{"id":9,"date":"2017-08-01T12:13:16","date_gmt":"2017-08-01T12:13:16","guid":{"rendered":"http:\/\/dacdanceandfitness.com\/?page_id=9"},"modified":"2026-05-31T05:13:47","modified_gmt":"2026-05-31T05:13:47","slug":"about","status":"publish","type":"page","link":"https:\/\/dacdanceandfitness.com\/?page_id=9","title":{"rendered":"About"},"content":{"rendered":"\n
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About Dr. Andrew Carr<\/strong><\/h1>\n\n\n\n

Dancer. Scientist. Movement Specialist.<\/strong><\/p>\n\n\n\n

Movement is movement. The principles governing balance, power, reactivity, injury prevention, and longevity in the body are the same whether you are performing Swan Lake, competing at the junior national level in figure skating, stepping onto a Broadway stage, or training as a professional athlete. For over 30 years, Dr. Andrew Carr has worked at the intersection of all of them.<\/p>\n\n\n\n

His clients and students have gone on to principal roles in ballet companies, careers on Broadway and in contemporary dance, professional athletic careers, national-level skating competition, and \u2014 in a reflection of the discipline he brings to everything he teaches \u2014 careers in medicine, law, and science. Some now run their own dance schools and studios. What they share is a coach who lives at the nexus of art, science, and movement \u2014 driven by the same relentless pursuit of excellence in all three, and who brings that rare convergence to every person he works with.<\/p>\n\n\n\n

That standard comes from two careers most people don’t hold simultaneously. As a performer, Dr. Carr danced principal roles with major professional ballet companies for over a decade. As a scientist, he holds a Ph.D. in Bioinformatics from George Mason University and currently works as a data scientist developing AI and machine learning pipelines that drive novel therapeutic discovery \u2014 including programs targeting ALS and other serious diseases. These are not sequential chapters. They are parallel lives, and the thinking from each sharpens the other.<\/p>\n\n\n\n

That combination produces something most coaches cannot offer: the ability to teach artistry, not just technique. Expression in human movement is not magic. It has grammar, vocabulary, and learnable patterns \u2014 and Dr. Carr, drawing on decades of performance and a career built on recognizing and modeling complex systems, can decode those patterns and teach them. Most coaches can fix what your body is doing wrong. Dr. Carr can teach you to mean something<\/em> with what your body does right.<\/p>\n\n\n\n

His work extends beyond the studio into post-physical therapy rehabilitation and surgery preparation, supporting dancers, skaters, actors, and athletes through injury recovery with the same evidence-based, movement-first approach. He works in person in the San Francisco Bay Area<\/strong> and virtually with clients worldwide.<\/p>\n\n\n\n

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Performance Career<\/strong><\/h2>\n\n\n\n

Dr. Carr trained at the Washington School of the Ballet<\/strong> under Kevin McKenzie, Lupe Serrano, and Patricia Berand, and at Indiana University<\/strong> under Jean-Pierre Bonnefoux, Jacques Cesbron, Patricia McBride, and Violette Verdy \u2014 a lineage that connects directly to the Balanchine, Tudor, and Hawkins traditions.<\/p>\n\n\n\n

He danced as a Principal and Soloist<\/strong> with several professional companies, performing a broad repertoire spanning 19th-century classics, Balanchine neoclassicism, Tudor dramatic works, and contemporary choreography:<\/p>\n\n\n\n

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  • Kansas City \/ State Ballet of Missouri<\/strong> \u2014 Principal and Soloist roles including Siegfried in Swan Lake<\/em> (Ivanova\/Petipa), Nutcracker<\/em> Grand Pas (Bolander), Prodigal Son<\/em> and Serenade: Elegie<\/em> (Balanchine), Four Temperaments: Sanguinic & Phlegmatic<\/em> (Balanchine), Giselle<\/em> (Perrot\/Coralli), Offenbach and the Underworld: Grand Duke<\/em> and Lilac Garden: W. Cadet<\/em> (Tudor), Gala Performance<\/em> (Tudor), Gloria<\/em> (Lila York), Suite Kander<\/em> (Anne Reinking), and Carmina Burana<\/em> (Weber)<\/li>\n\n\n\n
  • Sacramento Ballet<\/strong> \u2014 Soloist in Cinderella<\/em> and Nutcracker<\/em>; Rythmetron<\/em> (Arthur Mitchell); Rubies<\/em> (Balanchine)<\/li>\n\n\n\n
  • Washington Ballet<\/strong> \u2014 La Fille Mal Gard\u00e9e<\/em> and Carmina Burana<\/em> (Nault); Nutcracker<\/em> Prince<\/li>\n\n\n\n
  • Chautauqua Ballet Company<\/strong> \u2014 Carmina Burana<\/em> (Bonnefoux), Sleeping Beauty<\/em> (Petipa), Tristan and Isolde<\/em> and The Machine<\/em> (Diamond)<\/li>\n\n\n\n
  • Indiana University Ballet Theater<\/strong> \u2014 Principal roles in works by Balanchine, Peter Martins, Jean-Pierre Bonnefoux, and others; featured performer in Feast of Ashes<\/em> (Alvin Ailey)<\/li>\n\n\n\n
  • EE Motion<\/strong> \u2014 Contemporary work including OHOT<\/em> and Soul Intent<\/em> (Balcos); guest appearances at the North Carolina Dance Festival and Charlotte Dance Festival<\/li>\n<\/ul>\n\n\n\n

    He has appeared as a guest artist with companies throughout the United States and internationally, including performances in Bermuda and a nationally broadcast appearance on PBS: A Grand Night of Singing<\/strong> (1995).<\/p>\n\n\n\n

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    Choreography<\/strong><\/h2>\n\n\n\n

    Dr. Carr is an active choreographer with over 25 original commissioned works to his credit. Notable works include White Witch<\/em> (full-length story ballet, 2017), Velveteen Rabbit<\/em> (full-length, 2015), Saraphuge<\/em> (winner of the CEDA Choreographic Award, 2013), and Arrival in C-minor<\/em> (Rachmaninoff, 2007). His choreographic work spans classical story ballets, contemporary concert works, and original festival pieces.<\/p>\n\n\n\n

    Selected recent commissions include works for the Open Door Dance Foundation Spring Concerts (2018\u20132021), the ODDF Spring Concert (2020\u20132021), and the Denver Dance Center Summer Intensive (2025). A full list of choreographic works and classical stagings is available on request.<\/p>\n\n\n\n

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    Education & Credentials<\/strong><\/h2>\n\n\n\n

    Dr. Carr holds two degrees that anchor his uniquely integrated approach to teaching:<\/p>\n\n\n\n