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STEP BY STEP with Karen Sieber

Karen Sieber photo credit: Peter Hurley

Karen Sieber
photo credit: Peter Hurley

Born in Switzerland, Karen began her career with Zurich Dance Theatre (CH); London Studio Center (UK) and Matt Mattox’s JazzArt (France) before coming to New York City. She enjoyed a successful dance and acting career in both the US and Europe before starting to choreograph.

We asked Karen a few questions about her background, her work and the goals she has for her upcoming residency with BDL.

BDL: Tell us a little bit about your background. How did you start dancing?

KS: Up until the age of 12, I trained in Switzerland as a professional ice skater. My routines were theatrical in style and it became clear to my parents that I had a love for the theatre. Both my parents had backgrounds in business but they gave their support and it fueled my desire to express myself through theatre and dance. I was fortunate to have a professional career across Europe and U.S as well as working as an actress on stage, film and TV.

BDL: How did your transition into choreography happen?

KS: When I was performing, I had great opportunities to dance captain and assist choreographers which gave me insight into the process of making dance. I’m the kind of person who’s always looking for a challenge and I find it very challenging to create from nothing; to find the inspiration to even begin. I’m always looking for the deeper story, the meaning behind the dance and the truth that it reveals. I love being able to shape how the story is told and I love collaborating with other creative minds.

BDL: Are you coming to BDL with any specific goals for what you would like to accomplish?

KS: Yes. I am hoping to begin developing an appropriate “physical language” for a new musical I’m working on. I would like to play with some of the themes of the show and begin to see how they might be expressed through movement. It’s going to be an incredible opportunity for me and I’m so grateful.

BDL: How does your choreographic process generally unfold?

KS: Story is key for me. I like to do extensive research on everything related to the piece, be it history, period, style, the way people move or speak, any newspaper articles I can find, or really anything I can find. Then I go to the music and try to let it all go, almost as if I’m handing things over to the creative instinct. The final piece of the puzzle is, of course, the dancers. They influence everything and once I step into the studio with them, a lot of things I thought I knew about the piece begin to change.

BDL: What are three words that describe your choreographic style?

KS: That’s tough. It really depends on the show I’m working on and the style it calls for. But raw, athletic and elegant are qualities that I value in a dance and dancers.

BDL: What’s next for you after BDL?

KS: I’m currently putting together a presentation of my work to be shown in NYC. I’ll also be working on a workshop of the new musical, Lighthouse, in the spring of 2016.



Broadway Dance Lab is honored to announce that Andy Blankenbuehler, the Tony Award winning choreographer of this year’s smash hit Broadway musical, Hamilton, will be joining our roster for Cycle 3!

Andy Blankenhuehler

Andy Blankenhuehler

Mr. Blankenbuehler won the 2008 Tony Award for his choreography in the Tony Award-winning Best Musical In The Heights (also Lortel, Calloway, Outer Critics and Drama Desk Award for Outstanding Choreography). Other Broadway credits include the new musical Bring It On (Tony nomination for Best Choreography and Drama Desk nomination for Best Director), 9 To 5 (Tony nomination), The People In The Picture, The Apple Tree, and the recent revival of Annie. Other theatrical work includes the world premiere of the new musical FLY (Dallas Theatre Center), The Wiz (City Center Encores), Desperately Seeking Susan (West End), A Little Princess (Andrew Lippa), and the current national tour of Joseph And The Amazing Technicolor Dreamcoat. His choreography can be seen in the new musical Hamilton at the Public Theatre, opening on Broadway this summer. Upcoming projects include Bandstand at the Paper Mill Playhouse, as well as Only Gold with British singer/songwriter Kate Nash.

Mr. Blankenbuehler has staged concert work for both Elton John and Bette Midler, and he conceived, directed and choreographed the hit Caesars Palace production Nights On Broadway. On television, his work has been seen on America’s Got Talent, So You Think You Can Dance, the Sopranos, MTV, Sesame Street as well as many national commercials.

As a performer, Mr. Blankenbuehler has danced on Broadway in Fosse, Contact, Man of La Mancha, Saturday Night Fever, Steel Pier, Big and Guys and Dolls. He has toured the US and internationally with West Side Story and Andrew Lloyd Webber’s Music of the Night. He teaches across the country with the New York City Dance Alliance. Originally from Cincinnati, Ohio, Mr. Blankenbuehler resides in New York City, with his wife Elly and two children, Luca and Sofia.




