Critical Dance


An Interview with Kevin Muscat
by Lara Hartley
October 2001


Kevin Muscat


A short chat with Kevin Muscat revealed more than just a small town boy making it big in the big city, but a small island boy finding his place in life through dance.

LH: Where are you from?

KM: I am from Malta, which is a tiny island in the middle of the sea, in the middle of nowhere. It's just below Sicily, it's independent, it's a republic.

LH: Is it as big as Texas.

KM: (Laughing) It is not. It's not even as big as England. It's not even as big as London. It's tiny. It's just tiny. It is 19 kilometers by 13 kilometers.

LH: You have an interesting accent - where would you say that is from?

KM: My accent is probably slightly Italian maybe French because I speak both languages. Italian fluently, well I can understand French I can communicate. Everyone seems to say the accent is French.

LH: How old are you

KM: I'll ... be 22 next month.

LH: So you are 21.

KM: No wait, I'll be 23 next month. I'm 22!

LH:How tall are you. KM: nearly 5 11

LH: And how how about your family.

KM: I've got a sister, and parents obviously. I've got load and loads of cousins. I've got 6 uncles and aunties from my mum's side and 8 from my dad's side and all of them have 3 kids each.

LH: Oh my.

LH: So you had mentioned before this was your first professional gig.

KM: Yes, it is my first professional job. I started dancing very late. I started when I was 16. I went to ballet school like one or twice a week for 3 years and then I moved to London and I started a proper dance college which is London Studio Center. I got a scholarship - I auditioned for them and got a scholarship for 3 years so I finished college just now in July -I graduated. And I got this job. The company saw me in the last performance at college and Matthew wanted to see me and I got the job within the week.

LH: Do you like this better than straight ballet?

KM: I still love straight ballet but I don't think it is as rewarding as contemporary because it's set. It's been done for a long time and there is a formula you have to fit into.

Where as in contemporary, the choreographer fits the choreography to your body. It's freer. There is a technique obviously but it's not as rigid as ballet .

LH: Do you use your ballet training in the contemporary dance?

KM: Of course, yes yes. I'm very happy I did ballet because it gives you feet, it gives you legs and it gives you discipline which is very important in a job like this.

LH: So do you want to grow up to be a dancer, forever?

KM: Yes. I went to see Flower Drum Song last week. And when I was sitting in the theater I felt like I was at home and this is where I want to be for the rest of my life - yes, the theater is really where I want to be.

(Kevin dances the roles of Vito and Chad.)


Car Man the Show

- An Auto-Erotic Thriller -

Car Man Talk

- Talk about the show -

Designer: Lena Marie Stuart
US Director: Azlan Ezaddin
UK Director: Stuart Sweeney

All photos copyright 2001 Lara Hartley unless noted otherwise

All contributions as noted in each feature.