Five Guys Named Moe
Five Guys Named Moe
The boys are back in town, with a brand new look: bigger, bolder, and badder than ever. Classics like “Let the Good Times Roll” and “Is You Is or Is You Ain’t My Baby” have been remixed for an explosive, re-imagined tribute to "King of the Jukebox" Louis Jordan. Led by the fearless mind that stunned audiences with Bootycandy, director Robert O'Hara (The Mountaintop) is back at Arena Stage and once again "shaking up the world, one audience at a time" (The New York Times). Come and dance the blues away with Eat Moe, No Moe, Four-Eyed Moe, Big Moe and Little Moe, as big band meets boy band in this dynamic, dazzling musical revue.
FROM THE AUTHOR
SHELDON HENRY (Big Moe) is a native New Yorker and has BFA from The Hartt School of Music. Some of his recent/favorite credits include South Pacific national tour (Seabee, U/S Henry), Guys and Dolls (Benny), Dreamgirls (Curtis), Central Ave Breakdown (NYMF/DIMF), Five Guys Named Moe (No Moe), Buddy Holly (Apollo Singer), Tommy (specialist, harmonica player), Parade (Newt Lee) and A Christmas Carol (Ghost of X-Mas Present). Sheldon is also a proud alum of Boys Choir of Harlem. He would like to say thank you to his family and friends for their continued support and is very excited to be on stage performing once again the great music of Louis Jordan.
KEVIN McALLISTER (Nomax) makes his Arena Stage debut. Other Washington appearances include Mitch Mahoney in The 25th Annual Putnam County Spelling Bee and Flick in Violet at Ford's Theatre, Lionel in Cinderella at Olney Theatre Center and Anton in Signature Theatre's world premiere of Brother Russia. He received a Helen Hayes nomination for his portrayal of Newt Lee/Jim Conley in the Ford's Theatre production of Parade. He has also performed regionally at ArtPark (Mereb in Aida). Other notable credits include Teatro 101 (Jake in Sideshow, Burrs in Lippa's The Wild Party), Toby's Dinner Theatre (Coalhouse in Ragtime, Collins in Rent) and the Kennedy Center (national tour of The Phantom Tollbooth). He will be seen next in the world premiere of Freedom's Song at Ford's Theatre.
PARIS NIX (Eat Moe) is ecstatic to be welcomed into the Arena stage family to perform this amazing role. His favorite credits include Once on this island (Daniel) for TheatreWorks in the Silicon Valley which was nominated for six TBA awards; the Broadway national tour of Seussical The Musical (Horton u/s, Wickersham Bro 1&3) with Theatreworks USA; Les Miserables (Enjolras); Shrek the Musical (Donkey) for Weathervane Repertory Theatre; and Ragtime (Coalhouse Walker Jr.) at the Upper Darby Performing Arts Center. Paris is an accomplished violinist who has been featured in Broadway's Rising Stars Concert at Town Hall in NYC. Additionally, he has made appearances in the Harlem Gospel Singers international tour, as both a featured singer and violinist, along with debuting the world premiere of R&B Juke Box for Universal Studios Japan. Paris was born and bred in Philadelphia, PA and graduated from the American Musical Dramatic Academy. He would like to thank his violin (Rose) for slaving away all those subway performances to pay the NYC rent.
JOBARI PARKER-NAMDAR (No Moe) is honored to return to Arena Stage after performing in My Fair Lady. Additional credits include readings of Oracle and Redhand Guitar at Arena Stage, Snail in A Year with Frog and Toad at Adventure Theatre (Helen Hayes nomination, Outstanding Actor in Supporting Role), Jobari in The Stephen Schwartz Project at Metro Stage, Hairspray and Showboat at Signature Theatre, Schroeder in You're a Good Man Charlie Brown at Adventure Theatre and Detroit in From My Hometown at The Ensemble Theatre. Jobari was also an artist in residence at the prestigious Strathmore Music Center.