Broadway Dance Lab is thrilled to welcome Karen Sieber to Lab Cycle 3.  Karen approached BDL asking us for help finding space and dancers with which to create.  We are excited to be able to offer her that very thing.

Karen Sieber photo credit: Peter Hurley

Karen Sieber
photo credit: Peter Hurley

Born in Switzerland, Karen began her career with Zurich Dance Theatre (CH); London Studio Center (UK) and Matt Mattox’s JazzArt (France) before coming to New York City.  She enjoyed a successful dance and acting career in both the US and Europe before starting to choreograph.

Karen is the Resident Choreographer for A2K Productions, LLC(www.a2kproductions.com), a New York City based theater production company with a division for film and television.  A2K Productions specializes in creating works that cross over into various genres and uses theatre as a platform for current debates or issues that are not openly debated. The company is developing the soulful pop rock musical, Lighthouse, which Karen is choreographing and helped co-create.

Karen is the Associate Choreographer on All That Glitters, the new Liberace Musical, which finished a Broadway workshop in NYC and is slated for an out of town try-out in San Francisco and, most recently, she was commissioned to choreograph a Gershwin Ballet, Passage, for the European dance company Weave Dance Collective.

In New York City, Karen also served as choreographer on the original Off-Broadway children’s musical Quiet Clock, The Musical; Zarra, Unmasked At Last (37 Arts-starring Chita Rivera, Assoc.); and Broadway’s 27th Annual Easter Bonnet Competition (Minskoff Theatre, Assoc.). Film and regional credits include the Hallmark Entertainment film A Christmas Carol: The Musical, which starred Kelsey Grammer (Asst.); Goodspeed Musical’s Very Good Eddie (Asst.); the world premiere of TUTS’ Whatever Happened to Baby Jane (Asst.); and Nice Work If You Can Get It, Cabaret, Les Miserables, Guys and Dolls, Spamalot, and Legally Blonde at Weathervane Playhouse.

Karen also worked with Broadway choreographer Dan Siretta on the re-development of the First National Tour of Some Like It Hot, starring Tony Curtis; and has provided choreography for numerous stage and film industrials in the US and Europe.

Find out more about Karen by visiting www.karensieber.com



Broadway Dance Lab is proud to introduce you to Geoffrey Goldberg, an up-and-comer who was looking for a place to test his dance-driven stories.  Then he found us. We are happy to be a home for his creative process this fall!

Geoffrey Goldberg photo credit: Billy Bustamante

Geoffrey Goldberg
photo credit: Billy Bustamante

Geoffrey Goldberg is a Director, Choreographer, Writer, and Performer, having worked on Mary Poppins on Broadway, off-Broadway, regionally, and around the globe. Geoffrey was an Associate Director and Dance Captain with Mary Poppins on Broadway, and the 1st National Tour, as well as Assistant Director for the production in Mexico.  He recently directed two new productions of the musical around the country (Alluvion Stage, VA; Playhouse on the Square, TN). In New York City he has directed and choreographed numerous shows including Bradley Cole NYFringe); , Everyday (West Village Musical Theater Festival – Awards for Best Director, Best Musical); At The Chelsea (CAP21); Grease (Manhattan JCC), and A Year On The Road (Washington DC, Writer/Director). His choreography has been showcased at BC Beat and on film in “A Tap Dance On The Pier,” an official selection for the 2015 Dance On Camera Festival.

Geoffrey has also performed on Broadway (Mary Poppins), on National and International Tours (Mary Poppins, Chitty Chitty Bang Bang, 42nd STREET), and regionally.  He is a lyricist in the BMI Workshop and winner of BMI’s Jane Banks award.  He has had his music and shows performed in cabarets and performances across the country including: West Village Musical Theater Festival (Everyday; Winner, Best Original Lyrics, Best Musical); Kennedy Center Millennium Stage (A Year On The Road) and on the Broadway New Amsterdam Stage (Gypsy of the Year). He is currently working on directing and choreographing two new regional productions of Billy Elliott, as well as a brand new movie musical being released this year!

Geoffrey teaches tap and theater dance at Mark Morris, CAP21, and STEPS.  To find out more about him, visit www.geoffrey-goldberg.com



Broadway Dance Lab is thrilled to welcome the incomparable Marcelo Gomes to our roster of choreographers joining us in the lab this season.   We are honored that this superstar of the ballet world supports BDL’s mission to “reach across the aisle” and invite choreographers of all backgrounds to explore the Broadway idiom.

