KC business owner born to dance, danced with Beyonce, now runs her own studio

Editor’s Note: This interview is part of Voices of Kansas City, a project created in collaboration with KKFI Community Radio and Kansas City GIFT, a nonprofit supporting Black-owned small businesses, to highlight the experiences of Kansas Citians making an impact on the community. Hear the interviews on KKFI 90.1 FM, Fridays at noon, or at KKFI.org. Do you know someone who should be featured in a future “Voices of Kansas City” season? Tell us about them using this form.

Elaina Paige Thomas, owner of Next Paige Talent Agency, once danced with Beyonce, met her idol Debbie Allen, and now runs a Troost Avenue dance studio and agency that is getting calls from around the country looking for Kansas City talent for video, movies, television and more.

Earlier this month, when Beyonce brought her tour to Kansas City, Thomas hosted famed dancers Les Twins at her studio, and dancers from around the region showed up for the event. Thomas recently sat down in the studio at GIFT to talk with The Star’s Jenna Thompson about her journey from dancer to small business owner. Their conversation, edited for length and clarity, is presented in a question and answer format to share Thomas’ story in her own words.

Meet Elaina Paige Thomas

The Star: Well, tell us a little bit about yourself, where you’re from and what kinds of things you like to do.

Thomas: Oh, OK. Awesome. Loaded question, but I love it. I love the art of storytelling, and I believe that my journey has been a bit of a story. I grew up in Kansas City, Missouri. I was born and dance actually found me.

So by the time I started walking, I started dancing. In other words, my mother totally invested in me at a young age. And so from there, I did every sport. And you could imagine, whether it was basketball, volleyball, baseball, you know, every sport I played. With that being said, I also dived in heavily into the arts.

Now the performing arts is where I found my love. As I mentioned, by the time I was dancing, my mother used to say I would kick in her stomach when she was pregnant with me. That’s when I started dancing. I found the love of the arts the most.

So I said, skip sports, lover of everything artistic, and I started dancing at the young age of 3. I grew up in the church. Praise dance was dear to me, and I found a great love with contemporary dance. I started doing ballet, I started doing hip-hop, and I was professionally trained. I was trained here in Kansas City. Friends of Alvin Ailey, Kansas City Ballet.

I went to a small dance studio out in Lee’s Summit, Missouri. I started in the city, in the inner city actually, at a studio that was called Smith Sisters back in the day. And there were two twins. They were in that studio, and that’s where my mother went as well. So that’s where I started and I continued to grow.

Well, when I was in the third grade, come to find out, I wrote three goals. One was to become a professional dancer. Two was to work with Debbie Allen, and three was to open up my own studio. OK, that was in third grade. I had no clue about this, but when I graduated, my grandmother framed that for me and handed it to me.

So this is when I graduate high school. She frames this and I’m like, “Wow, you know, this is really me.” So I go to college. I end up going to Columbia College, Chicago. That college introduced me, oh my gosh, to so many opportunities. In Chicago they embed you directly into the industry. You know what I mean?

So I’m taking dance classes full time. I’m, you know, doing eight hours a day training in ballet, modern jazz. I’m doing journalism. I’m doing accounting. I’m learning the business aspects of it because my minor was in arts and media management. OK, Debbie Allen comes to the school, we work and she puts a piece on us.

And so I’m like, “No way.” I go back to my goals again, back in the third grade and I’m like, “Is this full circle or, you know, one of those things or check mark, right?” So I end up graduating from Columbia College with my BFA (bachelor’s of fine arts) in dance and my minor in arts and media management. I get a call from a good friend of mine and he says, “Hey, Beyonce is having an audition. You should go.”

Well, he was in PR for one of her other dancers. I’m like, “Really?” Now?” You know, I go, I try it out. I mean, the line is wrapped around the building and there are hundreds of girls there, right?

It was a very long day. And at the end of that audition they tell us, “Tonight, if you don’t get a call, arrive back here at 5 a.m. in the morning.” It was one of the hardest auditions I had ever been to. And so I remember going home to my studio apartment that I had in downtown Chicago South Loop. And I’m like, “Don’t ring, don’t ring, don’t ring.” And it didn’t ring. And I made it. And so I arrived back in there at 5 a.m. that morning. Beyonce came into the rehearsal. We worked extremely hard and we debuted in “Run the World.” That was my first major gig out of college.

That’s becoming a professional dancer, right? So I go back to those goals that my grandmother and my grandfather printed out for me. And I’m like, “Wow, I’ve already checked off another one on the list.” So after that audition, there was an audition to do some other shows with them. So I did the VMAs (MTV Video Music Awards) and some other shows with them. Doing “Run the World” got my feet wet.