TRAVIS PORCHIA (Four-Eyed Moe) is thrilled to be making his Arena Stage debut! Favorite regional credits include Hair (American Theater Company), The Color Purple (The Mercury Theater Chicago), Sweet Charity (Writers' Theater), Hairspray (Drury Lane Oakbrook), Chicago (Peninsula Players), Pippin (BoHo Theater) and The Petrified Forest (Strawdog Theater). On TV, Travis has appeared in Jennifer Hudson's music video "Where You At" and the AT&T U-verse commercial "Boulevard." Travis would like to thank his Mom, Dad, CS, Will and Family of Friends for their love and constant support! www.travisporchia.com
CLINTON ROANE (Little Moe) was in the original Broadway cast of The Scottsboro Boys. He toured with the show regionally in the role of Roy Wright to The Old Globe, ACT, The Ahmanson Theatre and The Philadelphia Theatre Company (Barrymore nomination for Outstanding Supporting Actor in a Musical) and performed in the U.K. premiere at the Young Vic Theatre in London. He has also performed at Goodspeed (Noble T. Jones in Hello! My Baby!), Marriott Lincolnshire (New Rhythm Boy in My One and Only) and Adventure Theatre (Joey in Frosty The Snowman). Clinton was a background vocalist on Jason Mraz's "Mr. A-Z" album. He holds a BFA from Howard University and also trained at CAP21. For Grandma. www.clintonroane.com
LOUIS JORDAN (Music and Lyrics) has been called the "King of the Jukebox" and the "Grandfather of Rock 'n' Roll." As a bandleader in the 1940's, he pioneered a wildly popular blend of jazz and blues. The swinging shuffle rhythms played by singer/saxophonist Jordan and his Tympany Five got called "jump blues" or "jumpin' jive," and it served as a forerunner of rhythm and blues and rock 'n' roll. At the height of his career he scored 18 number-one hit records and four of his songs are in the Grammy Hall of Fame which honors recordings of lasting qualitative or historical significance. Jordan performed songs that appealed to millions of black and white listeners. Able to "straddle the fence" between these two audiences, Jordan emerged as one of the first successful crossover artists of American popular music.
CLARKE PETERS (Playwright) is an actor, singer and writer. He earned a Tony Award nomination for Best Book of a Musical for writing the revue Five Guys Named Moe. As an actor, he has appeared on Broadway in The Iceman Cometh (Theatre World Award) and as Billy Flynn in the revival of Chicago. Clarke's London credits include Guys and Dolls, Ma Rainey's Black Bottom, The Passion and Dispatches at the Royal National Theatre. His West End credits include Blues in the Night, Porgy and Bess, The Witches of Eastwick and Chicago. In regional theater he has appeared in Driving Miss Daisy, The Wiz, Bubbling Brown Sugar, Ma Rainey's Black Bottom, Carmen Jones and The Amen Corner. Clarke is familiar to television viewers for his roles on The Wire, Treme and The Divide. His film credits include Mona Lisa, Notting Hill, Marley & Me, K-Pax and Freedomland. As a director, his credits include Blues for Mr. Charlie, Fascinating Aida, King and Martin Luther.
ROBERT O'HARA (Director) directed The Mountaintop at Arena Stage. He received the NAACP Best Director Award for his direction of Eclipsed. He received the 2010 Helen Hayes Award for Outstanding New Play for Antebellum and an OBIE Award for his direction of the world premiere of the critically acclaimed In the Continuum. He wrote and directed the world premieres of Insurrection: Holding History and Bootycandy. He directed the world premieres of Brother/Sister Plays (Part 2) and Wild with Happy. He is currently an adjunct at NYU/Tisch School of the Arts and the Mellon Playwright in Residence at Woolly Mammoth Theatre.
BYRON EASLEY (Choreographer)'s off-Broadway credits include Langston in Harlem. His regional credits include The Comedy of Errors (Oregon Shakespeare Festival), The Fantasticks (The Ensemble Theatre Company), Sophisticated Ladies and Jelly's Last Jam (Alliance Theatre). He has worked as choreographer, assistant choreographer and/or assistant director at La MaMa E.T.C., Ensemble Theatre Company, San Jose Repertory Theatre, Cleveland Play House, Arizona Theatre Company, Centerstage (Baltimore), Goodman Theatre, Pasadena Playhouse, Denver Center for the Performing Arts, City Center Encores, North Shore Music Theatre, Hartford Stage, Trinity Repertory Company, Two River Theatre Company, Pioneer Theatre Company and Maltz Jupiter Theatre. Honors include a 2011 Stage Directors and Choreographers Society Joe A. Callaway Award and an Audelco Award for excellence in choreography (Langston in Harlem); Suzi Bass Award in choreography (Sophisticated Ladies and Jelly's Last Jam). Teaching: Associate arts professor at NYU/Tisch School of the Arts (head of dance for musical theatre training, New Studio on Broadway). Formerly full-time faculty member at Carnegie Mellon's School of Drama, teaching dance.