Marcelo Gomes Photo by: Jade Young

Marcelo Gomes
Photo by: Jade Young

Marcelo Gomes is one of classical ballet’s most sought-after male dancers. A native of Brazil, Mr. Gomes joined American Ballet Theatre in 1997 and was promoted to soloist in 2000 and principal dancer in 2002. He has performed in every full-length ballet in the company’s repertoire, and has worked with and/or created leading roles for virtually every major choreographer in the last 18 years including George Balanchine, Mikhail Fokine, Anthony Tudor, Sir Kenneth MacMillan, Jerome Robbins, Sir Frederick Ashton, John Cranko, and Martha Graham, Twyla Tharp, John Neumeier, William Forsythe, Paul Taylor, Mark Morris, Jiri Kylian, Lar Lubovitch, James Kudelka, Nacho Duato, Jorma Elo, Benjamin Millepied, Christopher Wheeldon, Matthew Bourne and Alexei Ratmansky.

Mr. Gomes’ performances have been seen throughout the world. In addition to his touring with ABT, he has appeared at many international dance festivals, and has been a guest artist with the Bolshoi Ballet, the Mariinsky Ballet, National Ballet of Canada, The Royal Ballet, Dutch National Ballet, Teatro Colon, Mikhailovsky Ballet, Universal Ballet, Teatro Municipal do Rio de Janeiro, and New York City Ballet.  He is the recipient of numerous awards including the Hope Prize at the Prix de Lausanne, a Bessie Award, and the Pris Benois de la Dance.

Marcelo Gomes Photo by:MIRA -American Ballet Theatre

Marcelo Gomes
Photo by:MIRA -American Ballet Theatre

Mr. Gomes has recently begun a successful choreographic career, and has created pieces for American Ballet Theatre, Complexions Contemporary Ballet, La Scala and Kings of the Dance. His ballet Apothéose, created for Julie Kent and Roberto Bolle, had its premiere on the opening night of American Ballet Theatre’s Metropolitan Opera House engagement in May 2013.  His newest work, AfterEffect, will enter the repertoire of ABT in October 2015 at the David H Koch Theater at Lincoln Center in New York City.

In January 2015, The HARID Conservatory initiated the Marcelo Gomes Scholarship Program, which provides invaluable assistance to gifted young male dance students.

Find out even more about Marcelo Gomes by visiting www.marcelogomes.co



We are thrilled to kick off our 2015 season by introducing our first Cycle 3 choreographer, Camille A. Brown.  Read more about Camille below and you’ll see why we are so very excited she is joining us in the studio this Fall.

Camille A. Brown, photo: Ra-Re Valverde

Camille A. Brown, photo: Ra-Re Valverde

Camille A. Brown is a prolific choreographer who has achieved multiple accolades and awards for her daring works. Ms. Brown is a Bessie Award Winner for her work, Mr. TOL E. RAncE, a 2015 Doris Duke Artist Award recipient, 2015 TED Fellow, two-time Princess Grace Award recipient (Choreography & Works in Progress Residency), a two-time recipient of NEFA’s National Dance Project: Production Grant, 2015 Lucille Lortel Award Nomination (Fortress of Solitude), 2015 MAP Fund Grantee, recipient of 2015 Engaging Dance Audiences Grant, the 2014 Joyce Award with DANCECleveland, a Jerome Foundation 50th Anniversary Grant, and a 2014

New York City Center Choreography Fellow. She was also the 2013 recipient of The International Association of Blacks in Dance Founders Award, the Mariam McGlone Emerging Choreographer Award (Wesleyan University), and the 2012 City College of New York Women & Culture Award.

Informed by her music background as a clarinetist, she creates choreography that utilizes musical composition as storytelling investigating the silent space within the measure, and filling it with mesmerizing movement.

Camille A. Brown’s choreography and dynamic performances have led her to receive a Bessie nomination for Best Performance in her work, The Evolution of a Secured Feminine, and a Best Choreography nomination from the Black Theater Arts Alliance for her debut work set on the Ailey Company, The Groove To Nobody’s Business.  She was also among the first cohort of fellows for Ailey’s New Directions Choreography Lab.

