Ashley Wallen: Choreographer to the Stars
By Angela Gilltrap
When you question Australian performer Ashley Wallen about his choreographic credits, he finds it hard to remember eve
rything he’s done. A professional dancer from the age of 16, he never aspired to be a choreographer and on reflection, it surprises even him when he recounts the long list of celebrities he has had the pleasure of working with. Nicole Kidman, Charlotte Church, Mariah Carey, the Sugababes, Kylie Minogue, Atomic Kitten, Brian McFadden and Will Young are just some of the artists Ashley Wallen has starred alongside. At the young age of 26, he looks set to continue contributing to this impressive list of international friends and clients as his choreography travels the globe in film clips, international tours and television appearances influencing a new generation of performers.
Originally from the Gold Coast in Queensland, Australia, Ashley started training as a dancer at the age of 12 before landing his first professional job in Mystic, the resident show at Jupiter’s Casino on the Gold Coast. After finishing the season he moved to Melbourne and got his next big break, when he was chosen by Australian choreographer William Forsythe to dance in Kylie Minogue’s Live and Intimate tour. “The whole thing was amazing. To be honest I think I was in a bit of shock,” he explains. “Here I am, 17 years old turning up for work every day with Kylie Minogue!” After touring Australia and the UK, he went on to cast Kylie’s On a Night Like This tour, choreograph her Love Kylie underwear launch and recently appeared in and choreographed her Greatest Hits TV campaign.
It seems to be a recurring theme in Ashley’s professional
career: loyal celebrity clients continuing to request his services again and again. In the cut-throat world of entertainment, he thinks there are a number of factors that contribute to his on going success. “Firstly, I usually get on really well with the artists. Also my choreography tends to blend the old with the new – I love combining Fosse style choreography with new funky stuff, which I think keeps the choreography quite fresh.”
From shimmying with Kylie to treading the boards as a musical theatre performer, Ashley realised early on that commercial dance was what he wanted to do, despite touring with Fame, Sisterella and Footloose. “Musicals are not my thing,” he explains. “I love them; I love watching them; I’d love to choreograph one but I don’t really want to be in one. I sort of kept getting pushed into them because that was all the work there was in Australia.”
Having toured the UK with Kylie, and the US supporting Britney Spears, Ashley realised that if he were going to make a living as a commercial dancer he would have to move. Initially he had no grand aspirations of living in the UK permanently, however, having UK ancestry (his mother was born in Scotland) he was eligible to work there indefinitely if he chose.
By the time Ashley had made the move to London, he already had a number of credits to his name including parts in the movies Moulin Rouge and Scooby Doo, appearances for Atomic Kitten, Sugababes and Cliff Richard, and choreographic credits for the Sugababes, Dannii Minogue, Sophie Monk and Australian Fashion Week. But despite this, he was jobless for the first three months. 
He left Australia with only his suitcase and didn’t know anyone, but stuck it out through some lean times.
Ashley landed his first job in the UK dancing for Atomic Kitten at Party in the Park. From there he hasn’t stopped working, touring the world with Emma Bunton, Mariah Carey, Lemar, Victoria Beckham, Blue and Jamelia.
It’s quite amusing to hear him rattle off names of celebrities he works with without batting an eyelid. Perhaps it’s his parent’s quiet support that keeps him so grounded. “Sometimes I’ll call mum and go ‘Kylie Minogue has just asked me to choreograph some of her stuff’ and my mum’s like ‘Oh that’s nice dear’,” laughs Ashley.
Ashley’s big break in terms of choreography came when he was asked to choreograph for UK “Pop Idol” singer Will Young’s debut film clip. Sydney director Micheal Gracey, whom Ashley met through a mutual friend in Australia, was hired to direct the clip and suggested Ashley as the choreographer. However, Ashley is quick to point out that choreography is not all about who you know. “I think it does help to know people, there’s no doubting that. But if you’re good, you’re good. Nothing will change that. Knowing people might get you the job initially but you have to be good to keep it.”
Having successfully choreographed for numerous artists Ashley says that these days it’s hard for him to get a gig as a dancer. He normally dances in each piece he choreographs and has no intention of retiring just yet – at the young age of 26 he still feels he has a lot to give as a performer.
In many professions age plays an important role in credibility, however, Ashley says that he has not
found it a great obstacle in his career. “In Australia older choreographers do tend to be given all the work whereas in the US and the UK it’s younger dancers and choreographers that get a shot at it which I think is good. There’s always fresh blood coming through the ranks, which keeps you on your toes. It keeps things fresh.”
This year, Ashley is looking forward to getting back to work with Charlotte Church and Jamelia. After a relaxing break with his friends and family on the Gold Coast he is ready to head to his new found home to see what else is in store. Despite loving Australia, he’s quick to quell any thoughts of returning. “No way,” he says. “I’m going to live in the UK forever. I do love Australia but work wise, no way.”
So, it seems that one country’s loss is another’s gain as Ashley Wallen continues to create moves that are fresh and funky from his London base. Like his idols before him, his moves will influence a new generation of budding performers and professional dancers, which is an exciting, yet scary thought for this talented choreographer.
When I ask him what his most challenging job has been to date, once again he is lost in thought. “You know,” I say, trying to help him out, “one where you’ve gone, ‘I don’t know if I can pull this off’?”
“Oh,” he says, relieved, “I do that every job! I think the day that you don’t do that is when you should give up.”
