The Man Who Makes Atlantic City Dance: VAL COSTA DE OLIVEIRA’s Wild Ride to The HOOK

What is your performing background, and how did you get started in this line of work?

I started dancing when I was 18 in my home country of Brazil. I joined a Russian‑style ballet school called Ballet Bolshoi Brazil, where I completed my formal training in classical ballet and contemporary dance. That’s really where my journey began. After graduating, I worked with the junior company as both a choreographer and dance captain, which gave me the chance to travel and perform in places like South Africa, Germany, and Paraguay before returning to Brazil in 2016.

That same year, I had the honor of performing in the opening ceremony of the 2016 Olympic Games. Shortly after, I moved to the United States, where I spent five years dancing as a principal dancer with a ballet company. I eventually had to pause my career for two years due to knee surgery, which was incredibly difficult because dance is truly my life; I live and breathe it 24/7. But I worked hard to recover and return to the stage.

I’m also the Artistic Director at Arlin’s Dance Spot, where we focus on Latin dance. I teach ballet there, and we offer classes for both kids and adults. So my life is very full and very centered around art and dance.

Since joining The HOOK, you’ve become known for having one of the most interactive acts in the show as Rear Admiral. When you’re out in the audience, what kind of people do you look for to bring onstage?

I usually follow a mental “map” of the room because I like to time my interactions with the music. But I always look for someone who seems a little unsure or uncomfortable, someone who looks at me like, “Oh my God, what is happening right now?” That’s the perfect person. Their reaction makes the moment funnier and more surprising for everyone.

What is the craziest thing that has happened on or off stage during your act?

There have been a few wild moments. I’ve had people hug me and refuse to let go, and I’ve had people try to attack me in a playful, but still surprising, way.

But the craziest moment was with an older woman who absolutely did not want to go onstage. She could barely walk, so I helped her, but once we were performing, things got… unexpected. At one point, when I turned around during the choreography, she tried to grab me in a very personal way. I was shocked and had no idea what to do because it was definitely not in my Plan B! It was scary and funny at the same time, and definitely one of the wildest things that has ever happened to me during a show.

On top of performing nightly, you also choreograph many of the acts for The HOOK as our official Dance Captain. What has that experience been like?

It’s been amazing and very different from what I was used to. I’ve always choreographed, but usually for professional dancers. Working with circus performers is a completely different world. They have such unique skills and backgrounds, and I’ve learned a lot from collaborating with them here at The HOOK Atlantic City. It’s exciting to create movement that complements their artistry and athleticism.

How has your overall Spiegelworld experience been?

Every day is different, and that’s what makes it exciting. I’m grateful to work with performers from so many countries and backgrounds. I’m also thankful to be trusted with the choreography and dance direction because I believe those details really elevate the show.

On top of performing at The HOOK, I am also a visual artist and am involved in the arts community in Atlantic City. I paint portraits and murals around Atlantic City that represent both my Latin culture and personal style. I love doing visual artistry, on top of my performance art, as I find it helps me be more detail-oriented in my work here at The HOOK.

And honestly, I’m thankful to Angie, who plays Tuna Turner in the show, for even telling me about The HOOK. I’m an Atlantic City local, and I hadn’t seen the show yet. She came to my dance class one day and said, “Val, what are you doing in Atlantic City?” She told me the show was looking for performers and encouraged me to audition. I didn’t go at first because I was so busy, and I assumed it wouldn’t be anything special. Atlantic City doesn’t always have the best opportunities. But she came back four more times, so I finally auditioned.

This was my first job after my knee surgery, and I didn’t think they would choose me because my background is ballet, and the show’s style is so different. But they gave me the opportunity, and now here I am. I’m always open to learning, helping, and growing, and I truly love being part of Spiegelworld at The HOOK Atlantic City.