It’s all given me more motivation to learn and to be really good at it.

How did you get involved with FOX’s So You Think You Can Dance? Even in my contemporary pieces, it has to have deep layers to it. This group called Steed Lord, I use a lot of their music and they’re great friends of mine.

They sent my reel over to the producers, got me a meeting, and they signed me up. I love electronic music, orchestral electronic music. Is there a routine of yours on the show that stands out as your favorite? I love doing group pieces, I love using the space for that many people.

I keep hearing, “You’re too old,” or, “You’re too late,” but I just don’t agree with that at all.

I had no flexibility, no technique, I wasn’t a natural mover.

I was terrified because I really love this musical. It’s so hard to feel outside of your body, to feel not understood and not having parents who are open to explaining the ways of life to you in terms of puberty and sex and masturbation and love and lust. I wanted to project that through the movement and not be afraid of how far it would go.

That’s the main point: I can’t be restricted because the piece is about being restricted. I wanted it to say, “Look, this is what you’re doing to me, this is what you’re teaching me, and it’s not enough.

Look at what’s happening to my body.” There’s all these restricted, holding type postures, the tightening of the stomach, the clenching of the hands because you’ve never been touched before.

I told the actors, “We’re not whispering this out, we’re screaming this out.

It premiered at the Williamstown Theatre Festival in 2010 and was met with rave reviews.] How did you prepare for developing your own choreography for Spring Awakening? It was very important to me that the movement was emotionally driven and not technically driven, because it’s a very emotional and heavy-handed show. The movement is the music and the music is the movement, it just bleeds into each other, it’s not jarring. Everything that humans feel growing up, feeling uncomfortable in our bodies, feeling not understood and not heard, judged and stunted.

The main thing when I talked with Rick is that it’s not a revision of the Broadway production. That was important to me because I wanted us to have our own swing on it. I had to come from a really honest place and that’s what I love about the show. It’s so relatable and so important for both kids and parents to see. Did a lot of it come together at once or did it develop organically? It was awesome of Rick to have me focus on one section at a time so it wasn’t too overwhelming.

Were there any teachers that had a big impact on you when you first started getting into dance? When I first went to a studio, it wasn’t the best training. It was a studio where all the dancers had trained since they were little, and I walk in and they see me saying “I want to be dancer.” At a community college, Diane Mancinelli, an amazing professor, really believed in me and said, “It’s gonna take conviction and discipline, and I know you can do it.” So I studied my ass off.