Journal · Choreography
Jared Hageman: A Life in Movement
With a career spanning theatre, film, television, touring and choreography, Jared Hageman brings years of experience to The Manor LDN.
1 October 2026 · 1 min read

CHOREOGRAPHY BY JARED HAGEMAN
ARTIST: CHARLIE PUTH - SUFFER
LOCATION: THE MANOR LDN DANCE STUDIO, FINSBURY PARK, NORTH LONDON
Jared Hageman has spent his career moving between worlds. Born in Manchester and raised in Leicester, he began dancing at nine before attending Sylvia Young Theatre School and later graduating from Doreen Bird Dance College. His professional career has since taken him from musical theatre and contemporary companies into film, television, fashion and some of the biggest live stages in the world.
As a performer, Jared has toured internationally with artists including Kylie Minogue, Take That, Little Mix, Girls Aloud and The Saturdays, while also working with Matthew Bourne’s New Adventures. That breadth of experience across genres has become central to the way he approaches choreography today — taking what he has learned from each world and bringing it into his own creative work.
Jared’s choreography career has become just as varied. His credits include the UEFA Women’s EURO 2022 Final Show, The Masked Singer, The Greatest Dancer, Big Night of Musicals and Cartier’s Magnifying The Beauty show. He was also Associate Choreographer on Harry Styles’ “Treat People With Kindness”, which won the MTV VMA for Best Choreography.
For this choreography, Jared turns to Charlie Puth’s “Suffer”, originally released in 2015 and later featured on Puth’s debut album Nine Track Mind. The track’s smooth, intimate R&B-pop sound gives Jared space to bring together the musicality and performance instincts that have shaped his career.
At The Manor LDN, Jared brings all of those experiences into one room — proving that sometimes the most interesting movement comes from knowing more than one world.
Watch Jared Hageman’s “Suffer” choreography below and experience his movement language at The Manor LDN.
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