Erin Michell is a movement coordinator, choreographer, and acting coach based in Vancouver, BC Canada.
Erin Michell was born and raised on Vancouver Island and has amassed over 15+ film/TV credits as a movement coordinator and choreographer. Her work as an acting coach has helped numerous young stars find their feet in the film/tv industry.
As a creative, Erin has worked both in theater and film for various production companies and artists across Canada. Her most recent movement coordinating credits include the feature films The Best Is Yet To Come (Starring Matthew Broderick and Alan Rush - LIONGATE + MRC), Love Me (starring Kristen Stewart and Steven Yeun - 2AM/ SHIVHANS + BLEEKER STREET PRODUCTIONS) which won The Alfred P. Sloan Science-In-Film Initiative Feature Film Prize at Sundance 2024, and The Stickmans Hollow (directed by Jack Cox). Select choreography and directorial credits for film and theater include VESSI 2025 Back to School campaign, Barney’s World Dino Dance Party (MATTEL INC. + KICKSTART ENTERTAINMENT), My First Barbie: Happy Dream House (MATTEL INC. + KICKSTART ENTERTAINMENT), Isabel & Nicki’s Super Duper Twin Adventures TV series (MATTEL INC. + KICKSTART ENTERTAINMENT), The 25th Annual Putnam County Spelling Bee (FCP - CTC nomination for best choreography), Lift A Finger (Choreographer - Tissa Rahim), The Ways To Love You (Choreographer - Justin Hewitt), and Falling Water- an experimental dance short, shot on 16mm film conceived and directed by Devon Mussett and shot by CCA award-winning cinematography Devin Kerringten.
When not working on set, Erin coaches actors in training and audition prep through her company First Team Acting. FTA students can be seen on screen in projects produced by Disney Plus, Netflix, Apple TV +, CW Network, Hallmark Inc., Paramount +, and more. Offering support to both actors and their families with everything from demo reels to audition coaching and guidance for navigating the highs and lows of this ever-changing industry. Believing strongly in the power of a supportive environment, Erin is excited to be part of each actor’s team as they embark on their unique and exciting journey.
With a focus on marrying the on-set energy between director, actor, and overall story vision through movement whether it be an ensemble dance sequence, creature work, or even AI robots falling in love in a dystopian future– Erin actively enhances the accessibility of physical storytelling and believes in allowing performers to “find the fun in the uncomfortable” no matter what set she is on.
