A Quote by Nigel Lythgoe

I trained in every form of dance - started as a tap dancer when I was a kid, then contemporary, ballet, ballroom, everything. Russian, Swedish. — © Nigel Lythgoe
I trained in every form of dance - started as a tap dancer when I was a kid, then contemporary, ballet, ballroom, everything. Russian, Swedish.
I taught and studied dance in college, and for over a decade, I thought that would be my career: tap dancer, ballet dancer, modern dancer. I still find myself doing some tumbling or interpretive dancing in the grocery store every now and then.
I'm a tap dancer. Once you're a tap dancer, you're always a tap dancer. In 'After Midnight,' I get to dance, but I don't do a full tap number.
My background is somewhat unusual, as I trained to be a ballet dancer. I worked in the theatre for eight or nine years as a contemporary dancer. But as an actor one does read Shakespeare and does try to learn the classics.
So many people report to be contemporary dancers, and they're not. They are sort of jazz dancers that feel like they're throwing a bit of classical in there. I mean, a true contemporary dancer has got ballet as their base and classical ballet, and that is their base. And then they choose to extemporize on that and go into a contemporary world.
I am realizing and accepting my role as a tap dancer in this world is not only to tap dance for the sake of performance, but through tap dance be able to share and spread a message and congregate with people I would not necessarily be with had it not been for dance.
I actually was a ballet dancer - I studied ballet from three until 13 - but like very seriously, that's what I wanted to do. I wanted to be a contemporary ballet dancer. I wanted to go to Juilliard.
I originally wanted to be a ballet dancer and trained for years, but when I was around 18, I realized I wasn't going to be as good a ballet dancer as I'd hoped I'd be and decided to become an actress instead.
Forget the dancer, the center of the ego. Become the dance. Then the dancer disappears and only the dance remains. Then the dancer is the dance. There is no dancer separate from dance, no dance separate from the dancer.
Though I soon became typecast in Hollywood as a gangster and hoodlum, I was originally a dancer, an Irish hoofer, trained in vaudeville tap dance. I always leapt at the opportunity to dance in films later on.
I've always been interested in dance and want to be a trained contemporary dancer.
I was really creative. I started to dance very young. I loved to dance. I begged my mother to put me into dance classes, and finally, in third grade, she did. Tap and jazz, but not ballet.
I started as a hoofer and all-round chorus girl. I did my first ballet lesson when I was three, then trained as a dancer and went into pantomimes and summer seasons. Acting came later.
When I was a little kid, I took tap and ballet. I've always loved to dance. I'm a rhythm machine.
I grew up learning ballet and then I took up contemporary as I got older. I probably thought I was going to be a ballet dancer when I was younger, but at a certain age, I really was more interested in acting.
I grew up learning ballet, and then I took up contemporary as I got older. I probably thought I was going to be a ballet dancer when I was younger, but at a certain age, I really was more interested in acting.
I started dancing when I was five, and I trained intensively as a competitive dancer up until the end of high school. I did all genres, and later on a did a lot of extra ballet on top of that. I actually got accepted to Julliard for dance during my senior year, but I ultimately turned it down to come to L.A. to act.
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