Q&A: Richard A. Freeman Jr. on building a national dance career and his D.C. roots

 Richard A. Freeman was just three years old when he first danced for an audience.

“I just remember seeing everybody's faces and the applause. I fell in love with it,” he said of performing in an elementary school talent show when he was in Pre-K. Every day after that he’d dance to television show theme songs at his home in Northeast D.C., pretending his penny loafers were tap shoes.

“It was just in my body — and something that I couldn't not do,” he said.

Freeman went on to attend Duke Ellington School of the Arts and then Virginia Commonwealth University before successfully auditioning for the Dallas Black Dance Theatre, the fourth-largest Black dance company in the country. He danced for 10 seasons and then worked roles as varied as choreographer, teacher, costume manager, and stage manager before being named artistic director last year. It’s a role he says is shaped by his D.C. roots, and his desire to support the city’s next generation of dancers. 

Freeman spoke with The 51st about his career, industry working conditions, and what makes D.C.’s dancers special.

This conversation has been lightly edited for length and clarity.

You joined the Washington Ballet in middle school. What was the audition like?
I remember sitting in the lobby and being very nervous. I remember feeling like I stood out because there weren't many African American boys auditioning — I may have been the only one that year. I remember my nerves being really high and my mom telling me: “You got it. Just go in there and be yourself.”

That advice must have worked because you got in. What was being a dancer there like?
I received a scholarship to attend, which meant a great deal for my family because we could save money for other things, like dance attire and gas. Being in the ballet was delightful. I got to meet so many different people: Chelsea Clinton was even taking ballet classes when I was there; it was very inspirational.

When did you get your first paid dance gig?
My first paid check was this show called Something Zany at the Warner Theater when I was seven. When I was nine, I danced in a video on racism with the Kennedy Center. I loved working as a child performer; it really pushed me to want to be better. The other kids thought it was cool, so I liked the way that felt too — but it also just gave me drive in every aspect of my life.

What do you think makes D.C.’s dance ecosystem different?
To me, D.C. dancing is not only talent, but raw passion. The authenticity that comes from its dancers is something you've never seen before. There are fierce dancers everywhere, but D.C. has talent that can't be taught.

There's a drive, there's a fight, because there aren't as many opportunities in D.C. — You have to be a go-getter, so that hunger and fight makes us a rare commodity.

What pressures push artists out of D.C.?
While you have the Washington Ballet, there aren’t many modern dance companies or jazz companies of a similar status. So as dancers get older and enter professional careers, most go to Philadelphia, New York, or into commercial work on the West Coast. I think it's the lack of resources for dancers of that caliber; there are smaller modern dance companies, but the lack of funding hinders them from getting to the next level.

Dallas Black Dance Theatre faced dozens of unfair labor charges last year. What are the challenges facing dancers when it comes to their working conditions?
Everybody's working conditions are different depending on where you live, the size of the company, and the financials of the company. But I will say this: dancers should always fight for what's right in the situation they're in.

What does your dance connection to D.C. look like today?
I still perform in the region every year. We perform in Prince George’s County and do master classes while we're there. As an alum of Duke Ellington School of the Arts, I often go back — whether it's for master classes or choreography. I always make sure I give back to the next generation of dancers.

And what are you noticing in that next generation?
What I love most, especially at Ellington, is they have most of the same teachers I had growing up. Their passion, fight, and talent level is still the same. They have this old-school training with a new-school flair. At that age, it's not always easy for dancers. Some don't feel vulnerable enough to open up in high school, but to see that in dancers now is amazing.