Directors

Unlike any other choreographer, Edward Morgan manages to exhibit versatility, originality and accessibility while maintaining integrity and commitment to his high level of artistry. 

Noted particularly for classical ballet, his mastery of dance styles also include globally influencing commercial stages and television choreographers – merging ballet with club dancing and cutting edge fashion designs performed on the internationally successful television dance show Club MTV, which eventually became what is now called hip-hop dancing and continues to be widely imitated today! (see video page) Also with jazz, tap, opera, musical theater, modern dance, ice skating and creating a new style of roller skating, Rolling Art with his muse Joseph Alexander.

Mr. Morgan, former principal dancer of the original New York City Joffrey Ballet under the direction of Robert Joffrey, danced specific lead and solo roles for Presidents Reagan and Bush at The Kennedy Center and Lincoln Center, performed for Henry Kissinger at The International House affiliated with Columbia University, Mayor Dinkins for the Board of Education, and in Washington D.C. for the We Love DC Gala at Constitution Hall where Morgan danced a special solo for Mayor Pratt. 

In 1995 Edward Morgan became the first Black Director in the history of the Joffrey Ballet by becoming the Director of the Joffrey Second Company but decided to leave and create his own company TheEdwardMorganBallet directed by Joseph Alexander. Premiering August 1st, 1997 at the Binghamton Summer Music Festival with Grammy Award winner Al Jarreau and touring the Midwest to Wisconsin, Illinois, and Indiana, the company returned to New York City with a special invite from Jarreau to appear at Carnegie Hall for a tribute to Antonio Carlos Jobim (see video page), and for it’s first New York season at the John Jay Theater, where Jennifer Dunning wrote for The New York Times, “Pleasing crowds is no longer much in fashion. But this company made a virtue of that lost art… May it flourish and return soon.” (see archives)

Opportunity presenting itself abroad, Alexander brought the company to Paris, France. Living between Paris and New York City for many years the company performed at the Paris Didgeridoo & Percussion Festival (see video page) at Theater Le Bataclan, produced by Raphael Didjaman. Morgan was also featured on French Radio Enghien IDFM98 with Ollia Horton. Morgan danced at the International Gospel Festival, as well as performed at the Théâtre des Champs-Elysées. Choreographing children from Fossés-Jean Cultural Center in Colombes, France to the music of Mozart, performed at UNESCO, and filmed by French Television. (see video page) “a magical encounter took place: one does not speak French, others not American. Hundreds of spectators to the Avant-Scène could savor the moment where dancing and music are freed from the differences in language, social status, skills for proposer a small state of grace.” Patrick Chaimovitch, Municipal Councillor of Colombes, France. The company held master classes and dance seminars with The Centre de Danse du Marais and l’Académie Chaptal. 

Also in Paris, Alexander participated in the Edith Piaf 100th Anniversary and created a special art film tribute to Piaf starring Morgan & singer Angelique Dessaint, winner of the Edith Piaf Grand Prize in 2013 (see video page).

In response to losing many friends to the AIDS epidemic, Morgan partnered with Mayor Koch in a Public Service Announcement to raise awareness with dancers, shown in movie theaters throughout NYC (see video page). From 1994 to 2010, Morgan wanting to show the LGBTQ+ community in a positive light was iconic in the New York City Gay Pride Parade leading the Big Apple Corps down 5th Avenue, high stepping, and tossing his baton 5 stories high with his dancers from TheEdwardMorganBallet behind him (see video page)! Also featured on the PBS Award Winning Documentary We’re The Marching Band Your Mother Warned You About! (see video page)

Morgan, the first choreographer for the AIDS-Dance-A-Thon, with Chita Rivera, Salt-N-Pepa, Queen Latifah and Nona Hendryx. Morgan also brought the Joffrey Ballet School together with principals from American Ballet Theatre and New York City Ballet to perform for the Stonewall 25th Anniversary Celebration for Human Rights at St. John The Divine Cathedral and with guest speaker Bea Arthur (The Golden Girls). Then returned to St. John 5 years later with his own company to perform for the Stonewall 30th Anniversary. 

