Not just another song and dance man

Multi-talented performer Don Jordan reflects on his career past and present

By Carmen J. Michaud
Photography by James St Laurent

In the 60s, teens in Montreal tuned into Like Young on CFCF-12 on Saturday evenings. It was a dance programme that featured pop singers of the day, some local and some American. There were go-go dancers perched on columns that we could emulate. There were other shows like American Bandstand with Dick Clark or Hullabaloo or Jeunesse D’Aujourd’hui with Pierre Lalonde, but most teenagers, especially English-speaking, watched Like Young with Jim McKenna. Don was the lead dancer for six years.

And many of us had a crush on Donnie Jordan. He was tall and thin and just so cool!

Donnie would also appear in fashion shows at Eaton’s. The major department stores often had fashion shows on Saturdays. Small stages were set up in the clothing departments and we danced along with the models.

Years later, my friend Wayne invited me to join him for a small party of friends of his, Phillip and Don. We went up the elevator at the Haddon Hall and Phillip Cole opened the door with what I came to know as his usual joyous exclamation, “Face!!!” He hugged Wayne and we were introduced. Then Phillip introduced me to Don. No! Donnie!!! At last, I had met Donnie!!!

Over the years, we attended each other’s parties and shows and events.

In 1978, Don and Phillip opened the Jazz Dance Factory Inc. in Town of Mount Royal where they remained for nine years and then moved to Ste. Catherine St. West, which they continued until 1994. They had many students of different strengths and dedication. There were aspiring dancers and professionals, actors and singers working on movement, high school students and mature students stretching their muscles.

Don had been a member of the repertory theatre company of The Revue Theatre for 7 years. The 1984-85 season of The Black Theatre Workshop saw the presentation of For Coloured Girls Who Have Considered Suicide When The Rainbow Was Enuf at the then Saidye Bronfman Centre under the direction of Don and Lorena Gale. This production featured some of the most talented Black actresses in the city. Wayne and I left in tears.

As Artistic Director of The Black Theatre Workshop, Don mounted another production of For Coloured Girls… at the Centaur Theatre for the 86-87 season with many of the same actresses. The production was once again a smash hit and had sold-out audiences throughout its extended run.

‘Growing up with an American musician from New York was quite the experience. It wasn’t until many years later that I realized just how special it was.’

Having appeared in major theatrical release movies, he has been seduced and killed by Ashley Judd in Eye of the Beholder and played right hand Mookie to Eric Roberts in Dead End. To date, he has been seen in over 80 film and television productions. He will next be seen in Hollywood’s release, Chaos Walking. In this, he plays the father of the star of Broadway’s The Color Purple, Cynthia Erivo.

In recent years, Don has been featured in highly popular video games like Tom Clancy’s Splinter Cell as the voice of Irving Lambert and in Deus Ex. as the voice of General Sheppard and Morgan Everett, bringing him new fans from the gaming world.

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I know your father was renowned Montreal trumpet player, Buddy Jordan. As the kid of a musician of that time myself, I know that it’s not a usual upbringing. We must stay quiet during the day cause “dad had a show last night”. But Buddy came from New York and I’m sure his experiences were particular.

Growing up with an American musician from New York was quite the experience. It wasn’t until many years later that I realized just how special it was. For example, it was nothing for me to wake up 4 o’clock in the morning and find, from time to time, in the living room my dad’s friends: Count Basie, Duke Ellington, Lionel Hampton, Ella Fitzgerald, Louis Belson, Miles Davis, and Louis Armstrong (who always called my dad his nephew). My mom would be in the kitchen making food.

And did your mother, a good Jewish girl, prepare latkes?

My mom was a great cook and made a cornucopia of delectable dishes but my two favourites were spaghetti sauce and her potato knishes. Oh, those fabulous knishes. My mouth is watering at just the memory of them.

How did you get the job as a dancer on Like Young? Was there an open call?

There was a dance contest on Like Young that lasted for 13 weeks and, at the end of it, I won the competition. Immediately afterwards, the producers asked me if I would be interested in being the lead dancer on the show. As a 15-year-old-kid who only lived to dance and my American family still struggling with civil rights issues, I instantaneously accepted. This made me the first Black performer featured on weekly television shows in Quebec.

‘There was a dance contest on Like Young that lasted for 13 weeks and, at the end of it, I won the competition. Immediately afterwards, the producers asked me if I would be interested in being the lead dancer on the show.’

They then held auditions for the remaining dancers of which they asked me to judge and choose the final dancers. It was happening all so very quickly and I had no idea what responsibilities I would be accountable for.

I remember minutes after the very first show I was asked to meet with the producer of the show who sat me down and informed me that from that day forward I would have to be mindful of everything I said and how I acted because I was now representing my entire race. That floored me but I adhered to and accepted my responsibility to this day.

As well as working on Like Young, I got a year’s contract on Fleurs d’amour, Fleurs d’amitié with Nanette Workman and Tony Roman.

How did you transition from the job at Like Young to the next incarnation… so to speak?

After leaving Like Young in 1972, I went on to dance on numerous television specials, in theatres, and venues such as The Kennedy Center for Performing Arts in Washington D.C. and choreograph TV commercials. I also worked with dance companies such as The Cole Harrison Dance Company in Washington and The Beaumont Ballet Theatre in Texas.

I don’t think I ever transitioned from that job per se because the modelling, the acting, the choreographing, and the singing were all happening at the same time so, when there was no work in one area, the gaps were always filled with another aspect of the business, and many times they all were happening simultaneously.

