Rivas (BFA ’24) brings a Broadway-caliber performance to cruise ship stages while pursuing artist advocacy and management

When Hayden Rivas (BFA ’24) steps on the stage aboard Norwegian Cruise Lines each evening, performing in their Broadway-scale production of Beetlejuice, he’s drawing on everything he learned during his years at USC’s Glorya Kaufman School of Dance. But his journey since graduation exemplifies the school’s mission of preparing versatile, thoughtful artists who can thrive in an ever-evolving industry.

“My time at Kaufman didn’t just teach me technique,” reflects Rivas, speaking from a port in the Mediterranean. “It taught me how to think critically about art, how to collaborate across disciplines, and how to see the bigger picture of what it means to be a working artist in today’s world.”

During his time at USC, Rivas immersed himself in the school’s curriculum while seeking out opportunities to expand his artistic horizons. Under the mentorship of faculty, including Kyle Abraham and Patrick Corbin, and performing works by renowned choreographers Jiří Kylián, Tiffany Bong, Dwight Rhoden, Doug Varone, and Christopher Wheeldon, Rivas developed what he describes as “technical prowess and artistic sophistication.”

A standout moment came when Rivas served as associate choreographer for USC’s production of Sondheim on Sondheim, directed by Richard Israel and choreographed by Shannon Grayson, an experience that deepened his understanding of musical theater and collaborative creation. He also pursued vocal training with Melissa Treinkman, recognizing early on that versatility was key to professional success.

“I always strived to be someone who pushed beyond the requirements,” Rivas says. “Kaufman was my dream school, and I understood that dance education wasn’t just about perfecting—it was about developing the critical thinking and creative problem-solving skills that would serve me throughout my career.”

Entrepreneurism and artistry come together

True to that thinking, Rivas simultaneously pursued a Master of Studies in Law with a Media and Entertainment Law Certificate at USC’s Gould School of Law. The combination reflected his desire to understand the business side of entertainment and advocate for fellow artists.

“I saw too many talented people getting taken advantage of because they didn’t understand contracts or industry practices,” Rivas explains. “I wanted to be part of the solution.”

Rivas’s legal education proved invaluable. During the rehearsals for USC Kaufman’s Spring Showcase in 2024, he met Garen Scribner, a Kaufman Artist-in-Residence who was staging Within The Golden Hour, a work by the choreographer Christopher Wheeldon. It wasn’t long before Scribner offered Rivas a job at his company, PILOT MGMT, where Rivas was able to support the careers of other performers. “It’s a perfect example of how Kaufman graduates are thinking beyond traditional performance roles to create sustainable, multifaceted careers in the arts,” Rivas says.

Screen to stage (to sea)

Rivas’s pursuits have been remarkably diverse. One of them is film. His cinematic projects gained recognition at USC events, including his film the construct of one, which earned honors at festivals like Dance Camera West, PNB Film Festival, Fuselage Film Festival, and F.O.R.M. He also contributed to Body of Mine VR, a project that won a special jury award at SXSW in 2023 and was featured at Venice Immersive at La Biennale Di Venezia.

On the performance front, he’s worked with companies including Zeitgeist Dance Theatre, Blue13 Dance Company, and A.I.M by Kyle Abraham, where he originated and performed 5 Minute Dance: You Drivin’ at The Joyce Theatre in New York City. His regional theater credits include North Shore Music Theatre’s production of Frozen, Jacob Pillow’s Musical Theatre 2024 Performance Ensemble, and Miracle on 34th St. at Surflight Theatre.

But it’s his current role in Beetlejuice aboard Norwegian Cruise Lines that best exemplifies the Kaufman model.

The transition from traditional theaters to a cruise ship stage might seem unconventional. Still, for Rivas, it represents the future of entertainment. The audition process alone — spanning four days and requiring approval from both the cruise line and the Beetlejuice creative team — was more intensive than many other auditions.

“There’s no watering down for the ship,” Rivas says. “We’re performing the same Broadway choreography and maintaining the same artistic standards, just in a constantly moving environment.”

The challenges are considerable: performing an abridged version with no intermission, twice in one evening, while adapting to the ship’s motion and varying audience energy. It requires the kind of adaptability and artistic resilience that Kaufman’s curriculum is designed for.

“The moving environment actually keeps me more present and aware during performances,” Rivas says. “You can’t zone out or go on autopilot when you need to constantly adjust to the ship’s movement. It’s made me a more focused performer.”

Building community across cultures

Perhaps most remarkably, Rivas has found ways to grow artistically while forming connections and building friendships that have now become international. The cast of Beetlejuice includes performers from the United States, Ireland, Scotland, the UK, Australia, Italy, and Canada. The cultural exchange is rich.

“We’re not just colleagues — we’re roommates, neighbors, and creative partners all at once,” says Rivas, who adds that the international component has been a bonding experience for him and his castmates —everything from cooking classes in Florence to hiking in Tenerife to exploring mosques in Istanbul. “It’s taught me so much about collaboration and building supportive artistic communities.”

The Kaufman effect

When asked about how his USC education prepared him for today, Rivas points to the school’s emphasis on critical thinking and interdisciplinary collaboration.

“Kaufman taught me that being a dancer isn’t just about technique,” he says. “It’s about being a thoughtful artist who can adapt, collaborate, and contribute to the larger conversation about what performance can be. Whether I’m performing Beetlejuice on a moving ship, managing other artists’ careers, or working on VR projects, I’m drawing on the analytical and creative skills I developed at USC.”

The school’s focus on preparing students for diverse career paths has proven visionary. While some graduates pursue traditional company or Broadway careers, others like Rivas are creating entirely new models for artistic success.

Looking ahead

As his cruise contract continues, Rivas remains committed to artistry and industry advocacy. He will soon collaborate with Emmy-winner Al Blackstone.

“The industry is changing rapidly, and artists need to be prepared for that,” he says. “My experience at Kaufman gave me the tools to not just adapt to those changes, but to help shape them in ways that benefit the artistic community.”

For current Kaufman students and recent graduates, Rivas’s journey offers an example of how to build a multifaceted, sustainable career in the arts while staying true to one’s artistic values.

His advice for current and future students?

“Don’t be afraid to take the unconventional path,” he says. “The skills you’re developing at Kaufman — critical thinking, collaboration, adaptability — will serve you no matter where your career takes you. The key is staying curious and committed to both your growth and supporting fellow artists.”