Work samples
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N.Semaj_2026 Reel_1.30.26
ntozake shange has shaped my work as a theatre artist in more ways than one. Since directing For Colored Girls in 2015, I have endeavored to center music, song, and dance in my work as working mojos (what shange essential elements of Black life and culture.) My theatre is filled with these mojos. As shange writes, “it is possible to start a phrase with a word and end with a gesture.” That philosophy continues to guide how I make work.
Movement is the foundation of how I tell stories. As a movement director, I work collaboratively with performers to build physical worlds that are precise, expressive, and emotionally grounded. My process prioritizes safety, clarity, and agency in order to meet performers where they are physically and expand their range through breath, alignment, rhythm, and intention rather than forcing a single aesthetic.
I approach movement as crucial dramaturgy: every gesture, weight shift, and spatial choice carries meaning. Whether working in theatre, opera, film, or
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Call Me By Any Other Name...Just As Sweet_LookbookThis is a lookbook for CALL ME BY ANY OTHER NAME… JUST AS SWEET is a queer reinterpretation of Shakespeare’s Romeo and Juliet detailing my producing, choreographic and writing work on the production.
Call Me is set in the pulsing heart of Club Verona, ruled by our illustrious drag queen and host, Mutha Laurence.
Inspired by the electric energy of the ballroom scene, drag culture, and underground club life, this immersive production plunges into the complexities of queer love, grief, pleasure, and mortality. CALL ME boldly questions the very purpose of love itself. What unfolds is a fierce, poetic, and unapologetically raw night of dance, intimacy, and theatrical rebellion—exploring the edges of queer utopia while asking: what does it truly mean to love—and to lose?
Part party. Part drag show. Part nightclub. Part play.
Filled with love, sex, drugs, and grief, we invite you to spend a night of debauchery, tenderness, and unapologetic queerness at Club Verona.On a camping trip, three friends
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We Will Stand Here (CLIP FROM SPELL #7)
In this scene from Spell Number 7 by ntozake shange, our ensemble runs to escape a white mob attacking their space. As they shed their minstrel masks - their forced identities - some more difficult than others, Alec leads us in a moment where the Black and Latin bodies on stage can stake a claim on their space and reclaim their history and identity.
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Slime Opening
This is an excerpt from the play "Slime" by Bryony Lavery, directed and choreographed by Nigel Semaj, with a music score by Sarah O'Halloran. This choreography serves as the opening to the "more-than-human" piece currently being developed by choreographer/movement director Nigel Semaj.
About Nigel
NIGEL SEMAJ (they/them) is a Baltimore-based director, movement director, and educator originally from Washington,D.C. As an Assistant Professor of Performance and Affiliate Assistant Professor of Gender, Women’s, and Sexuality Studies at the University of Maryland, Baltimore County, Nigel’s work is rooted in fostering inclusive and equitable theatrical spaces through anti-racist pedagogies and restorative practices.
Nigel’s directing career spans a wide range of work, including the… more
Call Me By Any Other Name...Just As Sweet (THEATRE) (WRITER. PRODUCER. CHOREOGRAPHER)
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Call Me By Any Other Name...Just As Sweet_Lookbook
This is a lookbook for CALL ME BY ANY OTHER NAME… JUST AS SWEET is a queer reinterpretation of Shakespeare’s Romeo and Juliet detailing my producing, choreographic and writing work on the production.
Call Me is set in the pulsing heart of Club Verona, ruled by our illustrious drag queen and host, Mutha Laurence.
Inspired by the electric energy of the ballroom scene, drag culture, and underground club life, this immersive production plunges into the complexities of queer love, grief, pleasure, and mortality. CALL ME boldly questions the very purpose of love itself. What unfolds is a fierce, poetic, and unapologetically raw night of dance, intimacy, and theatrical rebellion—exploring the edges of queer utopia while asking: what does it truly mean to love—and to lose?
Part party. Part drag show. Part nightclub. Part play.
Filled with love, sex, drugs, and grief, we invite you to spend a night of debauchery, tenderness, and unapologetic queerness at Club Verona.On a camping trip, three friends
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Production Still for Call MeMutha Laurence and the Good Twinks of Verona perform Proud Mary by Tina Turner
In a opening lip sync number, Mutha Laurence comes out dressed as a nun pulled the habit off to reveal beautiful gold sparkling dress.
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Production Still for Call MeSet to Beyonce's My House, the Montagues & the Capulets face off in a dance/vogue battle in a dance version of the prologue.