I became one of the most sought after fashion models in Canada and worked throughout Canada, the U.S., and Europe. In 1969, I was the first Black model to be featured on the cover of the men’s fashion magazine Men’s Wear of Canada and continued working as a model for 22 years.

And what are your best memories of that time?

My very best memories of that time are undoubtedly the stars that I worked with such as The Temptations, The Dramatics, Patti Labelle, The Funkadelics, Joe Tex, and so many more, but especially my long time friendship with Stevie Wonder.

When and how did you meet Phillip Cole?

I was performing in a show at Le Caf’Conc’, a dinner theatre extravaganza located at the Chateau Champlain, where I was lead dancer and featured singer. Phil was in town from the States on vacation and taking dance classes at Les Ballets Jazz. Some of the dancers from the company told him that he should join them to see this show that was in town and he accepted. After my show, I was introduced to Phil by the dancers he came with because I knew them (the dance community… everyone knew everyone).

‘In 1978, Don and Phillip opened the Jazz Dance Factory Inc. in Town of Mount Royal where they remained for nine years and then moved to Ste. Catherine St. West, which they continued until 1994.’

When did the two of you decide to open the Dance Factory? How did it come about? And what were the early challenges?

Phil had accepted a contract with the company of Les Ballets Jazz de Montreal and when the touring contract was over he decided to leave the company. I was teaching at a studio called Body Language and they decided to sell the business. Phil and I discussed the possibility of opening our own school and focus on Jazz, Ballet, African, and Modern techniques and we bought the business and changed the name.

We created a professional dance program of twelve aspiring dancers who have gone on to work professionally around the world. Three of the dancers have opened their own dance schools. One was hired by The Toronto Dance Theatre and now works as a teacher and choreographer in Italy. Another became a Broadway star in the leading female role of the musical Rent. Another has created an aerial act with her partner and has travelled extensively around the world. Another has formed her own dance company. The remaining dancers have worked as commercial dancers and are now teaching.

And a few of your students were featured in our piece on the Shaar Players. What was the first play that you directed and did you have any apprehension about taking on the task of director?

The first show that I directed was in high school called Flight Into Danger. Any project that I have ever worked on in any genre of the arts in my entire life has had some semblance of apprehension. It wasn’t until much much later in my career that I realized that all artists are gripped by fears and insecurities, but it’s all in how they deal with those issues which will determine whether or not they can handle being “in the business”. I’ve been lucky, I guess, cause I’ve never done anything else my entire lifetime.

What has been your most satisfying theatrical or dance experience?

Too many to actually choose from. I’ve been blessed!

Don, you have been recognized by the Montreal acting community not only as an actor but as an advocate for actors. You served as the President of ACTRA Montreal from 2007-2016. In 2010, you received the Black History Award from the City of Montreal. The Black Theatre Workshop awarded you the Dr. Martin Luther King Jr. Achievement Award in 2018. And, also in 2018, you were presented with the ACTRA Montreal award for excellence.

In January 2021, I’m scheduled to receive honours from The International Association of Blacks in Dance.

Which of these stands out as your most cherished?

I’ve never been one to think about awards and accolades and I can honestly say that there is not one that I cherish over another. To be fully truthful, I’m still in shock that I am the recipient of any of these awards.

‘I can probably sum up my views on the state of the world in three words which individually and combined have contributed to the ills of humanity …Greed, ignorance, and power!’

You are one of the success stories in the creative world. You have made a living in the arts. My dad always discouraged me from following that path. As a musician, he knew how hard it could be. But there is also great satisfaction in doing what you love. How have you not only survived but achieved respect and admiration in the fields of dance, theatre and films?

I guess I can sum it up quickly. Love of the arts and what I do, persistence, and luck!

In these ever-evolving times in politics, race relations, growing discord and a lack of support for the arts, what would you like to see happen in the world? Or…  if you could be King of the World for a day what would you change?

I could probably go on forever individually re politics, race relations, homophobia, police brutality, world hunger and health, climate change, and the lack of funding for the arts, but I shall refrain from going on incessantly and attempt to encompass most topics together. I can probably sum up my views on the state of the world in three words which individually and combined have contributed to the ills of humanity… Greed, ignorance, and power!

‘In recent years, Don has been featured in highly popular video games like Tom Clancy’s Splinter Cell as the voice of Irving Lambert and in Deus Ex. as the voice of General Sheppard and Morgan Everett, bringing him new fans from the gaming world.’

So many issues could be solved if those three attributes could be addressed. If we could shake up the foundation that societies have been built upon. There’s a lot of restructuring that needs to be done worldwide and I fear that may never fully come to fruition. If I had a magic lamp to rub and had only one wish, I would wish to end the world of suffering in all aspects, and for me, that would address the majority of the world’s problems.

What do you consider the most overrated virtue?
Sincerity

On what occasion do you lie?
When I’m ill and tell my family I’m OK.

Which words or phrases do you most overuse?
I hear you!

If you could change one thing about yourself, what would it be?
My age. Or to be younger with the knowledge I have today.

What is your most treasured possession?
My Zaida’s pocket watch.

Which talent would you most like to have?
To play the piano.

Which historical figure do you most identify with?
Martin Luther King

Which living person do you most admire?
Barak Obama

What do you most value in your friends?
Love, loyalty, and laughter.

What is your idea of perfect happiness?
Sharing life with someone who always has your back.

Photography: James St Laurent

Read also: other articles by Carmen J. Michaud