Choreographer Parris Goebel was born with a passion and love for dance.
It was a passion that led her to collaborate with the duo of Jennifer Lopez and Shakira, as well as Rihanna for their respective Super Bowl halftime shows in 2020 and 2023. “It doesn’t matter the scale, I’m giving it my all,” she says.
As creative directors and executive producers Lady Gaga and Michael Polansky devised the singer’s Coachella set and subsequent Mayhem Ball tour, bringing the duo with Goebel as choreographer.
The theme of the tour is a grand opera house with stone pillars and grand arches, which allows Gaga and her dancers to seamlessly transition from the opening moments when Gaga appears in a cage dress, and houses chaos dancers to two queens facing off during “Poker Face”.
Goebel says “Paparazzi’s” rainbow cape, worn when Gaga emerges from a sandbox, representing a grave, was the most challenging element, and also deeply meaningful. “To be an artist who can survive the test of time, which she is, is such a testament to her resilience, and how fearless and clueless she is,” she says.
Here, Goebel, who was recognized at Variations Women’s Impact Report, talked about her work as a choreographer and working with Gaga.
I went to the LA shows in July and saw you in the audience that night watching the show. How often do you go in to see the show and make sure everything is on track?
I usually watch the first shows and make sure everything is good. I have other stuff I’m working on so I can’t be on the road like that. So when I went to see it in LA, I really went to go and enjoy it.
Because we honor you for women’s impact reportlet’s go back. Where did your love for dance begin?
I was born with a passion and a love for dance. I don’t particularly remember a moment when I discovered the dance. I only have memories of dancing at home in my bedroom and living room. Most of us are just born with something that we really love, and we’re called to do, you know, everybody has a purpose. Some of us find it when we are children, and some of us find it later in life. I was blessed to find it when I was a little girl.
Well, here you are working with some of the biggest music stars in the world. What makes you agree to a collaboration?
Just really being a fan of their work. It has obviously changed over the years. Before, I definitely just said yes to everything because I couldn’t believe I was in LA and people wanted to work with me. Now, having been in the business for over 10 years, I am much more picky. I understand my worth much more. Does this artist or person excite me, and am I a genuine fan of their work? It’s probably the two things.
Over the course of your career, you’ve done two Super Bowl halftime shows. What’s the pressure like when you’re doing something for an audience of that size, and does the approach change at all?
My approach is always about the same. It doesn’t matter the scale. I give everything. I won’t stop until it’s done, and I just want it to be good; it doesn’t matter what the scene is. I approached everything with equal parts hard work and execution. I grew up in New Zealand, so I didn’t really understand the magnitude of the Super Bowl to be completely honest. I knew it was big, but I don’t know if I understood how big it was.
Going back to the Mayhem Ball tour, what was the collaborative process behind opening the show and Gaga coming out in this cage dress?
We landed on the idea of making an opera. Once I had it, my brain went crazy. When you think of a female opera singer, you think of these big, gorgeous dresses and the drama of it all. With Stefani, you take an idea and think, “How can this be bigger and more epic and stronger and bolder?” I got pretty literal about it in my head, like, what if it’s massive and larger than life? And then, how do you bring choreography into it? Okay, you put dancers in the skirt. It would be sick if there were tiers under her dress and it was a cage. We had created these mayhem characters that were extensions of Queen Mayhem. It’s always cool when an artist is elevated, but there was something pretty cool about her being elevated, but because of what she was wearing, because of the dress, which was really innovative. That idea has been done in different ways. But when Gaga does it, it’s different; it’s a microphone.
I am fascinated by the choreography of “Poker Face” and the idea of the two queens. What is the story behind the choreography there?
I kept thinking, “What are these images that people can resonate with and relate to?” With the checkerboard idea, we ran through that on different types of songs, and then I thought, “Wait for ‘Poker Face, that’s brilliant’.” It made sense, so we started developing the story of this push and pull with her and another version of herself. I thought a checkerboard fight to “Poker Face” was sick, and being able to tape the squares in the studio was really fun, plain and simple. Everyone knows how to play chess and putting that into her emotional storyline was really cool and powerful. It landed really strong.
What was the most challenging number to put together?
Probably “Paparazzi” with the cape and crutches, due to the logistics of the cape. I love that song. When listening to the text, it can also be taken vulnerable. Stef and I thought it would be great to hear a ballad version, this slow, emotional rendition of “Paparazzi.” She came out of the sandbox, which represented a grave. To be an artist that can survive the test of time, which she has, has been such a testament to her resilience, and how fearless and indomitable she is. the wings again. The cape represented that and showed how strong she is.
Kevin Mazur/Getty Images for Live Nation
Speaking of the tomb, what’s in it?
It’s cat litter.
What’s next for you?
I release my own music. I’m signed to Diplo’s label. And I just submitted a complete dance project that I’ve been working on all year, in my spare time. It comes out next month.
This interview has been edited and condensed.
