Crossover kid: hip-hop dancemaker John Byrne moved from Taylor 2 to MTV

Dance Magazine, June, 2004 by Tamara Johnson

When Britney Spears got ready to shoot her new music video. "Every Time." she didn't turn to hip-hop mavens Wade Robson or Brian Friedman. Instead, she entrusted the steps to a relative newcomer, John Byrne. This sentimental song needed a different framework, and Byrne was just the artist to deliver that.

"I approach choreography as a character study," says 21-year-old Byrne. "There are so many beautiful songs that have great depth, and the videos that come out with them have choreography that's just window dressing. I want to create dance about real people and movement that comes from real emotion."

Byrne's vision has been receiving an increasingly warm reception in the world of commercial dance since he made his choreographic debut as a guest of Toezeye Dance Company at a performance in Los Angeles last September. A Los Angeles Time, review described his work, which he performed, as "infused with authoritative grace."

The fact that Byrne is only 21 may not be surprising since commercial dance is dominated by young talent. But the path he's traveled to reach his present success is noteworthy for its several forks His beginnings were not hip-hop conventions and competitions; Byrne started off as a formally trained modern dancer.

Byrne grew up in the North Carolina mountains, where his parents rail a bed-and-breakfast inn. He loved lo move, and taught himself to dance in their living room Eventually he auditioned and was accepted by the prestigious North Carolina School of the Arts in Winston-Salem. Trish Casey, one of Byrne's instructors there, describes him as "a young man with unusual talent, maturity, and desire. He was so eager to learn," she says. "He would migrate to situations that would challenge his comprehension and ability, and insist upon meeting those challenges."

That desire to explore would remain with Byrne At 18, he a auditioned tot Taylor 2, Paul Taylor's second company, He was accepted and within few months found himself touring and performing celebrated pieces like Airs. Arden Court, and the solo from Aureole. He even had the opportunity to dance with the main company in Promethean Fire at the 2002 American Dance Festival.

However life on the road soon lost its attraction. "John was a good-looking dancer," says Paul Taylor. "But he wanted a different kind of career." Despite the promise of his achievements. Byrne left the company last spring.

Byrne says he had no desire to join the main company, Instead, he found himself increasingly drawn to theater. He felt attracted to the many components of Broadway shows--the songs, settings, lights, and drama--and wanted to learn about those other aspects of creating a performance. He had also recently met his partner photographer/director David LaChapelle, and wanted to start settling down.

Things didn't exactly settle, but Byrne ended up with no complaints. After he left Taylor 2 he auditioned for a production of West Side Story that was planned for Milan's famed La Scala Opera House. He won a role, and moved to Italy. When West Side Story finished its La Scala engagement, John moved to Los Angeles to live with LaChapelle and add new dimensions to his career. "My ultimate dream was to create," says John. "I realized the movements that can most fulfill me are my own."

With the help of some introductions from LaChapelle, Byrne began to find work creating dances for major recording artists. He choreographed music videos for Christina Aguilera, Gwen Stefani, and Blink 182. And Elton John remembered Byrne from a La Scala performance when the rock star began working on a new show for his Las Vegas appearances. This February, when John's The Red Piano premiered, it featured a giant LED screen on which Byrne could be seen performing his visceral style of concert dance during several numbers. Byrne's pieces were theatrical and intensely emotional. His choreography to "Don't Let the Sun Go Down On Me" synthesized modern, pantomime, and raw sensuality to depict a couple consumed by conflict. Rolling Stone magazine dubbed it the most affecting clip of the show.

Byrne has been surprised and grateful to find commercial show business a vehicle for his artistic passion. "I never thought I would do commercial things because I never believed in it," he admits. "But so many people watch music videos. So many people went to see the show in Vegas, and they were crying. It's very powerful."

Bryne wants to continue pushing himself and growing as an artist. He's currently working on a dance concert due to open in L.A. this summer. The show will be his first experience with directing, and Byrne hopes it will become an ongoing aspect of his career. "I see everything in my future."

Tamara Johnson is former assistant editor of DM.