1. In “Stories,” the central character Icarus deals with oppressive conditions from a film director. What inspired you to choose this theme and how does it resonate with contemporary audiences?

The confrontation between Icarus and the film director is meant to tell the inner fight that takes place within our own minds. My intention was to question audiences as individuals before pointing out to systemic dysfunctional behaviors.

However, the recent movements in the film industry have pointed out that abuse of power had been underestimated and often unspoken, which makes Stories inevitably a bit more political.

What strikes me the most is how much energy audiences get from the show. I guess that is a good starting point for anyone to face whatever they need to face. 🙂

2. Your show combines tap dance with urban jazz, and you’ve mentioned exploring the theme of duality. Can you elaborate on how these dance styles help convey Icarus’ inner journey and the concept of duality?

Tap dance and urban jazz are just words to describe my choreographic vocabulary which comes from so many different places, but I barely see the line between these two styles. Together they define the essence of the show. Traditionally, tap dance is bright, light and happy. I like to use it in a more grounded and brutal way, which helps tell the struggle that Icarus goes through. To me the intensity of his emotions require percussion, and tap dance feels like the best way to express that feeling.

3. The set design by Federica Mugnai is described as moveable and interchangeable. How does this dynamic set design contribute to the storytelling and the overall experience of the audience?

I wanted the set to be a character that transforms throughout the show and not have performers dancing in a set, but actually with it. Icarus’ journey brings him into many different places. The set changing around keeps the focus on him and becomes an element of surprise each time there is a new way of using it. There is something magical and deeply theatrical about that constant transformation which turns out to be one of the highlights of the show for the audience.

4. RB Dance Company has received significant recognition since its inception, including being finalists on France’s Got Talent and winning awards for “Stories.” How has this success influenced your vision and goals for the company?

I could not be more grateful for the excitement we’ve felt in the audience since the company started. Seeing people coming out of the theaters with so much emotion and energy at the same time makes me want to keep creating and bringing Stories to audiences all over the world. I am so thrilled to present the show in London for the first time and I am looking forward to meeting UK audiences. I am also working on a new show with the company.

5. You’ve trained extensively in both tap and jazz, and have performed on Broadway. How have your diverse training and experiences shaped your choreography and direction for RB Dance Company and the production of “Stories »?

Before even training, I was big fan of Gene Kelly and Michael Jackson. They have definitely inspired me to dance, but I’ve also always been amazed by their theatricality. Working in musicals has definitely confirmed my love for storytelling and for tap dance. The US was also great place for me to train as a tap dancer.

In the end, the company is about all these elements, telling the story, stomping hard, and energy. Stories is a tribute to traditional musical theater in a non-traditional way.