Dreya Weber is an American actress, producer, director, and aerialist. She has worked as an aerialist for entertainers including Madonna and Pink, for whom she choreographed several aerial acts including the performance of Pink at the 2010 Grammy Awards. She toured with Cher during her Living Proof farewell tour and choreographed the performances by aerialists.
She produced and starred in The Gymnast (2006) which took home 28 festival awards, including Best Feature at Outfest, Newfest and Frameline, and demonstrated her aerialist skills. She also produced and starred in A Marine Story about the US Military policy of Don’t Ask, Don’t Tell.
During her teenage years, Weber competed with the Mexican National Hurdling Team, ranking within the top ten. She returned from Mexico to attend Hunter College in New York City. She performed aerial silk at the 2002 Winter Olympics in Salt Lake City. She along with Tony Horton has featured in all three of his P90X home workout series. At Outfest she won Outstanding Actress in a Feature, 2010.
Women Fitness President Ms. Namita Nayyar catches up with Dreya Weber, an American actress, producer, director, and aerialist, who talks about her workout, diet, beauty secrets and success story.
You wear multiple hats of an actress, producer, choreographer and aerialist. If I am not wrong you even went on to perform aerial silk at the 2002 Winter Olympics in Salt Lake City. How would you define your journey in the world of entertainment?
I determined that I wanted to be an actor when I was ten years old. I was a voracious reader but not much of a talker, and the idea of speaking words written by others was very compelling. My mother was a singer and actress and her response was “let’s go to the agency and see if they want to send you out”. It was all very matter of fact, I understood that if I wanted to be a professional, it meant work. Through my teens I did theater, gymnastics, ballet, music and track and field. I am one of six children and my family didn’t have much in the way of financial support, but my mother imparted a determination in me to find a creative way through the costs. For example, I demonstrated beginner classes in ballet so that I could take other levels for free. I put myself through college coaching gymnastics. That combination of experience gave me the skills I needed to teach pop stars and dancers how do aerial acrobatics. My diverse background provided the platform from which I was able to take advantage of the opportunities that showed up along the way. Now my work bounces around between acting, choreographing, aerial performance, singing and producing.
What factors were instrumental towards you taking up aerial acrobatics?
My dance and gymnastic training were most instrumental in the physical foundation, but my training as an actor was key in my desire to explore narrative in the air. I see each song as a self-contained story with a beginning, middle and end. In that light there are so many questions to ask, “What is the story I want to tell?”, “what does the apparatus represent?” What is the performers relationship to the apparatus?”, “Is there conflict?”, “Is there resolution?”…the exploration is endless and very very fun.
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