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Production Still for Call MeIn a lip sync peformance to My House by Beyonce, the two houses compete against each other in a dance/lip sync battle number that serves as a sort of prologue to our story.
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Production Still for Call MeMercutio, the life of the party has dream where they imagine life as if the fued never occured, Meructio vogues the house down in this lip sync number.
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Production Still for Call MeOpening the ball, Lady Capulet performs HER by Megan Thee Stallion in a fierce lip sync battle!
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Production Still for Call MeVirgo (our version of the Nurse) performs in a high paced lip sync that ends off the Capulet's Ball.
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Production Still for Call MeBenvolio, who has been trailing after Mercutio all night finally finds them and attempts to have a serious conversation about their relationship.
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Production Still for Call MeIn Act II the curtains open, expanding the space and Mutha Laurence gives a eulogy for Mercutio. The space exposed, no longer sexy ligting, all the pains of the world have no where to hide in this act.
spell #7 by ntozake shange (THEATRE) (DIRECTOR/CHOREOGRAPHER)
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We Will Stand Here (CLIP FROM SPELL #7)
In this scene from Spell Number 7 by ntozake shange, our ensemble runs to escape a white mob attacking their space. As they shed their minstrel masks - their forced identities - some more difficult than others, Alec leads us in a moment where the Black and Latin bodies on stage can stake a claim on their space and reclaim their history and identity.
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FREEDOM Choreography from Spell #7
In this dance our magician and ensemble fight for freedom.
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Production Still of Spell #7In this photo a Mr. Interlocutor style character arrives at the top of the play, he makes an entrance to the set, a LARGE glowing Black face minstrel mask looming over the space.
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Production Still for Spell #7In this photo the ensemble peer out from behind the minstrel mask, as if children playing hide n seek.
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Production Still for Spell #7At the end of a big minstrel performance the ensemble ends in jazz hands.
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Production Still for Spell #7The previous jazz hands move into a hands up don't shoot position.
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Production Still for Spell #7The ensemble brings to life a story about a woman meeting a man on a bus.
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Production Still for Spell #7Two characters share a monologue about Black hair.
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Production Still for Spell #7In this moment time stands still, our magician slams his cane onto the ground and in a moment our ensemble feels the burdens of being Black and colored in this world.
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Production Still for Spell #7Our magician pulls the ensemble our of their pain and declares "crackers are born with the right to be alive. Im making ours up right here, right now."
VOYAGES Chapter Seven: SUBMERGED (DEVISED THEARE/INSTALLATION/PUPPET) (MOVEMENT DIRECTOR)
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VOYAGES Chapter Seven Lookbook/Movement ConceptThis lookbook contains my movement concepts for Voyages, illustrating how ideas translated from initial concept through rehearsal and into production.
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Production Still for Voyages Chapter SevenThe water ensemble performs their first piece of choreography on the movelators at The National Aquarium in Baltimore MD. Essentially choreographing on a cross between a turntable and an escalator, I was thrilled to be able to choreograph as a central part of the show four disintct water sequenses that would occu every 20 minutes in the middle of the aquarium.
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Rehearsal Photo for Voyages Chapter SevenRehearsal shot of the water ensemble rehearsing in the Submersive space.
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Voyages Movelator Process to Production Video
The water ensemble performs their first piece of choreography on the movelators at The National Aquarium in Baltimore MD. Essentially choreographing on a cross between a turntable and an escalator, I was thrilled to be able to choreograph as a central part of the show four disintct water sequenses that would occur every 20 minutes in the middle of the aquarium.
This the first movelator sequence from Rehearsal to Performance.
Choreography by Nigel Semaj
Music by Glenn Ricci
Performed by
Z Leland, Michael Duffy, Christian Price Burnett,
Annabelle Sharp, Gwyneth Watson & Nigel Semaj
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Production Still for Voyages Chapter SevenMovement/dance outside of the movelator choreography was devised in pairs and pairs were split across three floors of the aquarium.
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Production Still for Voyages Chapter SevenThis photo shows the prepping of getting the performers ready to be lifted, six water ensemble performers swirl to create space for the performers to prep.
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Production Still for Voyages Chapter SevenAlong with choroegraphing the water ensemble, I help to devise fish moment and performer choreograpy for the peformance. One such performer was working with the perfomer here playing a blue crab.
