Kenny Ortega: Living A Legacy
Kenny Ortega wants to know your name. The super-star director and choreographer, who is the director of classics such as Hocus Pocus, while also orchestrating the iconic dances in movies and tv hits such as the High School Musical franchise, Disney’s Descendants series and Dirty Dancing, has been gracing the Hollywood stage and screen with projects that have endured for nearly 45 years. Led to the arts by his parents, Ortega’s love of dance was born early watching them swirl across the dance floor. Mesmerized by the moment and the pure magic of the art, Ortega’s journey is representative of a true dream. A career backed by a list of mentors from Gene Kelly to Michael Jackson, Ortega’s greatest joy is discovering new talent and working to inspire them as music driven artists.
One of the most sought-after choreographers, directors and educators in the industry, with a resume that reads nothing short of iconic, Ortega is driven by passion, authenticity and grace. It’s what’s extended his career beyond limits and is what makes him so very special. His essence is his openness and his very ability to capture your heart with a few humble words, and larger-than-life extraordinary moments.
Sitting down for this interview was a special moment for us at Inside Dance. Ortega is truly the most humble leader in today’s industry and barely speaks of his accolades with the Emmy Awards, Directors Guild, Bob Fosse Awards, MTV Video Music Awards—even the Hollywood Walk of Fame! But this summer our dear friend, Kenny Ortega will be receiving the ICON Award at the 2025 Dance Teacher Summit in New York City. It was a special moment to hear how much THIS award means to his heart at this point in his career. Join us in this exclusive sit-down with the most friendly ICONIC LEGEND, Kenny Ortega!
Photo Credit: Disney Channel/Matt Petit
We know that you fell in love with dance at a young age. Tell us about that moment!
You know, it’s a precious and vivid memory that takes me back to my early childhood. I remember sitting on the living room sofa in our modest little home in Redwood City, California, and watching my mom and dad dancing in the living room. She would put a vinyl record on our record player, which was always either a 1950’s mambo record or swing era recording — and they’d tear up the carpet!
I connected with my parent’s joy and love of dancing when my father would dip my mother or whirl her out of his arms. Their partnering was magical, their laughter infectious. Dad was a World War II Veteran, so they would go to dances at the Veterans Memorial building. They would bring me because they didn’t have the funds for a babysitter. I wonder if they knew observing them dance, would impact my life forever. I would stand on the edge of the ballroom floor and take it all in. I remember watching them, and it was almost like a scene in a movie where suddenly everyone else on the dance floor disappeared. All I could see was my mother and father dancing. There’s no doubt in my mind that’s where I fell in love with dance.
That was such an iconic era. Talk to us about the influence that they had on you as you took the leap and moved into a professional city like Los Angeles.
Both my mother and father’s family originated in Jaen, Spain in Andalucia. Both sets of my grandparents were passengers on a ship from Spain to Hawaii at the turn of the century. They worked as laborers (even the children) in the sugar cane fields of Oahu, before years later migrating by ship to California. My dad’s family went north, my mom’s family went south. Somehow after years and years, they had children — not knowing that their families had known each other while in Hawaii. My parents actually found each other on a dance floor and fell in love!
Growing up there was always music. My grandmother, Juana who loved Flamenco, was the center of joy in my life. When I would go to her home, she would sing and dance while she was cooking in her kitchen. There was always laughter, there was always music. There was this optimism and belief that supported me, and gave me permission to dream.
Once you were in Los Angeles, do you have a memory of a special project or moment that catapulted your career?
There were so many great moments along the way and so many mentors that supported me. I didn’t have anything in my back pocket, no savings. I believe that I was destined to do what I do. I would say the biggest thing that I can remember was Jeffrey Katzenberg, who was then the president of the Walt Disney Company, called me and invited me to have a meeting with him. He said “I’ve been wanting to produce a live action movie musical. I’ve been watching your work, I like what you do.” He shared with me that some believed that the movie musical was dead, but he wanted to resurrect it. Then in that moment, he asked me to join him as a director.
All of my experiences at first, were as a theater actor, and then came television, rock and roll, and music videos. Jeffrey told me if I did this first movie that he had on his list, that I could pick the second one.
He’s just an incredible gentleman and saw something in me, along with many others, who just opened up a door and said, “Come on in!” We did Newsies, and then we did Hocus Pocus. Those became the first film projects for me as a director. They opened my eyes, heart, imagination, and strengthened my desires for everything that I had always wanted. I’m very grateful to that man.
What was your first choreographical experience that you took charge of? Do you remember that?
It wasn’t until I came out of the musical Hair. I was dancing in a nightclub in San Francisco, dancing like crazy, clearing the dance floor (haha)! There were these young men observing me who were members of a rock and roll band called The Tubes, with A&M records. They had heard that I came out of theater and wondered if I’d come take a look at what they do. They invited me to watch one of their rehearsals, they were incorporating theater into rock and roll like I had never seen before. I was gobsmacked! Now, mind you, I was going to go into Jesus Christ Superstar in two weeks! I remember in my heart and in my mind, I was thinking, ‘I don’t know if I want to continue doing what I’ve been doing. I feel like I want to be more on the conceptual side of things.’ The guys asked, “Will you join us?! We’ll make you the eighth member of the band. You’ll be an equal partner. We’re getting ready to tour Europe.”
I’d never even been out of California! I ran two blocks. I put a dime in a pay phone and called the production office for the first national touring production of Jesus Christ Superstar. Which I was about to go on tour with and tell them “I’m running away with a rock and roll band!” That was my first choreography gig! We ended up becoming a very successful live band. From there, I started getting calls from Elton John, Madonna, Pointer Sisters, Chaka Khan, Cher and KISS, just to name a few. These artists saw what I was bringing to The Tubes as a choreographer, and invited me in to their worlds.