I got my start. And so from there I ended up going overseas, dancing in China. I stayed there for five months and went to Italy. I started dancing with the International Girl Group. I came back and started work for different R&B artists. Ginuwine and all these guys; Jennifer Hudson. I mean, my career just took off.

And so I’m doing all these things, you know, and I remember coming back from Italy. My grandfather was a little sick and I wanted to come home. At this time. I had just done a IMAX film. ... OK, so now I’ve already dived into acting. I’ve done some print work for Essence magazine. I mean, I’m just going full throttle, right?

And I remember my sister telling me, “Hey, take care of your finances.” She was telling me, “Hey, this is what your credit needs to look like.” She was a banker. So with that, my father and I were still, you know, we were still very close.

And I remember the thought of me pursuing a career in something that other people just saw as a hobby was scary. It was scary for me, for my dad. He still supported me, but my mom continued to root. She’s like, “You just go, girl. You go and don’t stop. All gas, no brakes.” And so I continue to do it.

And I remember coming back to Kansas City to visit, and there was the opportunity here with Kansas City Friends of Alvin Ailey where there was an opening for a master teacher position. And so I said, “OK, well, you know, maybe I’ll settle down, move back from Chicago, and I’ll settle down in Kansas City for a little bit.”

So I come back to Kansas City, and I started to realize: Oh my gosh, Kansas City has so much talent. There’s so much talent here and there’s not enough opportunities. There wasn’t enough resources.

So there were friends that I would meet that would graduate from UMKC that would come to me. “Hey, Elaina, how do I write a bio?” “Hey, Elaina, can you help me with this audition?” “I want to move out to L.A.” or “Hey, Elaina, I want to move to Chicago. You can help me with what’s next?” So I became a mentor for a lot of those people, and I would just provide them with the access and the resources and the tools.

Well, I met Tamba Hali, former Chiefs player. He started doing music, and he’s like, “Hey, I heard that you used to dance for Beyonce and Ginuwine,” you know. “Can you help me?” And so at the time he had wanted choreography. He had wanted some artistic development.

So I worked with him and he started doing Afrobeat music. Well, it got around, I guess, with the team. So the other players started calling me, asking me to help them. “Hey, can you train me on pilates?” “Hey, can you, you know, teach me what to say in my interviews?” And just I’m like, “Sure.” You know. So Tamba Hali and I became really close. He asked me to be his manager.

Well, this is right before the pandemic hit, OK. There was a Liberian Entertainment Awards, and he goes, “Hey, Elaina, here’s your budget, I want to hire dancers from Kansas City to have me a production crew. I want to set it up. I want to have an amazing show.” Liberian Entertainment Awards? Sign me up. Yeah. Sounds amazing, right? So I hire eight dancers from Kansas City.

I hire my production crew from New York City. We go to Washington, D.C., for the show. I get everybody off the plane. We’re headed to the theater. The world shuts down. What do I do? So I got everybody back to where they’re supposed to be. And I was crushed.

I was working beyond the stage at that point. You know, I’m not just a dancer anymore. That’s what my degree was in. That’s what I did for a living. I wasn’t just a dancer anymore. I had already checked all those three goals on my list my grandmother had framed for me when I was in the third grade.

And I’m like, “OK, what’s next?” Well, we get out there and then COVID hits, and I’m like, “All right, I got to pivot.” I just established my LLC as a production company. And I went home and I told my husband and my mother, I said, “Hey, I’m going to open up an agency in Kansas City.”

And they’re like, “It’s a pandemic. What are you saying? Everything’s shut down. Theaters, everything’s shut down.” And I say, “I believe now is the time.” So I got in UMKC’s Fast Track program. I, you know, polished up my skills on the business side, and I made it happen. So we opened up the first Black female talent agency right here in Kansas City.

And from that point, I began to network and utilize a lot of my networks that I had already established in other cities like L.A., Atlanta, New York, Chicago. And I started bringing opportunities right here to Kansas City.

So I would get calls from Ginuwine, a lot of these other guys, and then I started getting calls from different production companies. Commercials.

“Hey, Elaina, do you have this talent? Do you have that talent?” And so it started to happen, and it was not well-received at first. I’ll be honest.

OK, I’ll be honest. My roster was predominately Black and brown, and what I would tell companies is that, “Hey, this is post-pandemic. Times are changing. Your advertisements need to look like the people in the community that you serve. So let’s have some diversity, right? Let’s be inclusive.” And so they would call me right and left. “Hey Elaina, do you have this person, that person?” And so the agency just hit it off.

So we opened up an 8,200 square foot building right in the heart of the city on 59th and Troost.

And we decided Troost because of the division, the historical division, and I wanted it to be right in the middle of the city. At first, I originally wanted to be downtown where all the action was. But I thought it was wise to bring the city together. Because I’m big when it comes to community and less of competition. Let’s bring community together.