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Production Still for Voyages Chapter SevenThe takeoff was a movement sequence lifting two "space fish" performers into the air to simulate flying in space. The water ensemble was tasked with these lifts. I both choreographed and performed these lifts.
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Production Still for Voyages Chapter Seven
SALTY (THEATRE) (MOVEMENT DIRECTOR. ACTOR)
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Salty Movement Concept/LookbookThis lookbook contains my movement concepts for Salty, illustrating how ideas translated from initial concept through rehearsal and into production.
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Production Still for SALTYThis movement sequence is one that showcases how all the characters deal with the loss of a penguin and a loved one. Their lives have changed over the course of the play and this sequence showcases that. The walls open up and Des moves through until she meets up with the Fox who has also moved on. Creating this movement sequence was a moment to bring a peaceful conclusion to our characters.
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Production Still for SALTYThis movement sequence is one that showcases how all the characters deal with the loss of a penguin and a loved one. Their lives have changed over the course of the play and this sequence showcases that.
Time moves slowly all at once is the name of the sequence.
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SALTY "Time Moves Slowly" Process to Production
At the emotional height of the play, the playwright calls for a transition where "time slows all at once. In approaching this moment, my concept focused on how life continues for the characters who remain, and what it means to “move on” for those who disappear.
This rendering was created for the director using Procreate. In this video, you will first see the storyboard rendering, followed by rehearsal footage and the final performance, illustrating how the work evolves from page to stage.
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Production Still for SALTYIn the opening sequence, we see the penguins in the Zoo wake up, eat, and play with one another.
It was inspired by Pixar openings to set the tone for the world, and the playfulness of these characters.
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Production Still for SALTYIn the opening sequence, we see the penguins in the Zoo wake up, eat, and play with one another. The sequence ends with the penguins using their pebbles to spell out SALTY.
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SALTY Opening Sequence
Ala Pixar film openings I wanted to open salty with a fun sequence that would showcase the penguins playfulness their attempts at cheering one of their own up l up eating, setting the tone for animal behavior and showing the relationships between the penguins. This movement sequence was designed to bring the audience into the lightheartedness of the show and to show the playfulness of the adelie penguins.
Choreography by Nigel Semaj
Music by Mark Navarro
Performed by
Will Murphy
David Brasington
Vicky Graham
Sydney Marks
Will Murphy
Griffin DeLisle
Caitlin Weaver
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Production Still for SALTYIn the fox's entrance I slide through two panels "a hole in a fence of the zoo*. This is the first moment the fox is introduced about thirty minutes into the play so it becomes a new moment for the audience and adds a predator to our world. In this moment the Fox comes out and then proceeds to break the fourth wall.
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Production Still for SALTYAdditionally, my work was to also develop the penguin movement vocabulary for the production. This included developing the movement language for two penguins who would molt onstage.
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Production Still for SALTYThe fox interacts with the audience for 95 percent of the play until the find themselves in the same enclosure with Silver the penguin. In an instance their animalistic side takes over and they kill a beloved penguin.
Beethoven's Fidelio (OPERA) (MOVEMENT DIRECTOR/FIGHT CHOREOGRAPHER)
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Fidelio Concept/Movement LookbookThis booklet contains my pre-production notes, plans, and conceptual materials, including stage direction drawings, storyboards, and actor placements. I create these booklets for all of my productions not only as a way to map out my ideas, but also to clarify intention, track process, and support collaborative communication throughout rehearsal and production.
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Production Still from FidelioIn this dream sequence we see how Stan, a Black activist was wrongfully taken and imprisoned. This sequence was choreographed with the prison fences showing Stan navigating injustive and imprisonment and seeing with his wife Leah attempt to get to him.
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Production Still for FidelioIn this dream sequence we see how Stan, a Black activist was wrongfully taken and imprisoned. This pose is of him being taken into custody.
This sequence was choreographed with the prison fences showing Stan navigating injustive and imprisonment and seeing with his wife Leah attempt to get to him.
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Production Still for FidelioPizarro’s Act I aria, “Ha! welch ein Augenblick!” (“Ha! What a moment!”), is a threatening song in which the governor celebrates his power and plans to kill his prisoner, Florestan (STAN in our adaptation), before the minister discovers the illegal imprisonment. In the aria, Pizarro shows his cruelty and fear of being exposed, deciding to murder Stan himself to protect his authority. I choreographed some violent moments for him to explore and utilise in his aria.
