and explosiveness. Another was one of his idols. “On the finale, I got to work with Desmond Richardson. Growing up as a male dancer, it was important to find your male dance idols and he was definitely one of them.” As soon as the show ended, Karr traveled the world for eight months with the Bad Boys of Dance and afterward, he set his sights on musical theatre. After years of auditions, he booked the workshop of the new musical, Flashdance. “It was one of my favorite experiences to date. It was my first musical theatre contract; it was my first Equity contract, and my first time dipping my toes into that field. I’d done all the company dance stuff before. To be able to sing and act as well was exciting.” This past fall, Karr was able to again utilize his love of acting as a part of Company XIV’s holiday themed “Nutcracker Rouge” in New York. After wanting to be a part of one of their productions for a long time, he finally had the opportunity to join in on the baroque/burlesque spectacular for their wouldbe sold-out and extended run. “That show, for me, was hands down the most fun I’ve ever had on stage. Easily. There’s something about being that exposed that makes you form an even tighter and more clear character. That’s what was fun for me. I had nothing to hide and yet I still felt like I was the dude of the show and the tough guy. I was in heels on stage and I wanted to make it as contradictory as possible. It pushed me so far outside of my comfort zone and I’m so glad.” Pushing yourself as a dancer is a part of the job and when your job is so physical, it’s critical to rest your body, something Karr places great value in. Much is written about the shelf-life of a dancer and their
Below: Jakob dances with Makenzie Dustman in 2013 when he returned to “So You Think You Can Dance” as an All-Star.
inability to sustain putting their body through so much rigorous activity for so long. But during his time working at Cirque du Soleil, Karr learned he didn’t have to limit himself. “I loved working with such seasoned performers. I grew up even more. I was only there for five months, but it opened my eyes that being a working dancer isn’t as limited as people say it is. I was working with dancers in their 40s and who had double hip replacements. It taught me that I don’t have to put an expiration date on myself.” That knowledge is what fuels his dream now. “What I want is to be able to work until the day I die. I want to perform for as long as I can and share dance with people. I want to teach dance and project dance and show how much I love it and need it. I want to do it forever.”
AND WHAT ABOUT ALL THOSE CRAZY COSTUMES? “I love it the most. I play dress up for a living. I don’t come from an acting background, I was just a dancer, but when you put on a costume, it gives you a character. When I worked for Cirque du Soliel, I was wearing the craziest, most expensive costumes and I loved it.” Follow Jakob on Instagram! @jakobakarr
BLEEP 61