Martin Michel
Legend of Dance
Why They Matter
Michel's career exemplifies the vital role of ballet-trained choreographers in European musical theatre. His consistent output across Australia and the Low Countries, spanning classical ballet technique into commercial and avant-garde theatrical contexts, has shaped how dance movement functions in…
Biography
Martin Michel is an Australian-born choreographer, director, and dancer whose career has bridged classical ballet training with large-scale musical theatre across Australia, the Netherlands, and Flanders. After studying at the Australian Ballet School from 1985 to 1987, Michel performed in productions associated with Victoria State Opera, the Australian Opera, and the Australian Ballet, establishing himself in the classical dance world before expanding into theatrical work.
Michel's choreographic and directorial practice gained recognition through major musical theatre productions across the region. He directed and choreographed *Merrily We Roll Along* in 2004 and *Footloose* in 2009, both of which earned Musical Awards. His work expanded into Flemish productions with directing credits on *Fame* (2008), *Ganesha* (2010), and *Lelies* (2012), all recognized with Flemish Musical Awards.
Throughout the 2010s and into the 2020s, Michel has maintained an active choreographic presence in Dutch and Flemish musical theatre. He choreographed *Shrek, de musical* in 2012 and shared choreography duties with Tim van der Straeten on the 2019 Dutch production of *Kinky Boots*, where he also served as director. His recent work includes choreography for *Mees Kees op kamp* in 2024, demonstrating sustained engagement with contemporary theatrical production.
Legacy & Impact
Michel's career exemplifies the vital role of ballet-trained choreographers in European musical theatre. His consistent output across Australia and the Low Countries, spanning classical ballet technique into commercial and avant-garde theatrical contexts, has shaped how dance movement functions in large-scale ensemble productions. For dancers working in musical theatre today, Michel's body of work demonstrates how classical training translates into directorial authority and choreographic innovation at scale.
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