And that was one thing that I realized that the artistic community here in Kansas City was very segregated. So in being a leader, we opened up our brick and mortar in October of 2022.

It looks like something out of New York City. Now we have new flooring. We have lighting, mirrors. We’re about to get an amazing LED screen. I mean, it looks like a professional production set. And so it’s right here in the heart of Kansas City.

And the public can come and take classes. They can take dance classes, modeling classes, acting classes, fitness classes, music classes. We’re putting a voiceover studio upstairs for voiceover talent, photographers, videographers, even event rentals. And it’s been an amazing experience.

Tell me a little bit about what kind of talent you serve.

So we serve adults and youth, creatives, dancers, actors, models, influencers, voiceover, etc. Everything in the performing arts realm, we will manage and book them as talent.

So we have agents and managers at The Next Paige. We also do flash mobs. We do production work. We do creative development. We do professional development. We have artistic directors, etc. And so we also have events space at our studio as well. And so our clients are our customers and our product, if that makes sense.

Now we get calls from different clientele in the production world. So TV, film, print, you know, companies that are looking to enhance their marketing. Or movies, or live shows, music videos, that type of stuff.

Is this unique for Kansas City? Are there a lot of other talent agencies here?

So we are very unique. Our business model is unique. Out of the ones that are currently here. The other agencies that are here, they only book talent. They don’t help them with their entire career.

So they don’t do the management side of things by helping them enhance their skill set. So they don’t offer classes, they don’t offer advice and things of that nature, mentorships. They don’t offer that, but we do. So that is what makes us a little different.

So we have school programs where we give back with our outreach. And then with our 501(c)(3), we provide scholarships for funding to the underserved communities.

I know one thing you mentioned that was really important to you guys is the representation aspect. And I guess, why do you think it’s important to, I guess, not only be a Black-owned talent agency?

You know, the companies that we get a lot of work from, we want them to make sure that, again, their advertisements look like the communities that they serve. So we’re big with diversity and inclusion. We actually won the 2021 equity award from the Kansas City Chamber in 2021. We’re huge when it comes to inclusion. So whether it’s the LGBTQ community, whether it’s male, female, Black, Asian, Hispanic, everyone is welcome. You know, the arts is diverse as well. You know, you have dancers, you have actors, you have models. But all in all, it’s community. You know, it’s inclusion. And I think that that is very important in the field of entertainment that we’re in.

What kind of hurdles do you think Black actors and dancers have to overcome to, I guess, make it in this industry?

It’s less access for people of color to these type of opportunities where, on the other spectrum, you have a plethora of opportunities when it comes to being Caucasian or another ethnicity. And I think the biggest thing also, too, is pay scale. You know, that’s something that SAG-AFTRA is going through right now.

And so being in the field of entertainment in general, I believe that we don’t, some people don’t, find as much value in it as they should. But everybody watches entertainment, right? Everybody.

And so I feel that being a minority has definitely had its challenges in the startup of this business and continuing to further the company as well. There are times where I get castings and it’s only, you know, me or two Black people where, you know, you go on set and then it’s a plethora of Caucasian people, right?

And so the equity piece is huge. It’s huge. And to be fair, I have a lot of close relationships with a lot of the casting directors, and they call them out now. Since 2020, since that movement took place, I believe that it’s getting a lot better on set. But it’s definitely the access to those opportunities that we get here in Kansas City.

And so the Next Paige definitely wants to be the incubator and the voice for a safe space to continue to provide that resource for minority creators.

Do you see Kansas City as, like, the next creative city?

Now that the new tax film credit has passed, I believe that there are going to be a lot more films and SAG work that comes through Kansas City, a lot more concerts and venues, live shows, music videos. I don’t know if you know, Apple just did a huge campaign here. Apple Beats.

There were many artists that came through. Even for us to honestly be on Beyonce’s tour schedule is amazing because she only usually goes to St. Louis. So I believe that, again, the sports is continuing to help us, but now films that are about Kansas City, instead of being shot in Atlanta, they can be shot right here in Kansas City.

Kansas City has a rich history, jazz, right? We have a rich jazz history. And I do believe that it is definitely on the up and coming.

Yeah, and that was going to be my next question too is, I guess, are your talents booking jobs in Kansas City as well, or is it a lot of L.A.?

Yeah, you know, they book a lot of local jobs.

And my fear, honestly, is now that this tax credit has been passed, that some of the production companies that are coming into Kansas City are going to try to book from outside of Kansas City. Right? But we’re here, and they don’t have to do that anymore. So that was a fear and a challenge of mine.

But knowing that we have good quality professional talent, they won’t need to do that. Kansas City, because of our architecture, it’s a really hidden gem. I believe that a lot more companies are going to start coming in as they already have been.