Camille A. Brown

Camille A. Brown, photo: Matt Karas

Commissions include: Alvin Ailey American Dance Theater, Philadanco!, Urban Bush Women, Complexions, Ailey II, Ballet Memphis, and Hubbard Street II, among others. She was the Choreographer for Saverio Palatella’s line, Whole¬garment 3D, for New York Fashion Week in 2008. A graduate of the LaGuardia High School of the Performing Arts, Ms. Brown earned a B.F.A. from the University of North Carolina School of the Arts. From 2001-2007 she was a member of Ronald K. Brown’s Evidence, A Dance Company, and was a guest artist with Rennie Harris’ Puremovement, and Alvin Ailey American Dance Theater (2008 and 2011).

Theater credits include: Choreographer of A Streetcar Named Desire (Broadway 2012), The Fortress of Solitude (The Public Theater), Stagger Lee (DTC), William Shakespeare’s A Winter’s Tale (Regional), Jonathan Larson’s tick, tick…BOOM! (City Center Encores! Off-Center), and Marcus Gardley’s THE BOX: A Black Comedy (Regional).

Initiatives include: The Gathering, an open forum for intergenerational black female artists to support one another and to advocate for greater cultural equity and acknowledgement in the contemporary dance world; BLACK GIRL SPECTRUM, a multi-faceted community engagement initiative that addresses the civic, educational, and economic struggles of black girls and women and seeks to amplify the cultural and creative empowerment of black girls and women through dance, dialogue, and popular education tools.

Camille is also the Co-Director (with Moncell Durden) of the new program at The Jacob’s Pillow School. Her new work, BLACK GIRL: Linguistic Play, will premiere at The Joyce Theater September 22-27, 2015.

For more information on Camille A. Brown and her company please visit:  www.camilleabrown.com



I’m working differently in the Lab than I have ever worked before.  I find myself exploring more patterns and vocabularies and I am deferring less to story.  Story is hugely important in musical theater and I certainly will never abandon it.  But I am hoping that in trying my hand at more non-literal ideas I can free myself from the “givens” of story and allow my dances to take their own shape.   Michelangelo said, “Every block of stone has a statue inside it and it is the task of the sculptor to discover it.”  I’m trying to see what happens if I have no predetermined notion of how a piece should be constructed.  Well this is certainly easier said than done.  Every step of the way I fight the urge to produce a slick product for an unseen “boss”.  Sitting with the discomfort of not knowing or not seeing a result is something that is so foreign to me it often makes my stomach turn.

This past week I came upon a challenge that I have never experienced before.  Ever.  I brought in what I thought to be an almost rudimentary piece of music with a very strong pulse and modern feel.  I told the company that we might simply explore walking patterns to this music. Now, those of you out there who have trained in dance know just how difficult “simple” things like walking and running can actually be. They really are deceptively tricky elements.  So I bring in this music with the driving beat and I ask the ladies of the company to walk to it.  To my horror, they can’t collectively find the beat… they can’t keep a consistent, unified rhythm.  How could this be??  These are some of the most talented dancers in the city.  What’s going on?  I am stymied.  I am stuck.  I have been a tap dancer for 34 years and I can explain pretty much any rhythm to anyone.  How can this music be interpreted any other way than the way I hear it? Nevertheless…What I hear so clearly in this music is not what all of my dancers hear!!  We all feel like we have entered the Twilight Zone of dance.  We get as far as we can that rehearsal but we eventually stop.  I don’t pick this number up again for quite a few days and, in the meantime, the women have banded together to work on the material.  However, after days of practice, it is still no more solid.  How can this be?!   This was a piece of music which I had planned on using to explore something conceptual, yet here I was stuck trying to figure out how to get my dancers to just…well… walk!  

I feel myself getting scared.  Testy.  Confused.  Frustrated.  Resentful.  Angry.  Judgmental.  Self-judgmental.  Defeated. Ashamed. Resistant.   The list of emotions that I felt within the course of one rehearsal was a mile long.   And I am quite certain each dancer felt it, too.  Here we all were encountering a problem that no one in the room could resolve!  Not one of us could put our finger on exactly what was happening.  Why was everyone hearing the music so differently and so inconsistently?  It was confounding and, as you might imagine, it was a severe artistic road block.

The questions began to arise:  “I’m halfway through…Do I want to give up on this?”, “What would happen if we had a show tomorrow night and this was our music?  What would I do?”, “Why can’t the dancers hear what I hear??”, “Why can’t I communicate what I want to the degree that will make this clear to them?”, “I am wasting these dancers’ time”, “I am wasting my valuable time I could be using to explore other more complicated things!”, “Do I present this piece at our showing on Monday?  If so…what do we present?  A bunch of talented dancers walking off the beat??” , “Do I change the concept?”, “Do I work to mask the problem?”….”WHAT IS GOING ON HERE?!”