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Production Still for FidelioPizarro’s Act I aria, “Ha! welch ein Augenblick!” (“Ha! What a moment!”), is a threatening song in which the governor celebrates his power and plans to kill his prisoner, Florestan (STAN in our adaptation), before the minister discovers the illegal imprisonment. In the aria, Pizarro shows his cruelty and fear of being exposed, deciding to murder Stan himself to protect his authority. I choreographed some violent moments for him to explore and utilise in his aria.
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Production Still for FidelioLeah, Stans wife goes undercover to save her husband. Roc, one of the guards has no idea what Leah is there to do and he leads her to Stan.
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Production Still for FidelioRoc goes to Stan who is unwavering. Stan calls Roc out for being a Black man who is doing this to another Black man, Roc doesnt like this and almost attakcs him.
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Production Still for FidelioIn a duet between Pizzaro and Leah. I had to design and choreograph a fight seqeunce that would not interupt their singing but still be interested and dynamic to watch. Leah has revealed herself to be Stans wife and stops Pizzaro from killing Stan.
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Production Still for FidelioLeah finally saves Stan, the two are united and embrace before the set begins to shift and the movement from opening returns. Leah wakes up. Stan is till imprisoned but she is not emboldened to make a real change.
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SALTY Opening Sequence
The opening of Fidelio depicts Stan’s arrest for protesting, reimagined through a dreamlike movement sequence experienced by his wife. The sequence traces her witnessing his arrest and imagining how she might infiltrate the prison system by disguising herself as a guard. Rather than using formal ballet, the movement language draws from the imagery of fences, confinement, and stark protest visuals. Paired with the beauty of the arias, this opening sequence offered a reimagined introduction to opera (one that many audience members had not experienced before.)
Choreographed by Nigel Semaj
Director & Adaptor // Ethan Heard
Music Director & Arranger // Daniel Schlosberg
Co-Book Writer // Marcus Scott
CAST
Roc // Derrell Acon
Marcy // Victoria Lawal
Stan // Curtis Bannister
Leah/Lee // Kelly Griffin
Pizarro // Corey McKern
the serpent under't work in progress (UPCOMING) (EXPERIMENTAL DANCE/THEATRE) (DIRECTOR. WRITER. CHOREOGRAPHER)
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tsu opening choreography
This is the opening choreography DRAFT for the serpent under't in the rehearsal room.
COPYRIGHT ---NIGEL SEMAJ
Choreography by Nigel Semaj
Original Music by Dylan Glatthorn
Performed by:
Gwyneth Watson
Jadyn Fleming
Hassan Aziz
Michael Duffy
Christian Price-Burnett
Divine Iweha
& Annabelle Sharp
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the serpent under't lookbook.concepts.This is my production pitchdeck for the serpent undert' which contains my concepts for, illustrating how ideas translated from initial concept through rehearsal and into our workshop research & development time.
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the serpent under't research and development (ACT ONE)
This is the (ACT ONE) workshop intensive for the serpent under't held at UMBC in the Fall of 2025
COPYRIGHT ---NIGEL SEMAJ
Choreography by Nigel Semaj
Original Music by Dylan Glatthorn
Performed by:
Gwyneth Watson
Jadyn Fleming
Hassan Aziz
Enzo Leone
Christian Price-Burnett
Divine Iweha
& Annabelle Sharp
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tsu out damned spot_R&D
This is the workshop of OUT DAMNED SPOT in the serpent under't intensive held at UMBC in the Fall of 2025 ---- COPYRIGHT ---NIGEL SEMAJ
Adapted by Nigel Semaj
Choreography & DIrection by Nigel Semaj
R&D Design by N.Semaj & Company
Music by Dylan Glatthorn
Performed by
Grace Marsh, Gwenyth Watson. Jadyn Fleming
Enzo Leone. Christian Price-Burnett
Divine Iweha. Hassan Aziz, Lucas Sanchez, Milo Docher
& Annabelle Sharp
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the serpent under't_r&d intensive scriptThis is the research and development intensive script for the serpent under't
We workshopped text, movement and dance for one week, and hosted our composer for three days where new sounds and music were composed.
This is a works in progress script.
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out damned spot r&d scriptThis is the research and development intensive script for the serpent under't - specifically for the adaption of out damned spot.
We workshopped text, movement and dance for one week, and hosted our composer for three days where new sounds and music were composed.
This is a works in progress script.
