Mia Michaels

From stage to screen, Mia has turned dance into inspired works of passion and beauty. Some of her credits include the choreography for Céline Dion's "A New Day" (2004 Emmy Nominee for "Celine in Las Vegas : Opening Night Live!" on CBS), Céline Dion's "Taking Chances" World Tour (segments), and Cirque du Soleil's "DELIRIUM" World Tour. Additionally, she has created works for numerous recording artists, including Madonna, Ricky Martin, Gloria Estefan, Anna Vissi and Prince.

On television, Mia is a judge and contributing choreographer for the Fox TV show "So You Think You Can Dance." She recently won an Emmy award for her work "Calling You" on SYTYCD. Other work in film and television includes "Cool Women" for AMC/DreamWorks Television and commercials for Visa, Bacardi, Ziploc, Coldwell Banker, Philadelphia Cream Cheese, Pepsi and Star TV.

Mia's theatre and concert credits include being the Founder, Artistic Director, and Choreographer of "Mia Michaels RAW," the Paper Mill Playhouse's production of "Hello Dolly" and the off-Broadway productions of "If These Shoes Could Talk" and " Fort Chaffee ." Mia has also created works for Les Ballet Jazz de Montreal, Jazz Dance Chicago, Oslo Dance Ensemble, Joffrey Ballet, Kirov Academy and Jazz Theater of Amsterdam.

  • Mia Michaels
  • Los Angeles
  • Choreographer

What was your creative approach with the DELIRIUM dancers?
Each project has its own unique heartbeat that forces me to adopt a different approach. With DELIRIUM, the creative approach stemmed from working within the deadline, stage shape and limitations, music, the talent of the dancers, and direction from the directors. Together, this information presented the guidelines for the creative process.

What did you find interesting in working with dancers from different backgrounds?
The individuality it provided. Working with dancers having such different backgrounds in training, style and culture was challenging, but it broadened my natural instinct. It forced me to go in a different direction than I would have ordinarily gone.

How do you see the mix between dance and Cirque du Soleil? How do they blend together?
I think the way in which Cirque is bringing more dance into its productions is a great addition to what was already monumentally entertaining. It adds another dimension, and because dance has recently undergone such a major reinvention, it is multiplying the audiences’ visual experience.

What did you find stimulating in working with Cirque?
The size of the project is so massive and larger than life. It’s like being a kid in a candy store. Anything you dream is possible.

What advice would you give to dancers who would like to join Cirque?
Go in with an open mind. It is not the typical creative process. It is much more intertwined with the choreographer, director and the total Cirque du Soleil vision. Be prepared for a lot of hard work, a lot of growth (mentally and physically) and a lot of challenges. You will meet a lot of great people and be a part of a great final product, and Cirque will become part of your creative family for a long time.