Thinking Man’s Approach to Dance

Most dancers learn new routines with their bodies, not their brains.

Javier Velasco uses the thinking man’s approach to dance, however, and it has paid dividends in his career as dancer, choreographer, and instructor.

“I use the free-style technique. It’s a very intellectual way of looking at dance,” he said in a pre-curtain interview at Old Town Theatre. Velasco had just completed the choreography for United States International University’s production of “The Mikado” at The Theatre in Old Town through Oct. 22. He appeared unconcerned about the way his cast--many of whom are basically non-dancers--would handle his tricky motor combinations.

“Oh, they’ll be fine,” he said. “Dancers in musical theater have to adapt to many different styles, such as ballet and jazz. But you can look at an attitude without being trapped in any inherent style. The idea is to break it apart--just break down the movement--and forget about whether it’s ballet or jazz or anything else.”

Working with actors, rather than highly trained dancers, makes choreography for musical theater a tricky business.

“Oh, it would be great if you had gorgeous, wonderful dancers,” he said, “but you’ve got to take the point of the song, and make that point in dance. That’s really what’s important in musicals.”

By ignoring labels and concentrating on the basic elements that underline all types of dance, Velasco has taught hundreds of aspiring dancers how to cope with the spectrum of movements called for in musical theater pieces. He also has used this free-style technique in his work as a choreographer--to push his dancers beyond their limitations.

In his first solo venture as a musical theater choreographer--developing the stylish mix of dances for the ‘60s soap opera “Suds”--Velasco earned top honors from the San Diego Theatre Critics Circle.

The show was such a hit in its first incarnation at the San Diego Repertory Theatre that it was picked up by the Old Globe. The show also was performed in New York’s Criterion Center, Toronto and Phoenix. And Velasco was there.

This year he was nominated again by the local critics circle for his inventive dance designs in the off-beat production of “In Trousers” for Potpourri Productions/Two on the Aisles.

Not a bad track record for a late bloomer in the dance world.

“I was a student of Jack Tygett’s (director of the musical theater program at USIU) in a magnet program when I was in high school in Chula Vista,” Velasco said. “I didn’t start until I was 15, and I really had an unfortunate body for dance. I have bad feet, and I’m not a body-beautiful. But, because I started late, it was a passion with me. And the first day I started dancing, I started making up steps of my own.”

Tygett recognized Velasco’s talent and offered to get him a scholarship at USIU to ensure his professional development.

“After only two quarters, Jack asked me to teach free-style technique,” Velasco said. “He didn’t have anyone who could teach that method. The problem was, I couldn’t continue as a student if I decided to accept the teaching job. But I took it anyway, and I’ve been teaching since about 1979--both at USIU and at the School for Creative and Performing Arts in Chula Vista.”

Although Velasco insists his physique inhibits him as a dancer, he is still sought after to perform. In fact, Starlight’s Don and Bonnie Ward (with whom he has worked on more than half a dozen shows in the past few years) snared him for a dance-based role in their upcoming production of “La Cage aux Folles,” heading for a Civic Theatre run Nov. 9-19.

“We thought of him immediately when we were casting because he did such a good job for us in ‘Annie Get Your Gun,’ ” said Bonnie Ward, Starlight’s co-artistic director. “We’ve used him since he was a kid, and he’s a very good musical theater dancer, even though he misjudges himself as a dancer. He’s really gotten into choreography now, and he has a knack for many different styles.”

Velasco, however, says he doesn’t need the spotlight.

“I’m perfectly happy dancing in a room by myself,” he said. “I don’t need an audience. Not at all. It’s kind of like I’m letting them watch me. I don’t need anyone to say, you’re good, and I don’t need the audience to applaud.”

Nevertheless, Velasco has managed to charm audiences and critics alike with his performing brio and a veritable grab-bag of choreographic surprises.

Fresh twists incorporated in this delightful staging include an acrobatic romp that has audiences applauding even before the overture is over, stunning tableaux for the ensemble, and a fascinating combination of motional patterns--all true to the Oriental mood of this Gilbert and Sullivan masterpiece.

“I’m not afraid of it,” Velasco said. “If things work, fine. Otherwise, the show is going to be over in a month, so what does it matter? People expect things from me. They want my personality to show through.”

Would he like a crack at a company of serious dancers to mold and shape at will?

“I’ve toyed with the idea, but it would have to be on my terms. I feel very strongly about what I want to put on stage,” he stressed.