DMM LEGACY INTERVIEW • THEN & NOW

Paige Fraser-Hoffman: From Ailey II to Broadway

In 2013, DMM interviewed a young Ailey II dancer who spoke openly about representation, technique, scoliosis and carrying Alvin Ailey’s legacy. More than a decade later, her path has expanded to Broadway, arts leadership and a dance-and-wellness community built around access.

By Dance Mogul Magazine | Contemporary / Legacy Interview | Original interview: April 23, 2013 | Legacy update: August 18, 2026

Before the Awards, Before Broadway

When Dance Mogul Magazine first spoke with Paige Fraser in 2013, she was completing her second year with Ailey II after graduating cum laude from the Ailey/Fordham BFA program. The interview captured an artist still early in her professional life, but already thinking deeply about representation, technical discipline, emotional storytelling, health and the responsibility of carrying a cultural legacy.

That is exactly why this conversation belongs in the DMM archive. Legacy is easier to recognize after the awards, the Broadway credits and the public recognition arrive. The more important editorial work is documenting the values, questions and obstacles that existed before the outcome was known.

The Original DMM Conversation — 2013

Dance Mogul: At what age did you develop a passion for the arts?

Paige Fraser: I started dancing when I was four years old at a small ballet studio in Westchester, New York. My teacher Leslie Otto really taught me the technical aspect of dance and gave me the foundation for ballet. When I began high school, I studied at PPAS/Alvin Ailey and learned other forms of dance, such as modern, Graham and jazz. It was in high school when I really decided that I wanted dance to be my career.

Dance Mogul: Growing up, who were your inspirations?

Paige Fraser: Growing up, my inspirations were dancers of different ethnicities with successful careers. I was that little Black girl who dreamed of being a ballet dancer. I attended many ballet summer programs, including ABT and the Rock School, at a young age and I would be the only African American dancer there. It became very discouraging, but I used dancers like Misty Copeland, Aesha Ash and Tai Jimenez as my motivation. When I started training at Ailey, I got to see the main company perform at City Center. There were so many dancers who looked like me on stage dancing different styles. That was when I realized ballet wasn’t my only option. Companies such as Dance Theatre of Harlem, Cedar Lake and Complexions were also inspiring to watch because of the diversity in dancers and repertoire.

Dance Mogul: Were your parents supportive of your dancing?

Paige Fraser: My parents have been extremely supportive of my passion for dance since the day I started. If it wasn’t for my mother, I wouldn’t have started to dance. She saw that I had a natural sense of rhythm as a child and signed me up for classes. As I got older and dance became more serious, it also became expensive. Leotards and pointe shoes aren’t cheap. I also attended a lot of summer programs that drained their pockets. I think the scariest moment for them was when I moved to California at age 17 and trained at the LINES/BFA program for a year. They motivate me when things get tough—to do great in life, but to always have a solid education as my backup plan.

Dance Mogul: What are the differences and similarities between training for a company like Ailey and training for a street-dance crew?

Paige Fraser: The difference with training to be in Ailey II versus a street-dance crew is that Ailey dancers must have a solid understanding of multiple dance techniques. Whether that technique is ballet, modern, Graham or jazz, you need to be able to do it all. The repertoire in Ailey II is very diverse and requires you to switch gears frequently. With street dance, I assume you would need to really know hip-hop and would not have to be as trained in ballet or modern; it is more stylized and improvised. The similarity is that both require a lot of practice and discipline. I’ve noticed dancers can relate in so many ways and feed off one another no matter what genre they specialize in.

Dance Mogul: Do Ailey dancers ever have friendly competitions among one another?

Paige Fraser: Dancers are naturally very competitive. I definitely believe in healthy competition because it pushes you to go above and beyond. If I see my coworker doing five pirouettes in warm-up class, I’m going to push myself to do more turns than I usually can. I think it is great to motivate each other in a positive way. Watching other dancers also allows me to see what I can learn and add to my dancing. I don’t ever wish to be another dancer because then I would lose my own assets, but we can always learn from one another.

Dance Mogul: What motivates you to continuously revisit the basics and train for the next level?

Paige Fraser: Revisiting the basics of dance is so important, even as a professional dancer. I started out dancing only ballet and I appreciate those years so much because it gave me a foundation. When you are on tour and preparing for performances, it is easy to lose sight of basic technique because you are doing various types of repertoire each night. I have to remind myself that sometimes simpler is better. It is also better to have a clean canvas when you start working with a new choreographer; once you learn the choreography, you can add artistry and expression. I constantly work on my technique, but I also try not to let it overpower my dancing. As professional dancers, we have to find that balance. You need technique to pull you through, but you also need to tell a story and touch the audience through movement.

Dance Mogul: What advice would you give the next generation of dancers?

Paige Fraser: The best advice I would give dancers of the next generation is to never give in. If you really want to dance professionally, believe that you can. I know a lot of artists are insecure and feel they may not be good enough for a career in dance. There is a job for everyone. It may not be Ailey II, DTH or LINES, but if you are really dedicated and focused, you will see many other opportunities. At around age 12, I was told I had scoliosis, a curvature in the spine, and the doctors discussed surgery and the possibility that I might not be able to dance. My family decided against surgery. Following that appointment, I could have easily given up dancing, but I knew I really wanted to pursue a career. I have to put in extra work to make sure my abdominals are strong enough to support my back, and I have to warm up properly before dancing. If you know what you want, go after it. No regrets and doubts.