You keep talking about the tax credit, I guess. Can you explain a little bit about what that is and when that passed?

So it just recently passed (in July).

And basically, the tax film credit is going to allow the producers to get their money back. You know, so if you spend $40 million on a film, you know, you’re going to be able to reap the benefits of getting some of that money back. So it’s a great incentive. And that’s why a lot of movies are filmed in Atlanta, for example. So many films are shot in Atlanta, Georgia, just because of that tax film credit.

I believe that is going to take a little time for Kansas City. But again, they’re really growing our infrastructure here with the new stadiums. I mean, just everything. So it’s definitely the up and coming, right?

Yeah, I know. You can definitely tell that something is changing. There’s a lot of cool stuff coming to Kansas City. OK. I have to ask about Beyonce, I can see you toured with Beyonce. What year was that?

So, gosh, that was in 2013. Yeah. Wow. And she did “Run the World.”

Did you get to know Beyonce at all?

You know, I didn’t get to know her know her, but we were definitely in rehearsals together. I’ll say she’s an amazing woman. A very hard worker. So inspirational. Yeah. Because how she balances motherhood, and she was actually pregnant with Blue Ivy during that time. So, yes, it was an amazing experience. And to have the opportunity to be on stage with her and in rehearsal with her was one that I would never forget.

Yeah, I know. You said Beyonce and I was a little starstruck.

Sure. Yeah. She’s human and she’s an amazing businesswoman. And that’s what keeps me inspired as a creative and businesswoman, honestly. She’s the same. She’s a creative and she’s a businesswoman. And so in rehearsals, it was so inspiring to see her work ethic. You know, she’s doing the same moves. She’s warming up with us, you know. She wasn’t shy, she wasn’t bashful. She wasn’t mean. She was really down to earth and very humble.

That’s awesome. And it kind of seems like you’ve shifted more toward like talent management now, as you mentioned. Do you still pursue, like, dance and dance classes?

Yes. I still dance.

I haven’t danced on stage in a little while now. If Beyonce came in, she asked me to get back up there, do “Run the World,” I absolutely would. But, you know, I get asked by clients often, “Hey, Elaina, can you, can you dance?” And after I had my son, I did. I’ve done a couple of shows.

So now I’m finding so much joy on the creative side of, you know, choreography and creative development and direction and producing and things of that nature. So I train. I have instructors that train underneath me after teaching for so many years. It was really tiring and it’s refreshing to step away, you know, but I will always dance.

It keeps my heart beating.

That’s awesome. Do you feel like the world has changed for dancers even since a few years ago?

Oh yeah, absolutely. Yeah, absolutely.

What about, I guess, for dancers of color, do you feel like that world has changed as well?

Yeah, absolutely. You know, there are a lot more dance companies.

Alvin Ailey, and the amazing legacy that he has created. Dallas Black Dance Theater, amazing legacy. There are so many really awesome Black dance companies that have done well. Now here in Kansas City, there aren’t a lot of Black dance companies. There aren’t a lot of dance companies in general. We have Kansas City Ballet, we have Stirling Theater, we have City in Motion.

We have a few. Right. However, when it comes to the world of entertainment, I believe that for people of color and when it comes to plus-size dancers, there has been a more open and welcoming environment. For example, Janet Jackson you know she has plus-size dancers now. Lizzo, you know, has really opened the realm for more healthy bodies.

What am I trying to say? Body positivity is huge nowadays, right? And so is people of color, you know, and providing us with the opportunity to have a seat at the table.

What do you think it would take to have the next big film or music video shot in Kansas City? I mean, do you think we’re on our way there?

Absolutely. I believe that we’re on our way. We’re well on our way with the amount of talent that we have now that are professionals, to the access that we now have for professionals, opportunities to enhance their gifts and skills, like the creative development pieces that I was speaking of and just access to the opportunities that are floating right here in Kansas City.

I’m excited, thrilled. And I’m so eager to continue on this journey in this mission for the creative community right here in Kansas City.

That’s awesome. Is there anything that you want to say to, I guess, maybe encourage young dancers or actors, actresses who maybe are in your shoes when you were younger?

Keep the dream alive. You know, when in doubt, continue to shine bright and be resilient.

Nice to talk to you. It’s very fascinating stuff. It’s like I was saying, a whole world that I don’t know. And now I’m excited to see, I guess, what becomes of Kansas City.

Thank you. Yeah, we’re well on our way. You know, like you said, it is very different from like a restaurant or a clothing store or a tech company because those are really huge right now as well.

But entertainment is forever, you know. No one’s ever just going to stop watching films or reading books or, you know, it’s everywhere. It’s all around us. People are creative. And you guys are innovators as well. You guys are creatives. I believe that creative stands for all innovative selves, and as long as we keep that light lit it will continue to propel forward.