JoJo Smith Taught John Travolta to Dance for ‘Saturday Night Fever’

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Photo via PlayBill

JoJo Smith

JoJo Smith

Those who follow the business end of movies realize that everything you see and hear up there on the big screen isn’t always what it seems. Hollywood is noted for thespians who gained fame in roles rejected by others, non-singing actors who lip-synched their way to stardom and non-dancing actors with two left feet who tip-toed by the numbers.

Prime examples include George C. Scott, an Oscar winner for his scalding turn in 1970’s Patton. Scott was recommended by Robert Mitchum, who had declined the role. Then there was Natalie Wood, whose singing voice as Maria in 1961’s sensational West Side Story was dubbed by Marni Nixon, and John Travolta, tutored for his hot disco-dancing numbers in the dynamic Saturday Night Fever.

In one of my New York Amsterdam News columns in 2003, I briefly mentioned “the Black coach who taught a klutzy, non-dancing John Travolta the slick moves he used in 1977’s Saturday Night Fever.” After the piece appeared, I got word that JoJo Smith—the dancing coach in question—loved it.

Schooling the Stars

JoJo also schooled Travolta’s female co-stars and dance partners, Karen Lynn Gorney and Donna Pescow, as well as most of the couples in the frenetic club-dancing scenes. Jo Jo is listed as “Dance Consultant” in the credits and his cousin and pupil, Lester Wilson, was overall choreographer for the movie, filmed at a Brooklyn disco. Some rehearsals were in JoJo’s 8,800-square-foot Manhattan studio at 55th and Broadway.

Prior to his death at 81 in 2019, JoJo’s socko career also included teaching Barbra Streisand to go-go dance for The Owl and the Pussycat (1970), and dancers in 1970’s third Bill Cosby TV special, as well as another talented cousin, Debbie Allen, for 1980’s film of Fame and ensuing “Fame” TV series in which she starred. 

In 1981, his studio, JoJo’s Dance Factory, was used for some dance rehearsal scenes in a New York City thriller called The Fan, starring Lauren Bacall and James Garner. If you look closely, you’ll see JoJo walking down the hall in an early scene.

Exuding Energy

Slowed by plastic hip replacements in 1985, 1997 and 1998, diminutive, still dynamic JoJo—5-feet-6, 150 lbs. and a long-time vegetarian—exuded energy in the midst of our 2003 interview in a mid-Manhattan hotel lobby. Eschewing his cane, he leaped to his feet and demonstrated Michael Jackson’s “wave” move JoJo developed in France and taught the late Michael Peters who taught it to Jackson.

“I call it the ‘dolphin,’” he smiled, his smooth, unlined face framed by a good-looking, bad-ass, wide-brimmed hat that lets you know he knows what he’s talking about. Believe you me, this largely unassuming, wonderful man was the real thing—a consummate professional that today’s self-absorbed young entertainers would do well to emulate.

After taking this in—along with a gaggle of wide-eyed onlookers—I asked JoJo how, at his age and physical condition, Travolta stacked up to him as a dancer. “No contest,” he laughed. “You don’t think he boogied that on his own, do you?” he said. ”But John was not really a novice, because his mother owned a dance studio. He was very pliable and a dream for me and Lester to work with.”

On the other hand, JoJo said, co-star Gorney “was a klutz when she came to me. The strength of my technique helped get her through that movie. We had five-to-six weeks together prior to the actual shooting. If it wasn’t for me, the scenes between them never would have come off.” 

Practice for Disco

JoJo’s widely acclaimed work on Saturday Night Fever led to gigs with other high-profile people such as ABC-TV’s Barbara Walters, beginning in 1978. “She wanted to learn disco dancing, so we practiced at her apartment on the East Side,” he said. “She originally came to my studio. Like Barbra Streisand, who had two left feet but was terrific to work with, Miss Walters was not a good dancer. All she had was enthusiasm.” 

JoJo told me his interest in dancing derived from his father, mother and their sisters who all were dancers. “My life has been dance. I lived it and breathed it. I remember seeing my dad run up a wall, do a back flip and land in a split on the floor. He taught this to the great Nicholas Brothers.” 

JoJo embarked upon his own career after studying with Savilla Fort, a disciple of the legendary Katherine Dunham. He eventually worked and taught all over the world, including the Olympia Theater in Paris (where he was invited to perform the “boot dance”) Japan and Brazil and did “West Side Story” in Australia.

His first Broadway success was in 1967’s Something More, directed by the famed Julie Styne. JoJo and the leggy Paula Kelly toured the U.S. and Canada for nine months in 1964 with Harry Belafonte, highlighted by spectacular athletic moves which helped him steal the show. 

“Any regrets?” I asked him. “Well, a sore spot to this day, “he replied, “is that my cousin, Debbie Allen, never gave me any credit for the routines I gave her that she used in Fame. She never singled me out. All the combinations the kids were using were exactly my style. And recognition means money.”

As I looked at effervescent JoJo Smith—listening to him reflect about his life—I could only marvel. A frosting on his cake was the success of his son, dancer Jason Samuel Smith, 22, who wowed the audience at an Apollo Theater testimonial to Gregory Hines.

JoJo’s nonpareil career—in which he’s worked with a who’s-who of actors, singers and dancers, choreographed TV commercials and the revered “Ed Sullivan Show”—continued apace following our interview. A renowned percussionist on conga drums and sticks, he taught, dances and plays, running “JoJo’s Jazz Class,” a Latin drum class and “Salsa with JoJo.” 

 Most of all, the multi-talented JoJo Smith was a survivor in the truest sense. He was what competitive performing is all about—the most to say the least. And he continues to be missed to this day.