Zeak Tass | From the Moulin Rouge to Bangarra Dance Theatre

Published in Print March 2025 order now!

By Danielle Brown

Published in Print March 2025 order now!
Zeak Tass, aged 29, is an outstanding performer who has recently returned to Australia to continue his dynamic dance career with Bangarra Dance Theatre. Originally from Mackay, Queensland, Zeak completed high school at Mackay North State High School while training at the Lisa Payne School of Dance and Dance Express Mackay. After graduating, he moved to Newcastle to study full-time at the National College of Dance. His professional journey has taken him around the world, including performing at Disneyland Paris for three and a half years before securing an 18-month contract with the prestigious Moulin Rouge. While at the Moulin Rouge, Zeak rose to the position of lead soloist, even choreographing his own Can-Can solo. Now, he has reconnected with his cultural roots and joined Bangarra Dance Theatre, embracing an exciting new chapter in his career.

Zeak’s journey at the Moulin Rouge was a testament to his dedication and work ethic. Reflecting on his rise through the ranks, he shared, “I put my head down, worked hard, and made sure I learned multiple tracks throughout the show. There are eight boys in the ensemble, each with a permanent spot, but after my first month in my own tracks, I became a swing, so I had to learn all of them. I really focused on that, and I think they saw my hard work. I also gave 110% on stage every night.”

His commitment paid off when he was given the opportunity to choreograph a Can-Can solo. “One day, they asked if I wanted to create a Can-Can solo. They gave me a week or two to put some tricks together and choreograph a one-minute solo. The rehearsal directors, Cameron and Amanda, along with Associate Artistic Director Janet Pharaoh, reviewed it—and from there, I just kept doing it,” he explained.

Zeak’s success continued as he was put into rehearsals to learn the soloist role. “I was an understudy for the three lead male dancers for the rest of my time there. In my last six months, I was probably performing as a lead soloist once or twice a week, as there were a few understudies, and they rotated us,” he said.

Performing twice a night at the Moulin Rouge helped him master multiple roles effortlessly. “The repetition of the show—especially because we do two shows a night—I think doing that every night, it just sort of becomes second nature to me,” he shared.

Zeak credits his training at the National College of Dance for preparing him for the demands of professional performance. “The intense training we received at National College of Dance, along with the many performance opportunities, really helped. They treated us like professionals while still nurturing us as students who were learning and growing. When it came to performances, it felt like we were already in the professional world,” he said.

He also emphasised the importance of versatility in a dancer’s career, adding, “At National College of Dance, our training was very versatile. We did everything—classical ballet, contemporary dance, commercial contemporary, jazz, theatrical jazz, even musical theatre. They made sure we covered all areas in our training, which was really good because it came in handy.”

After nearly six years abroad, Zeak felt the need to return home and spend time with family. “I came home for a bit of a break and to be with my family. Sometimes when you’re overseas, you start to feel a little detached from home. Before the Moulin Rouge, I was actually working at Disneyland Paris for three and a half years, so I spent almost six years in Paris. I just felt like it was time to come back and explore opportunities here in Australia,” he said.

Zeak has always felt a strong connection to his Indigenous heritage. “In our hometown, all the Indigenous families know each other. Patrick Thaiday has always reached out to me whenever I’m home in Mackay, inviting me to be part of pieces he choreographs for NAIDOC Week and other festivals. I’ve performed with him at many of these events,” he shared.

His early exposure to Bangarra Dance Theatre also played a pivotal role in shaping his aspirations. “Since I was small, I watched Bangarra. They actually came to Mackay when I was about 13 and performed Mathinna. I remember seeing Uncle Patrick in the show, hanging upside down, and it was just incredible—I was mesmerised from that day,” he recalled.

After working with Patrick Thaiday for NAIDOC events in 2024, Zeak auditioned for Bangarra Dance Theatre. Patrick reached out to Artistic Director Frances Rings on Zeak’s behalf, setting the wheels in motion for his transition into the company.

Initially, Zeak was nervous about returning to contemporary dance after years in the commercial dance world. “I’ve been dancing theatrically—cabaret and jazz—for the past seven years, so I wasn’t sure if my contemporary style would still be at that level. But reconnecting with culture really helped me. It grounded me in the foundations of Indigenous dance and reminded me how contemporary dance is really just storytelling in a different way,” he said.

When Frances Rings called to invite him to Brisbane to take company class, watch performances, and attend lighting rehearsals, he was overwhelmed. “It was very overwhelming because I had all intentions of going back to Paris. I wanted to come home for about six to eight months, just to take a break. Then this incredible opportunity came up, and I was like, ‘Wow, you never know what’s going to happen. You just have to take every opportunity you get.’”

Zeak has now begun rehearsals with Bangarra and is embracing the artistic freedom that contemporary dance offers. “I’m actually about three or four weeks in now. It’s been incredible, both artistically and in terms of working with different choreographers. I’ve really been exposed to different points of view, which is exactly what I need to learn right now,” he shared.

He has also been impressed by the level of care at Bangarra. “They’ve looked after me really well here. They have all the resources you need: we have physios, we have massage therapists on-site at Bangarra, at the theatre, and in the studios. They make sure everyone is getting full attention, both for their health and their mind, mentally as well.”

Zeak reflected on his early dance education at school and its impact on his career. “Our teacher, Rosalyn Goodwin, is very enthusiastic about dance at school, and our assignments were quite difficult. We had to study a lot of companies, and we actually studied Bangarra in Year 11. I feel like it helped me a lot, and it sort of shaped my career path as well,” he said.

For young dancers, Zeak emphasises the importance of hard work, presentation, and resilience. “Stay humble, stay very true to yourself, work hard, and always present yourself very well—not just in rehearsal, but especially when going for auditions,” he advised.

He also highlighted the importance of handling criticism and rejection. “It’s a huge thing because it shapes who you are later on when you’re taking criticism. It’s such an important thing to understand about yourself—that you’re eager, you’re ready to learn, and most importantly, you’re not taking it personally.”

Zeak Tass’s journey is an inspiring testament to hard work, adaptability, and staying true to one’s roots. From the dazzling lights of Paris to the powerful storytelling of Bangarra Dance Theatre, his career embodies the beauty of artistic evolution. As he embarks on this new chapter, Zeak continues to prove that embracing one’s culture and passion can lead to incredible opportunities.