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• 'Superhero' centers on Jesus' humanity

Gregory Hancock has been choreographing for his own troupe for at least 20 years, which makes him one of the senior dance leaders in the region. (Frank Espich / The Star)

So far, Hancock has created about 100 pieces -- often inspired by various religions, historic events or cultures -- that might be thought of as choreography with a conscience. (Frank Espich / The Star)

It's late afternoon in the Carmel studio where Gregory Hancock has taught young dancers for a decade, but today he's focused on the company that bears his name.

Perched on a piano bench, dressed in a black shirt over white pants, Hancock watches dancer Martin Casanova surge forward, a small group of women imitating his every move. They are depicting Jesus Christ and his apostles as part of Gregory Hancock Dance Theatre's upcoming revival of "Superhero: the Story of a Man Called Jesus."

Eventually, Casanova's Christ drops his head to one side, arms outstretched, as if he were on a cross.

While that scene will help signal the end of "Superhero," the company informally known as GHDT keeps carrying on. In fact, the Hancock company, with.its $370,000 budget, eight dancers, and a like-sized youth ensemble, has entered its third decade.

Hancock, 50, is a native of Kansas but grew up in Marlette, Mich. He moved to Indianapolis in 1976. In his early days, he had a dual interest in ice skating and dance. He took classes at Butler University's Jordan College of Fine Arts, and had a job as a skating coach in Ohio.

Eventually, Hancock turned his attention solely to dance in Indianapolis. He has been known to joke that he became more interested in dance because "it's a lot less cold." He performed for years, but lately has concentrated more on teaching and choreography.

So far, Hancock has created about 100 pieces -- often inspired by various religions, historic events or cultures -- that might be thought of as choreography with a conscience.

Years ago, your emphasis seemed to be primarily on ice skating and coaching. Talk about your transition from skating to dance.

I had danced all along, as I was skating. I just felt more drawn to dance. It wasn't as if I.had some big epiphany.

Choreography for skating and for dance -- there are some similarities between my work on both.

Movement on ice can stir up emotions, and there's a wonderful feeling as if the wind is blowing through your hair. I try.to re-create that on stage.

How far back does your company's history go?

Actually to 1987. The company was first called Indianapolis Dance Company, and at first, we started as a part-time company and we were all volunteers. It's only in the last 12 years that it's been full time.

What are the advantages and disadvantages of a small company?

We get to have a lot of control over what we do. We also have a group that works well together. Some of our dancers have stayed a long time. One challenge I have is the (shortage) of male dancers in our company. Another challenge is that our dancers perform so much. Sometimes they are on stage for two hours.

Do you play piano or do other things in your spare time?

I do play the piano, but my piano has not gotten a lot of attention lately. I don't have a lot of time.

How long has it been since you danced with GHDT?

About five years. I had been having some knee trouble that was keeping me limited to certain things, and I decided I either wanted to dance or not. I really prefer creating to being onstage.

What were your favorite roles with GHDT?

I liked "Dracula" a lot. He was such a misunderstood character, and a little dark. Our take was that he was trapped in his fate.

Which of your pieces have been most successful at drawing big houses?

"Superhero" (originally from 2006) did really well. We also have a large following for our Bollywood pieces from the Indian community. We just performed for a huge stadium audience of more than 10,000 (at the American Telugu Association National Convention in Newark, N.J).

Would you discuss a few of your pieces that reflect a sense of social consciousness?

I feel I'm here to learn and become a better human being. That may sound a little lofty, but it's my personal belief. "The Scarlet Letter" was a story basically about labeling. "1968" had to do with the Russian invasion (of Czechoslovakia) and how the people were manipulated. "1941" was about a mother's grief during the Holocaust.

You have built several pieces on a religious theme, such as "Joan of Arc" and "Superhero." Why?

There is also the piece "Simcha" (a tribute to Jewish faith and culture), "The Western Wall," (for the women of GHDT, inspired by prayer at Jerusalem's Western Wall), "Abu Al Az" (based on the Islamic faith) and "Every Breath Is a Prayer" (inspired by Tibetan Buddhism) ..... I come from a very mixed ethnic background in my family heritage and in my faith. My company is a very spiritual company.

Could you describe the process of how you choreograph?

Music is often my first inspiration. Right away I might see the choreography, the costumes. Sometimes it happens very quickly. "The Hunchback of Notre Dame" I put together in two weeks. "Superhero" was created in about a week and a half. I very rarely work with dancers. Sometimes with couples, I will.

What about your company's exchanges and touring in Latvia?

In the past three years, we've been there three times. It originated with a grant I got from ArtsLink in New York in 1993. I believe I was the first choreographer to do a modern dance piece there. (Hancock also was invited to bring his company to the 11th International Baltic Ballet Festival in Riga, Latvia, in 2006, and for a tour of the country the following year). We have had Latvian dancers come here, and we have some students coming this summer. I maintain that relationship.

How did Ballet Internationale's closing in 2005 affect GHDT?

It just made dance look unstable. It made funders a little leery. With such a major institution closing, it made it harder for them to look at smaller groups seriously. It was also a big loss for us, because some of Ballet Internationale's dancers performed with us in the summers.

How has Indianapolis turned out to be as an environment for dance?

There are two sides to that. We have been able to have a variety of companies: Ballet Internationale, Dance Kaleidoscope and some smaller groups like Susurrus and Motus (Dance Theatre) -- it's great that there are so many companies trying to survive. On the other hand, there's a really small dance audience in Indianapolis.

To what extent is it a challenge for your company to survive in the current economy?

I think the media scare us about the economy. We try not to be fearful. I think the arts are valuable, and that people will continue to look for that.

"Superhero: the Story of a Man Called Jesus"

When: 8 p.m. Aug. 15 and 16.

Where: Pike Performing Arts Center, 6701 Zionsville Road.

Tickets: $25 adults, $20 students and seniors. For tickets, call (317) 216-5455 or go to www.pikepac.org.

Info: (317) 846-2441 or go to www.gregoryhancockdancetheatre.org.

Gregory Hancock Dance Theatre's 2008-09 season:

For more details: (317) 846-2441 or (317) 216-5455, www.gregoryhancockdancetheatre.org.

• Oct. 31, Nov. 1, "Oh My Goth," Pike Performing Arts Center.

• Dec. 5-7, "The Nutcracker," Pike Performing Arts Center.

• Feb. 12-28, 2009, "Down on the Bayou," set to Cajun music, The Performer's Edge.

• June 12, 13, "Romeo and Juliet (at the Disco)," Pike Performing Arts Center.

• Aug. 14, 15, "India Ever After," Pike Performing Arts Center.