TAYLOR DANIELS (Assistant Choreographer) is a recent graduate from NYU/ Tisch School of the Arts' Department of Drama's New Studio on Broadway; there he performed in productions of The Boyfriend, Summertime, and Company. Other credits include Tisch Drama StageWorks Violet, Tisch Drama StageWorks Spring Awakening, and Tisch Drama StageWorks Ragtime, and most recently Tisch Drama StageWorks Andrew Lippa's The Wild Party. He is thrilled to be part of Five Guys Named Moe at a Arena Stages, and would like to thank his friends and family for their continued love and support, without them none of this would be possible.
DARRYL IVEY (Music Director) is pleased to perform at Arena Stage for the first time. Originally from Hampton, Virginia, Darryl is now based in New York City. He has been heavily involved in the fields of Jazz, Rhythm & Blues, Pop, and Musical Theatre since 1986. He made his Broadway debut as Assistant Musical Director for Five Guys Named Moe. Darryl has worked with many wonderful people across the spectrum of musical performance --- artists such as Cab Calloway, Melba Moore, The Boys Choir Of Harlem, Phylicia Rashad, Charles McPherson, Regina Belle, Peabo Bryson, Jennifer Holliday, Vanessa Rubin, Carla Cook, and TV talk show host Rosie O'Donnell.
CLINT RAMOS (Set Designer) designed sets and/or costumes for Arena Stage's productions of The Mountaintop (Helen Hayes nom) and The Tallest Tree. Other DC credits include sets for Appropriate (Helen Hayes Award) at Woolly Mammoth and costumes for Much Ado About Nothing at the Shakespeare Theater, among others. Other recent/current credits include the Broadway productions of The Elephant Man with Bradley Cooper and Violet (Roundabout), Here Lies Love (New York and London) also, sets & costumes for Appropriate (Signature) & Bootycandy (Playwrights Horizons). He has been the principal costume designer for the last 2 Seasons of City Center Encores! Off –Center, having designed Cradle Will Rock, Violet, I'm Getting My Act Together…, Tick, Tick BOOM!, Randy Newman's Faust, Pump Boys and Dinettes. He has over 100 regional and international design credits. Honors include the 2013 Obie Award for Sustained Excellence, 3 Lucille Lortel Awards, TDF Irene Sharaff Young Master Award, 2 American Theater Wing Henry Hewes Awards and Helen Hayes award.
DEDE AYITE (Costume Designer) has designed sets and costumes for both theatre and film. Her past design credits include brownsville song ( LCT3), Urban Retreat, Manahatta (The Public, Studio), Raisin in the Sun (Calshakes), The Music Man in Concert (Two Rivers, NJPAC,) Kurt Metzger (Comedy Central), Adoration of the Old Woman (Intar), Woyzeck (UM,Amherst), Look Upon Our Lowliness (TMTC), Fox Shortcoms (FOX Network), COPPER Project (Improve Everywhere /BBC America), Last Laugh (soloNOVA Festival), Hollow Roots (The Public UTRF), Mary Stuart (NYU), Holding it Down (Harlem Stage), Vassa (Lee Strasburg Inst.), Illmatic (Urban Stages), The Piano Lesson (Yale Repertory Theatre), Smile Orange (Trinidad), American Schemes (Summer Stage,NYC). Dede Ayite has a B.A. in Theatre and Behavioral Neuroscience from Lehigh University. And an M.F.A in Design from the Yale School of Drama.