Dance Mogul: Do you feel personally responsible for upholding the legacy Alvin Ailey worked so hard to build?

Paige Fraser: As a student and then a member of Ailey II, I have always felt responsible to be an Ailey ambassador. It is such a privilege and honor to be part of the organization, especially Ailey II. Only 12 dancers are selected for the company and we get to see the world. Mr. Ailey had a dream and a vision, and it is still relevant today. The fact that I get to perform Mr. Ailey’s Revelations is such an honor because it reflects memories he had as a child growing up in the South. Every time I hear “Wade in the Water,” I get emotional because it was my dream part and I am carrying on his legacy decades later.

Dance Mogul: What should dancers be speaking about with their elders, peers and the next generation?

Paige Fraser: I think dancers should really keep it real when they are talking to others. As dancers, we are human first. It is great to hear another dancer’s real-life experience. It is not an easy job to be a professional dancer on tour for eight weeks or performing on Broadway Tuesday through Sunday. I believe a dancer who also practices being genuine and humble is the best dancer and artist.

Dance Mogul: Is there anyone you would like to thank on your journey?

Paige Fraser: I would like to thank my parents and Darryl, my family, my first ballet teacher Leslie Otto, Alison Otto and Maryann Penzero, everyone at Alvin Ailey who helped me get where I am today, and my Ailey II directors Sylvia Waters, Troy Powell and Alia Kache. Thank you to all the choreographers and teachers I worked with because they believed in my talent and challenged me.

Watch the Journey: Dancing With Scoliosis

One of the strongest threads in Paige’s original DMM interview was her refusal to treat scoliosis as the end of her dance career. Years later, that experience became part of her public advocacy and community work.

Where Is Paige Fraser-Hoffman Now?

Major verified developments since the original interview include:

• Broadway and The Lion King: Her Lion King journey began in 2019. Current Broadway listings continue to identify her with the production, with responsibilities that have included ensemble dancing, swing coverage and dance captain work.
• Recognition: Her current Disney bio notes a Princess Grace Award in 2016 and Dance Magazine “25 to Watch” recognition in 2017.
• Education while performing: Paige earned a master’s degree in arts and cultural management from the University of Denver in 2024 while maintaining the demands of a Broadway performance schedule.
• Community advocacy: Her earlier Paige Fraser Foundation, launched in 2017, expanded access to performing arts and wellness programming. Her current work includes Turning the Paige Collective, an NYC-based dance-and-wellness community.
• Scoliosis-informed leadership: Turning the Paige Collective offers private training, workshops, “Dance is Healing,” a Spine Series and performance opportunities designed around professional training, care and belonging.

Why This Matters to Dance Mogul Magazine

DMM’s mission is not simply to document who became successful. It is to preserve the lived ideas that can help another person grow. Paige’s interview matters because DMM documented the internal foundation before the public résumé became longer: the need to see dancers who looked like her, the discipline of returning to basics, the decision to continue dancing with scoliosis, the importance of education and the responsibility to stay genuine.

Her later career makes the 2013 conversation more valuable, not less. The archive now shows a direct line between what a young artist said she valued and what she eventually built: performance at the highest professional level, education beyond the stage and programs that make dance and wellness more accessible to others. That is the kind of longitudinal cultural record independent media is uniquely positioned to preserve.

What the Next Generation Should Learn

• Representation matters, but so does preparation. Seeing possibility can open the door; disciplined training helps you walk through it.
• Your health story can become part of your leadership story. Paige did not hide the challenge of scoliosis; over time, she turned lived experience into informed advocacy and programming.
• Technique and humanity belong together. Her 2013 point still holds: dancers need technical tools, but audiences remember what the artist communicates.
• Education is not a betrayal of an artistic dream. It can increase the number of ways an artist can lead, manage, teach and build after or alongside performance.
• Build something that outlives the applause. A career can become a platform for access, mentorship and community—not just a list of credits.

Continue Learning With DMM

Explore the Dance Knowledge Hub for training, career and cultural resources, and visit DMM’s Health & Empowerment Series for dancer-centered wellness and resilience content.

2026 Update Sources

Current-career details were checked against primary or first-party sources before this update.

• Disney THE LION KING — Cast & Creative
• Playbill — Paige Fraser-Hoffman performer credits
• University of Denver — “Balancing Act” alumni profile
• Turning the Paige Collective — official site

FAQ

Who is Paige Fraser-Hoffman?

Paige Fraser-Hoffman is a Bronx-born dancer and Ailey/Fordham BFA graduate whose career has included Ailey II and Broadway’s The Lion King. Her current work also includes dance education, wellness advocacy and Turning the Paige Collective.

Did Paige Fraser-Hoffman dance professionally with scoliosis?

Yes. Paige discussed her scoliosis diagnosis in her 2013 DMM interview, and her current dance-and-wellness work explicitly identifies her lived experience as a professional dancer with scoliosis.

Why is this 2013 Dance Mogul interview important now?

It preserves Paige’s thinking before many later milestones arrived. Readers can compare her early ideas about representation, discipline, health, education and legacy with the career and community work that followed.

© 2026 Dance Mogul Magazine LLC  |  dancemogul.com  |  Inspiring Self-Empowerment Through Dance Culture