These are types of experiences that keep choreographers awake at night.

It just so happens that my family is in town this week.  My brother is a graduate of Oberlin conservatory of music and is a very talented musician and composer.  So I asked him:  “Will you listen to this song and tell me how you hear it?”  In an instant it was clear.  He heard it exactly as I did!   His response came in seconds:  “It’s so clear!  They can’t hear that?! ”   I turned to my parents.  “Can you tell me how you hear this?”  Suddenly, the water became murky.  My mother instantly felt the music differently than we did.  What I mean by this is that she felt the accents -the downbeats – were in different places in the music.  Same with my father.  He felt the song the way my mother did.  Now my parents aren’t exactly trained dancers but I tested other songs with them and we all heard those the exact same way.  My brother and I listened more closely to the music.  Although we could understand what our parents (and my dancers) felt, we argued vehemently against their version.  This went on for, I kid you not, a good two hours.  We sat there playing the music over and over trying to decipher why the hell we all heard something different.  After careful dissection (including some fancy transcribing) my brother finally figured it out!!  It was very easy to interpret this recording as though the off-beats were the downbeats.  That’s how I heard it and that’s how I was inspired to choreograph to it.  But here’s the funny part:  Once my Brother figured it out… he could no longer hear it the way he did originally.  He could not erase what he knew to be the musical “truth”.  He could barely remember how to feel the song the other way.

There’s a very famous drawing that is a test of peoples’ perception.  Perhaps you’ve seen it?:

Young Woman or Old Woman?

Some people instantly see a young woman facing away.  Others see an old lady with a hooked nose and a prominent chin.  And sometimes, if you can see one you truly cannot see the other.   Even when someone points it out to you.  “See the chin is right here?  This is her eyelash…and the hooked nose?”   As fate would have it, I found a piece of music that operates the exact same way sonically.  You either hear it one way or you hear it another.  Or… more correctly… you either feel it one way or you feel it another.

So… where does that leave me with this dance?  The answer is, I have no idea.  As the choreographer I want to see a certain interpretation of this music, but how hard am I going to work for it?  I don’t know yet.  But what I do know is that if I’m feeling this much anxiety over a creation in the Broadway Dance Lab, how would I feel if a director were watching?  What if I had chosen this music to present in a concert in a few days and had no idea it would pose this problem?  What if the composer were there in the room influencing my musicality?  In those instances, the anxiety wins.  In those instances you do whatever it takes to cover up the problem.  To solve it with the tricks you have in your back pocket.

But what if I didn’t have to worry about creating the product?  What if I could take the time to truly explore the nature of this sonic anomaly and mine its unique traits?  Rather than settle for the lowest common denominator solution that perhaps dumbs the piece down for my dancers, what if I am able to exploit this musical choice to its fullest?  What could I create then and how could that inform my work moving forward.

I may not have the time this Lab Cycle to solve this the way I would like.  But if it weren’t for the Lab I never would have discovered this phenomenon.  I never would have even been aware of it.  Something in my psyche led me to this music out of the hundreds of other songs I could have chosen to work on.  Maybe it led me there so I could learn something, not just produce something.   With The Broadway Dance Lab I hope to remove for other choreographers the panic that I felt working on this material.  To provide a space where discoveries like these can be used to inform and serve creators of dance…not cripple them.



One of the missions of The Broadway Dance Lab is to remind the industry that choreographers are writers.  The only difference is that we use the movements of the body instead of words or notes to express thoughts and emotions.  This past week has been a difficult one for me creatively.  Writer’s block strikes at the most inopportune moments and poses many challenges.  Anyone who has ever stared at their computer trying to write a simple sentence knows what I am talking about.  Sometimes it’s the simplest idea that seems to take the longest to express.  And because the idea is so simple it makes the writer’s block even that much more frustrating.  “This should be so easy!”… “What is wrong with me that I can’t write this simple sentence?!”.

One of the reasons I am experiencing these blocks is due to the fact that I am trying not to rely on all the things I already know in order to create.  I’m trying to free myself up to explore the things I can’t explore outside the Lab.  The goal of the Lab is to afford choreographers the space to discover new artistic territory.  And that discovery, I have found, can be painstakingly slow.