ALEX JAINCHILL (Lighting Designer) is a freelance Lighting Designer based in New York. He returns to Arena Stage where he was the Associate Lighting Designer for The Mountaintop. Selected credits include: Booty Candy (Associate Design, Playwrights Horizons), Punk Rock (Associate Design, MCC), One Man Two Guvnors (Cape Rep), The Music Man (Two River/NJPAC), clean/through (Catastrophic Theatre), Good Breeding (NYU), The Submission (Black Lab), Ubu Roi (Classical Theatre), Oblivion (Associate Design, Westport Country Playhouse).
LINDSAY JONES (Sound Designer) is pleased to return to Arena Stage, after working on productions of The Mountaintop, A Time to Kill, Ruined, Well and Noises Off. His Broadway credits include Bronx Bombers and A Time to Kill. Off-Broadway credits Bootycandy (Playwrights Horizons); include Mr. Joy (LCT3); Wild with Happy (Public Theater); Top Secret (NYTW); Rx (Primary Stages) and many others. Regionally, he has designed for theaters such as Guthrie Theater, Hartford Stage, Alliance, Goodman, Chicago Shakespeare, Steppenwolf, Lookingglass and many others. International credits include Stratford Shakespeare Festival (Canada) and Royal Shakespeare Company (England), as well as productions in Austria, Zimbabwe, South Africa and Scotland. Awards include six Joseph Jefferson Awards and 21 nominations, two Ovation Awards and three nominations, LA Drama Critics Circle Award and three Drama Desk Award nominations, as well as nominations for Helen Hayes, Barrymore and many others. Film scoring credits include Magnolia Pictures' The Brass Teapot and HBO Films' A Note of Triumph (2006 Academy Award, Best Documentary). www.lindsayjones.com
JEFF SUGG (Projection Designer) is a Brooklyn-based designer and multi-award winner. Jeff returns to Arena Stage after working on shows such as The Mountaintop (as well as Alley Theatre), A Time to Kill and 33 Variations. His Broadway credits include Macbeth (Lincoln Center Theater), A Time to Kill, Bring It On, Magic/Bird and 33 Variations. Off-Broadway credits include Fortress of Solitude, The Last Five Years, This Clement World, Tribes, Slug Bearers of Kayrol Island and The Accidental Trilogy. Regional credits include Wild with Happy (Baltimore Center Stage), Fortress of Solitude (Dallas Theater Center), Elephant Man (Alley Theatre) and As You Like It (Shakespeare Theatre Company). He has also worked with Cynthia Hopkins, Laurie Anderson and Wooster Group. Awards include a Lortel, an Obie, a Bessie and two Hewes Awards.
DEREK JONES (Assistant Lighting Designer) is joining Arena Stage for the first time in a design role after working there as an electrician for many years. In Washington, he was most recently the Master Electrician and Lighting Coordinator at Capital Fringe. Some of his recent lighting design credits include Arundel Barn Playhouse: A Chorus Line, My Fair Lady, Legally Blonde; Bloomington Playwright's Project: Island Song; Indiana University: Guys and Dolls, Chicago, School for Scandal, When the Rain Stops Falling. He has designed lighting for several dance companies around DC and has also been a lighting consultant for architecture and live events. Derek has an MFA in Lighting Design from Indiana University and a BA in Theatre and a BS in Physics from The George Washington University.
WILLIAM E. CRUTTENDEN III (Stage Manager) is thrilled to be back at Arena Stage and with Robert O'Hara where he last managed Guess Who's Coming to Dinner starring Malcolm Jamal Warner & The Mountaintop. Other D.C. credits include Totalitarians, Detroit, The Elaborate Entrance of Chad Deity, Mr. Burns, A Post- Electric Play, A Bright New Boise, Bootycandy, Clybourne Park, Full Circle, BOOM!, Maria/ Stuart, Measure for Pleasure and No Child…(Woolly Mammoth Theatre); Knuffle Bunny (The Kennedy Center); And the Curtain Rises, Sunset Boulevard, Chess, I Am My Own Wife (Signature Theatre); Is He Dead?, Bad Dates, Of Mice and Men (Olney Theatre Center); and Twice Upon a Time (Imagination Stage). Off-Broadway credits include Perfect Harmony. Regional credits include The Will Rogers Follies starring Tom Wopat (Merry Go Round Playhouse) The Mountaintop (Alley Theatre), Wild With Happy-Workshop (The Public Theater); Race (Gulfshore Playhouse); and Doubt: A Parable (West Virginia Public Theatre).