Incredible. The power of saying yes!
You know, taking a risk and listening to the voice inside of you — it’s the one to trust. It’s always a game-changer when you do!
When you’re hosting your own auditions, is there a voice that you feel you echo from your mentors?
Sometimes my shoulders feel so heavy because I have so many “mentoring spirits” that are resting on my shoulders, that are whispering in my ear when I’m working and when I’m imagining. You never know whose voice is going to be there next! Don Mischer was a tremendous mentor to me in television. I would never have done Dirty Dancing had he not called up his friend Emile Ardolino, the director and said, “You’ve got to put Kenny Ortega in the role of choreographer for your movie.” He then went on to put me in as the choreographer for the 1996 Atlanta Olympics, and as the director and choreographer of the Salt Lake Winter Olympic opening and closing ceremonies.
My first movie I ever choreographed was Xanadu and I made a lifelong friend in Gene Kelly. He’s an enormous mentor to me. He helped me come to appreciate the value of understanding how to choreograph for the camera. Also, working with people like Francis Ford Coppola on the movie One From the Heart, and Bill D’Elia in television, who put me in so many director’s chairs in television, including Ally McBeal and Chicago Hope. Working alongside the incomparable David E. Kelley — producer, showrunner and writer. Working on set was my film school and the directors were my professors.
What qualities do you seek in others when hosting an audition?
Having worked with such an enormous circle of people from the time I was little, you begin to create a method based on the experiences and great successes that you’ve had. If you’re fortunate enough, you’ll not only create this method you want to work with, but you’ve now accomplished enough in your work to have people trust your choices and creative instincts.
I look for actors that can become creative partners, bringing something to the party every day. Not solely depending on me to guide, steer, and direct.
When you’re in a room and you recognize that there’s “something” that lives inside of that person. That if you give it permission, it’s going to explode. If you put the right people around that person, they’re going to learn, grasp, dedicate themselves, and they’re going to rise to a new place. I’m not just looking for someone who dances. I want to know what soul is driving the movement, what spirit is underneath it, what heart is pumping underneath it. Personality, imagination, promise, authenticity.
Now as a mentor yourself, share a little about your gift for nurturing artists.
I felt invisible many times walking into auditions. I remember being dismissed, and somebody just called me by a number. I have people wear a name tag on their chest because I don’t want to refer to anyone as ‘the one with the blue shirt on’ or, ‘the girl with the hair’ or, ‘number 17.’ Until I know your name, you wear that thing until I rip it off! All of this came through years of personal experience. I know what it felt like to walk out of an audition and feel like maybe I don’t even know if they looked at me, or if they even cared.
Ultimately, I tell artists, if you stay in the game, you’re going to walk into a room and somebody’s going to finally “get you.” So bring your authentic, true self to that room. The best version of yourself that you’ve grown to be at that moment. Bring it in the room and let it shine!
Photo Credit: Nick Cavazos
Throughout all of the sectors of the industry, which one feels most like home?
Theater and live performance! Michael Jackson and I shared the same compassion and passion for live performance, and it’s why we stayed friends and partners for so long, and why he invited me to be a part of his creative life. Michael believed when you step on that stage, you have a responsibility to the last row of the audience! Michael would play upwards to over hundreds of thousands of people sometimes, and he would electrify the entire place–leaving a pool of sweat with his footprints in it when he walked off the stage at the end of a concert. He would say to me, “Kenny, if they aren’t still thinking about us when the sun comes up tomorrow morning, then we haven’t done our job.”
It’s something that I try to instill in every young person that I work with that if you’re lucky enough to become successful, remember that it comes with a responsibility.
Let’s talk to the dance teachers! Share your passion for those educating the future of dance.
I absolutely value the educators! I was fortunate enough to have one that gave me a really strong appreciation for the fundamentals in dance at Jean’s Dancing Studio in Redwood City, California. Jean gave me a scholarship that enabled me to study ballet, jazz, tap, and acrobatics. Later I branched out working with other teachers including, the incredible Rosa Montoya, who I studied Flamenco with. What I see happening in the world of dance today is that young people are coming out of their training multi-disciplined. You must be, as the world of dance has become more competitive than ever.
The innovation that dance can become through the students and artists in these schools is important. We need to afford young people, that cannot afford dance for themselves, a place in a mirror where they can learn. We need to pay it forward. As leaders and educators we need to give opportunity to these young artists. Open the doors — invite them in — make room. You have nothing to lose, and they have everything to gain.
Currently, I’m fortunate to be on the board of USC Kaufman School of Dance, a 4-year college at the University of Southern California. It’s the first new college at USC in 40 years. The students at Kaufman are gaining technique from top teachers and choreographers in every discipline of dance imaginable. It’s the teachers behind the dancer that will be applauded for the innovation of dance in our future.
I personally hope to attend Dance Teacher Summit next summer, or sooner, to have face time with these amazing educators, and thank them for all they do, and for all they continue to provide me with in my work.
What’s a motto that you wake up to each morning?!
It’s hard enough getting out of bed at 75 years old having the career I’ve had! What gets me up is the love I continue to have for the work and the “Raison d’ etre” — a French phrase that Gene Kelly shared with me many years ago. It means “the reason for being.” Before saying yes and committing myself to any project, I look for the “Raison d’ etre” that lives in the soul of the work. If the project doesn’t have great reason, importance, the ability to inspire, and encourage — why would I want to wake up to it every day?!