For Hylas: a playlist (DANCE/THEATRE) (WRITER, DIRECTOR, CHOREOGRAPHER)
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For Hylas Opening Sequence (REHEARSAL FOOTAGE)
The is a clip from the first draft sequence to of the opening number. Hercules arrives at the realm of Clio, the keeper of history. This opening sequence is an attempt of the memories to reconnect with Hercules having been ripped from him. This rehearsal footage demonstrates my use of non-dancers in dance theatre pieces. Finding how movement can be utilized without “formal” dance training. This piece, much like most of my work, is an example of how I use the bodies I have in space to form movement and dance.
For Hylas is a movement/dance piece focusing on the love story of Hercules and his lover Hylas.
Conceived by Nigel Semaj
Written by Calley Anderson and Nigel Semaj
Directed and Choreographed by Nigel Semaj
Featuring Philip Lopez as Hercules, Antonio De La Vega as Hylas, Jazmyn DeAnna Boone as Clio, The Muse of History, Carla Maureen Smith as Athena, Goddess of Wisdom and War, Caroline Hertz as Hera, Michael Spara as Jason, Racquel Jean-Louis as Megara, and Riley Jo Payne as The
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Production Still for For HylasA dance performed to a distorted version of the siren's song from O' Brother Where Art Thou, Hylas is lured and then stolen by water nymphs. A choreographed dance using actor driven found lighting.
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Production Still for For HylasHercules is desperate for his memories to be returned to him after they are threatened by Clio the Muse of History.
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Production Still for For HylasIn this image, Hercules, having traveled with Hylas takes a break from the labors to join Jason on his quest to find the golden fleece.
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Production Still for For HylasSet to music, Hercules finally admits his feelings for Hylas and helps to set the mood with help from the surrounding wood nymphs.
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Production Still for For HylasIn a choreographed dance, Hylas and Hercules find themselves falling in love and ultimately make love.
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Production Still for For HylasHercules admits his feelings to Hylas, the two share a passionate first kiss.
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Production Still for For HylasIn a nightmarish movement sequence, Hercules' memories become aggressive, pushing him to the final memory.
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Production Still for For HylasIn this opening sequence Hercules goes to his sisters realm to investigate why he has holes in his memory. His sister, the muse of history CLIO lives in a realm that resembles a garden. When he gets there he finds familiar faces who spring to life and gravitate towards him.
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Production Still for For HylasHercules finds out that Clio was the one who removed the memories of Hylas from Hercules. In a fit of rage Hercules grabs her and demands his memories are returned.
Slime (DANCE THEATRE) (DIRECTOR. CHOREOGRAPHER)
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Slime Opening
This is an excerpt from the play "Slime" by Bryony Lavery, directed and choreographed by Nigel Semaj, with a music score by Sarah O'Halloran. This choreography serves as the opening to the "more-than-human" piece currently being developed by choreographer/movement director Nigel Semaj.
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Slime Puppet/Dance Reel
This is an excerpt from the play "Slime" by Bryony Lavery, directed and choreographed by Nigel Semaj, with a music score by Sarah O'Halloran. This choreography is a clip of one dance sequence featuring layered puppet clips.
In Slime the animal puppets were threaded throuhgout the production and used in a myriad of ways. They were centra characters to the story telling. This was my first production working with and choreographing movement for puppets. It was a challenge, but so rewarding.
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Slime Production BookletThis book contains an overview of concept, vision, photos that correlate to both stage direction and dialogue along with reviews.
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The Colored Museum (THEATRE) (DIRECTOR)
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Production Booklet & Gallery for The Colored MuseumThis is a production booklet and gallery of photos aligned with corresponding pages.
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Director Concept Book for The Colored MuseumThis is my directors concept book and research for The Colored Museum by George C. Wolfe
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Production Still for The Colored Museum“Cookin’ with Aunt Ethel” is the second exhibit in The Colored Museum by George C. Wolfe. The sketch features Aunt Ethel, a deliberately exaggerated, “down-home” caricature of a Black woman, who appears in a bandana and adopts the tone of a cheerful cooking show host. Through biting satire, she instructs the audience on how to “mix up” a “batch of Negroes,” using humor and irony to expose and critique internalized racism, respectability politics, and the damaging power of stereotypes.
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Bloodshot (THEATRE/LIVE MUSIC) (DIRECTOR)
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Bloodshot Production Concept/LookbookThis is my production overview for Bloodshot contains my concepts for Bloodshot, illustrating how ideas translated from initial concept through rehearsal and into production as well as stage pictures, reviews and rehearsal photos.
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Rehearsal Group Photo