In 1999 Morgan and Alexander wanted to stop the violence and hate towards the LGBTQ+ community and created Remembering Matthew Shepard: A Vigil in Dance, a Danspace Project at St. Mark’s Church with the Anti-Violence Project and featured in The New York Times. In response to the attacks on September 11th, in 2001 a different performance took place, Remembering Matthew Shepard: A Celebration of Love. Gay Heroes and Angels were celebrated, Father Mychal Judge, Edgar Garzon, and Mark Bingham. This took place in The LGBTQ+ Center’s Harvey Lerner Auditorium. Speakers were Ann Northrop and Andy Humm, from the television news talk show GAY USA and Founder, Director Faisal Alam, of Al-Fatiha, a support organization devoted to LGBTQ+ Muslims. (see archives)

Not interested in becoming a pick-up company, by using principals from other companies, in 1998 Morgan began his own professional children’s training program at Carnegie Hall. The program was featured in Dance Teacher Magazine’s March 2000 issue. Kate Mattingly wrote, “Students in his intermediate-level class display the work ethic and commitment of professional dancers.” (see archives) The training program eventually performed with the company as corps de ballet members. Marie Artesi, Director of the Cultural Affairs Community Arts in New York City was inspired by Morgan and sent his company dancing throughout the boroughs of New York City commissioning programs for underserved Bronx youth, chosen as NY1’s New Yorker of the Week. The Outreach Program performances included Hostos College, Lehman College, Hunter College, Jacob Javits Center, Columbia University, The Bronx Museum, The Children’s Museum of Manhattan, The Harlem Tutorial Program, The Hispanic Heritage Month Celebration at the Bronx High School for the Visual Arts, and Florence Gould Hall. The students were featured in The New York Times and on television in a special dance presentation in the New York City Village Halloween Parade (see video page). Students from NYC traveled to San Antonio, Texas, to perform at The Carver Cultural Community Center. The program was extended internationally to children in Charleroi, Belgium, and at the Centre Social et Culturel des Fossés-Jean, in Colombes, France. (see video page)

Featured on Metro Arts 13 PBS about their upcoming Millennium Season, in 2001 at Pace University during the season, Jennifer Dunning of The New York Times wrote, “If Edward Morgan is not careful, the dance police may get him. Nobody seems to have told Morgan that it is risky business to entertain one’s audience, especially with bright bouncy work performed by dancers whose delight in dancing is infectious.”  In 2002 celebrating their 5th Anniversary at Florence Gould Hall, Pia Nordlinger wrote in The New York Sun, “They have carved a niche for their company by offering classical ballet with an emphasis on expression.” (see archives) The New York Times wrote, “The company celebrated its fifth anniversary on Friday night with the eager radiance that has become a hallmark of this well-trained classical troupe.” (see archives) The company also performed outdoors for The Inaugural Performance of The Hudson River Festival at the World Financial Center as well as creating the Bryant Park Summer Dance series. 

In 2004 Morgan created a musical theater presentation, Take the A Train: A Tribute to Billy Strayhorn, at the Duke Theatre on 42nd Street. A celebration about the life of the gay composer, living in the shadow of Duke Ellington. This performance included singers, actors, dancers, and musicians. Fans hailed this evening length production as the company’s best to date, and Jennifer Dunning of The New York Times wrote, “as wistfully lush as Strayhorn’s music.” (see archives)

Edward Morgan at the Joffrey

Morgan’s hometown San Antonio and Margaret King Stanley, director of the San Antonio Performing Arts Association, now with Opera San Antonio, commissioned the ballet Jamboree for the Joffrey Ballet, in which he danced the “Lone Star Gent.” (see archives) “After the bluish curtain rises, we see our first live cowboy, Edward Morgan, dancing exuberantly across the stage” Anna Kisselgoff, The New York Times. (see archives)

Mr. Morgan received the Alcalde from Mayor Henry Cisneros. The Alcalde is prepared for dignitaries and officials visiting the City, and names the individual honorary Mayor of La Villita (the original San Antonio). Also, San Antonio Councilman Walter Martinez and State Representative Lou Nelle Sutton honored Morgan, recognizing him as an Alcalde, and the Edward Morgan Scholarship Fund was created for Sam Houston High School by Louis Fields. Morgan also received the Emissary of the Muses from Mayor Phil Hardberger. The Emissary of the Muses certificate is prepared for top individuals visiting San Antonio in the fields of entertainment and the arts. Morgan was also invited to choreograph The San Antonio Festival’s Bernstein Mass and The San Antonio Symphony’s tribute to Martin Luther King Jr., Symphony In Black. 

