Max Maisey has always been drawn to the leap. If he were a dance step, he says, he would be a switch leap—suspended between earth and sky, a moment of transition where flight becomes its own kind of certainty. Born in Philadelphia, he began his training at the Metropolitan Ballet Academy under Lisa Collins Vidnovic, later continuing at the North Carolina School of the Arts under Kee-Juan Han, Melissa Hayden, and Frank Smith. His early career carried him into the companies of Pennsylvania Ballet and Ballet Austin, where he completed his apprenticeship. But Max is more than a dancer—he also holds a master’s degree in philosophy from American University and now balances his artistic life with a career in IT in Washington, DC. To leap between disciplines is simply who he is.
What first drew him to dance was its difference, its rarity. “I liked that it was something not a lot of guys did. It made me feel special,” he recalls. Beyond that, he discovered that dance allowed him to express himself physically and to step into characters larger than his own life. Growing up, he idolized Vladimir Malakhov for his fluidity and grace, and Gene Kelly for his ability to pull dance into the cultural spotlight of his time. These influences left their imprint on Max, shaping a dancer who embodies both classical beauty and an instinct for accessibility.
In Vietnamerica: The Musical, Max has been moved by the staggering weight of trauma within the story. “The trauma described in this musical is staggering,” he says. “And that makes the moments of joy and celebration all the more poignant.” For him, the work is an act of reverence—an offering of respect to a community’s history. “I just hope I can do it justice,” he reflects, “and approach it with the respect it deserves.” The balance between joy and grief has deepened his understanding of resilience and reminded him of the universality of community.
Rehearsals for Max have been a celebration in themselves. He loves the camaraderie, the laughter, the talent surrounding him every day. He describes the cast as beautiful, talented, and diverse, and cherishes the positivity that infuses the process. Even when rehearsals grow heavy, Max finds energy in showing up for others. “I just really enjoy showing up for people,” he says. “I always want to provide a positive and supportive attitude no matter what.” His rehearsal ritual is simple and true to form: a sleeve of plain bagels, filling and steadying, with Connie Francis’ “I Will Wait for You” forever echoing in his mind as the song that propels his pirouettes.
For Max, this process has been both humbling and inspiring. “I hope the audience experiences the full range of emotions,” he shares. “There’s a lot of pain in this production, but also so much joy.” If people leave with only one memory of him, he hopes it is of feeling moved—of having been carried somewhere by his dancing. He dreams of working with this cast again, a family forged in art and history.
On September 7, 2025, at Capital One Hall in Tysons Corner, Max Maisey will leap again—this time not just between steps but between histories, between pain and celebration, between the Vietnamese diaspora’s memory and the audience’s own. To watch him dance is to witness a philosopher in flight, a body that reminds us that every leap is both departure and arrival.
Take the leap with Max—secure your seat here: https://www.ticketsonsale.com/tickets/vietnamerica-capital-one-hall-tysons-9-7-2025-5818424