MARNE ANDERSON (Assistant Stage Manager) is excited to be a part of Five Guys Named Moe. Other Arena Stage credits include Mother Courage and Her Children, Maurice Hines is Tappin' Thru Life, The Mountaintop, Metamorphoses, Long Day's Journey into Night, Oklahoma!, A Time to Kill, The Arabian Nights, Duke Ellington's Sophisticated Ladies, The Fantasticks and The Quality of Life. Other regional credits include Cricket in Times Square; The Wings of Ikarus Jackson (Kennedy Center, TYA); Much Ado About Nothing (Shakespeare Theatre Company); SPIN (Signature Theatre); You For Me For You; Mr. Burns, A Post-Electric Play; and In the Next Room, or the vibrator play (Woolly Mammoth Theatre Company). National tours include Young Frankenstein. She is a graduate of the University of North Carolina School of the Arts and a proud member of Actors' Equity Association. She is thankful to her family for all their love and support.
Five Guys Name Moe at Arena Stage
Critics and audiences are loving Five Guys Named Moe. Don't miss it before it closes December 28.
In Rehearsal – Five Guys Named Moe
Preview the high-energy singing and dancing from our handsome, talented Five Guys Named Moe in rehearsal.
Five Guys Named Moe – Teaser Trailer
Big band meets boy band! A modern, re-mixed musical revue – dance the blues away with Five Guys Named Moe.
65th Anniversary Season
It is awe-inspiring to think of Arena Stage's contribution to American theater over the past 64 years. And now, with our 65th season, we aim to honor that history by presenting a collection of stirring works to challenge and excite us as artists and audiences.
Welcome to Off Book – Arena Stage's online forum featuring American artists at the top of their game, talking about what they do best. Actors, directors, writers, dramaturgs, designers – unscripted and unrehearsed.
MEET THE ARTISTS: DIRECTOR ROBERT O'HARA
What attracts me to Five Guys Named Moe besides the music is the opportunity to reinvent it. Louis Jordan's music is the root for rock and roll and hip hop. He was really a night club act in a way. He was popular entertainment. People would come and dance to his music. So when Arena said to put my own take on it I immediately thought about what context I could put the play in. There was no reason for me to come here and do another production of Five Guys Named Moe like everybody else has done it. I wasn't interested in that. So I said, "Well, what if they were a tribute group. What if the Moe's were a modern day boy band but they sang the songs of Louie Jordan. Read More
REMIX: FIVE GUYS NAMED MOE
What does the music and dance of Louis Jordan's time of the 1940s have to do with today's boy bands? We sat down with Choreographer Byron Easley and Music Director Darryl Ivey to discuss their new remix of Five Guys Named Moe. Big band meets boy band in this dynamic, dazzling musical revue. Read More
BEHIND THE MUISC: FIVE GUYS NAMED MOE CAST
Director Robert O'Hara has envisioned Five Guys Named Moe as a modern boy band. Much of our rehearsal process has been about the forging of that band—learning the music and dance and creating the personas. The cast of Five Guys Named Moe reveal all in this exclusive Q&A and behind the music video! Read More
LOUIS JORDAN: HE WAS A-ROCKIN'
"King of the Jukebox." "Grandfather of Rock n Roll." Or just plain Louis Jordan—no matter which name you call him by, this hitmaker and entertainer is synonymous with rollicking rhythms and roof-raising good times. Read More
December 2 at noon
December 3 at noon
December 4 at 8:00 p.m.
December 16 at 7:30 p.m.
December 17 at noon
FIVE GUYS NAMED MOE/WHUR DANCE PARTY
Show off your moves after the show on Friday, November 21 at the WHUR Post-Show Dance Party, featuring Angela Stribling from WHUR's "Pillow Talk." Dance along with cast members of Five Guys Named Moe to the greatest hits of R&B from the 80’s – Today!
FREE with your ticket to that evening’s performance of Five Guys Named Moe. Party-only tickets are available for $10 online or at the door, and include your first drink! Doors open
at 9:30 P.M.