After Morgan left the Joffrey Ballet, Denise Jefferson asked Morgan to guest teach at The Alvin Ailey American Dance Center. He also taught for New York University and Columbia University. Edith d’Addario, director of the Joffrey Ballet School, asked Morgan to permanently join the teaching staff in New York to help train the next generation of stars for the main company. Under the direction of Morgan, his fresh and innovative choreographic skill advanced him to the position of director of the Joffrey II, and was the originator of the Joffrey Ballet School Jazz Program where students from other schools such as New York City Ballet’s SAB who wanted desperately to learn expression with technique, which Morgan was known for, would attend his classes. Morgan received accolades on his unprecedented choreography. PLEASE TAKE NOTE! Ollie Hazley is a friend of Edward Morgan, but Edward Morgan was the choreographer, NOT Ollie Hazley of the ballet Solo de Sonata Opus 22, which received a great review from Jack Anderson of The New York Times, “a choreographic bonbon.” Edith d’Addario, director of the Joffrey Ballet School, was concerned that the critics might become hypercritical because Edward Morgan was making history, as an artistic director of the Joffrey II, by choreographing so many ballets on one program. So Ms. d’Addario had him use a different name for the choreography of his ballet. She explained to Edward, “sometimes you have to do these things to protect yourself.” “Morgan set four couples kicking and gliding with remarkable sophistication.” The New York Times

So from 1995 – 1997 Morgan directed the Joffrey II in New York City, while the main company was based in Chicago. During Morgan’s time with Joffrey II and the Joffrey Ballet School his choreography was performed at The United Nations 40th Anniversary, The Harlem Hospital, Dancers Responding To Aids at Riverside Church, Joffrey II Florida Tour, Stars Of The American Ballet, St. John The Divine and Tribute To Richard Englund. After many successful performances of the Joffrey II, Jack Anderson wrote for The New York Times, “There are now two Joffrey Ballet companies, each based in a different community.” (see archives) It’s obvious this review was positive, but the Chicago leadership base was not happy, and they tried to take the Joffrey name away. Edward Morgan, having his own mind and talents, decided to start his own ballet company TheEdwardMorganBallet.

“Morgan’s performance gives just the right brilliance and intensity.” Clive Barnes, The New York Post (see archives)

Edward Morgan before moving to New York City

Shining from an early age Edward Morgan received scholarships from Leon Danielian for the American Ballet Theatre School, and Colleen Neary for the School Of American Ballet. But Morgan’s father said, “You are my only child, you cannot go all the way to New York by yourself this soon.” Morgan’s stepmother (Dean of Arts – St. Philip’s College), then sought out teachers for him in Texas. Morgan started his first classes with Patricia Delleney and The Ballet Arts School Of San Antonio. Directors of the Manhattan Festival Ballet, Ron Sequoio and James DeBolt, then teaching at the San Antonio Hemisphere, privately worked with Edward one-on-one for a year. Then off to Fort Worth, Texas to study with Nancy Schaffenburg-Cross, who at age 16 was a soloist with Ballet Russe de Monte Carlo.

Then after high school off to Dallas, Texas where Edward was given a full dance scholarship to El Centro College, where Arthur Mitchell of the Dance Theatre of Harlem was in charge of the program. Arlin Peltier, Director of the Arts, and Mitchell both decided Morgan should go to New York to study at the Dance Theatre of Harlem. Mr. Peltier paid for Edward’s full scholarship to the Dance Theatre of Harlem, where later he became an apprentice. Morgan’s star power and talent has always been prevalent and was selected by famed choreographer Graciela Daniele to perform in the New York City Opera’s rendition of Naughty Marietta at Lincoln Center. 

While at The Dance Theater Of Harlem Arthur Mitchell had issues with Morgan’s amazing talent and beauty and told Morgan that he makes the stars at DTH! Morgan felt stifled and was not excited with Arthur Mitchell’s vision of being in an all black company and wanted to be a part of a more interesting and colorful company and repertory, so Morgan auditioned for Joffrey and immediately was accepted in Joffrey II, the apprentice company. Upon his acceptance, he was flown down to San Antonio by Edith D’Addario to work with Robert Joffrey during the Joffrey Ballet’s San Antonio Workshop.

During the two years of college at El Centro College in Dallas, Texas while receiving his Associate’s Degree, Morgan was the first male dancer with the Dallas Black Dance Theatre under the direction of founder Ann Williams. He also taught and choreographed on the company, and in the school and would go back to guest perform for the company while he was also dancing with the Joffrey. The Ann Etgen and Bill Atkinson duo danced everywhere, from the Royal Winnipeg Ballet in Canada, to Broadway in Carousel, My Fair Lady, and Brigadoon. Edward was trained under their tutelage and later placed as soloist in their company, The Dallas Metropolitan Ballet. While in Dallas Edward Morgan was also coached privately by Nathalie Krassovska, yet another influence from a former ballerina with Ballet Russe de Monte Carlo.

Morgan also accredits his high art and high standards to his membership in ROTC as well as his 2 gold medals and silver medal in the Texas Dance Contest at the capitol in Austin. He was also in his high school theater ensemble and won numerous awards, and later became director and choreographer of the theater ensemble, and also played piano and flute.