I was talking about this with my cousin the other day and he was telling me about a film he just saw called “Particle Fever”.  SFGate.com writes the following:

“Particle Fever” is a gripping documentary about the most exacting and expensive scientific experiment ever conducted, and one that may be among the most significant. The film charts a 2012 milestone in the decades-long search by physicists to find an elementary particle called the Higgs boson. If the discovery is confirmed, it brings them a large step closer to understanding the universe at its most fundamental level.”

The New York Times writes:

“The film is a tribute to the creativity and curiosity that drive scientific research, which is shown to be an imaginative as well as an empirical pursuit.  It is enormously suspenseful, too, chronicling a period that included nearly catastrophic setbacks and public relations disasters, as well as progress. There was always a risk that the machinery would not work, that the beams would not collide properly, and that the Higgs would continue to hide at the theoretical center of the universe without empirical confirmation.”

A decades-long search by 10,000 scientists to find one tiny particle that they weren’t even certain existed.  Peter Higgs posited its existence in 1964!  He was awarded the Nobel Prize… last year.  This example of faith and fortitude and determination is what I look to when I feel like I don’t know all the answers.  When I get afraid that I don’t “know what I’m doing”.  When the answers won’t come it is often easy to give up.   To dismiss even the fundamental right to search for answers.

We live in a world where we expect immediate answers.  And when answers don’t come at the touch of a button, or at the next news broadcast, we get increasingly anxious.  My wish is that The Broadway Dance Lab will be a safe place for choreographers to explore the unknown.  To release themselves of the anxieties associated with not knowing and to find a way to move through the unknown and come out the other side unscathed.



What a week it has been!  Our first five rehearsals with the Broadway Dance Lab have once again reminded me of the importance and necessity of its very existence.  As a Broadway choreographer, I am struck by just how much I am trained to produce product, and produce it quickly.  The experience of having 10 supremely talented dancers in a rehearsal room with absolutely no agenda is both liberating and daunting.

My mother is an art teacher and a wonderful artist in her own right.  I asked her once, “If you could paint anything you wanted… anything at all… what would it be?”  Her answer was, understandably, “Oh gosh!  I don’t know!”   I believe this is what most artists face with the notion of true freedom.  No boundaries means endless possibilities and endless possibilities can feel terrifying because it’s so hard to know where to even begin.  How do we create product if we can’t even begin?  The first week in the lab challenged me to put aside my notions of product and focus solely on the creative process.  I challenged myself to just begin where I was that day and what comes out will be what it is.  Ironically, in so doing, I began four separate ideas in the first five days.  Are they any “good”?  Who knows? Will I “finish” all these ideas?  Who knows?  And the glory of the Lab is that, for once, I don’t have to have that answer.

The freedom to explore, the freedom to change my mind completely, the freedom to start with no pressure to finish, the freedom to discover my own voice, the freedom to rummage through my own mind, the freedom to try without consequences of failure… for an independent contractor like me these freedoms can feel scary at first.  The existential questions begin to arise almost immediately:  “What is this for?”,  “Are people going to like this?”, “Does this work matter if it’s not for sale?”,  and on and on…  These are questions that merely serve to stand in the way of creativity.

These 10 dancers are extraordinary.  They give of themselves 100% without hesitation or question and it is a joy to be inspired by them and to create on them.  Yet, as I look at them I often think, “They are so talented.  You better make something good, Josh!  You better make something worthy of these dancers!  And make it fast!”  But this is the exact mental habit I am trying to break.  All of these voices are what the Lab serves to quiet.

Every time my inner critic arises and questions my right to fail…every time I glance at the clock and realize my precious hours with these wonderful artists are slipping past… I am reminded why the Broadway Dance Lab is so vital.  It is only by giving choreographers true freedom from these inner voices that they can begin the process of removing these roadblocks to their success and begin uncovering great things.




After seeing hundreds of dancers audition, I am thrilled to announce our Broadway Dance Lab dancers for March, 2014!  They are:

Giovanni Bonaventura, Stephanie Brooks, Jeff Davis, Alexander DeLeo, Kory Geller, Taylor Markarian, Alice Pucheu, Valerie Salgado, Jena VanElslander, Latra A. Wilson

BDL Company, March 2014

These exceptionally talented dancers have already begun working together in the studio and I couldn’t be more thrilled by their ability and artistry.