Meet Director Robert O'Hara
Robert O'Hara returns to Arena Stage after directing our 2013 production of Katori Hall's The Mountaintop. An accomplished director and playwright, Robert received the 2010 NAACP Best Director Award for his direction of Eclipsed, the 2010 Helen Hayes Award for Outstanding New Play for Antebellum and an OBIE Award for his direction of the world premiere of the critically acclaimed In the Continuum. Robert wrote and directed the world premieres of Insurrection: Holding History and Bootycandy; directed the world premieres of Brother/Sister Plays (Part 2) and Wild with Happy; and is currently an adjunct at NYU/Tisch School of the Arts and the Mellon Playwright in Residence at Woolly Mammoth Theatre Company.
Tell us about Five Guys Named Moe. What attracts you to this show?
I've never directed a full musical production professionally. I'm known as the new play guy. But I love musicals, absolutely adore them. What attracts me to Five Guys Named Moe besides the music is the opportunity to reinvent it. Louis Jordan's music is the root for rock and roll and hip hop. He was really a night club act in a way. He was popular entertainment. People would come and dance to his music. So when Arena said to put my own take on it I immediately thought about what context I could put the play in. There was no reason for me to come here and do another production of Five Guys Named Moe like everybody else has done it. I wasn't interested in that. So I said, "Well, what if they were a tribute group. What if the Moe's were a modern day boy band but they sang the songs of Louis Jordan.
What if they actually were like Jodeci or Boys II Men or New Edition? What if they had that modern style but they sang these old grooves. And then I thought what if we reinvented the songs too? We got the OK from producer Cameron Mackintosh so we're reinvigorating the songs. We're going to add different types of instruments and put a different spin, so it doesn't feel like we're in the 1930s and 40s listening to a band, but that we're listening to a tribute to that music. We're going to make it an event – a Five Moe's event – and a celebration of Louis Jordan's music. Read more
Choreographer Byron Easley’s off-Broadway credits include Langston in Harlem. His regional credits include hits like Sophisticated Ladies and Jelly's Last Jam (Alliance Theatre). In addition to bringing dance to life on regional stages across the country, he’s now charged with molding the next generation of Broadway dancers at NYU’s Tisch School of the Arts. Sounds like the big-band-meets-boy-band concept for Five Guys Named Moe is right up his alley!
Director Robert O’Hara has a unique vision for “remixing” Five Guys Named Moe, including the look and feel, and music. Can you tell us how dance is being worked into his concept?
The music celebrates the 40’s and 50’s, and I knew the idea was that it was a contemporary group that covers those kinds of songs. And the more I’d hear Robert talk about it, I would hear his vision, and knew my job was to support that vision and be as creative as possible. So how do you celebrate the movement—and it is a celebration—how might we approach dance moves of that period, like the Suzie Q and Sugars, knowing that it’s going to be influenced by the music? We do a little bit of those classic moves with a modern sensibility by putting some funk on top of that older stuff. So I was thinking we’d have a “mixture of,” you know? And how do I make thathappen? By doing a little of everything. We tap, get thrown around a little bit, mix in a little funk groove, you know? Rhythm and blues. A little bit of the old with a lot of “stank” on it, if I can say that. It’s a celebration of the hips!
And we may do some “today” moves, but then, some of the music sits specifically in that period. So if we decide “Okay, we’ll put a sugar on something,” then we might have to put a groove on top of that to keep it fresh. And also we’re finding it as we go, which is exciting! We have these ideas and we get in the room—the rehearsal room is like a laboratory—we get in and then I may come up with an idea and notice that the guys are doing it slightly different. If I like how that sits with them, or it feels good on them, then it becomes uniquely ours or, again, a “mixture of.” We take a bit of everything and shake it up, so to speak.
You’ve got an impressive and extensive list of credits. How is the choreography for Five Guys fitting in with your repertoire or your aesthetic?
Well it’s exciting because it’s a little different than anything else I’ve worked on. You know? Since Robert wants to do a different take on this, I think everything in this process is new to me. And it’s exciting because it’s new. You just come and try to celebrate it. As a theater practitioner, you cover everything. Sometimes it’s a tap show, sometimes it’s strictly jazz, or a mixture thereof, or something Afro-centric. So, it’s a little bit of new, a little bit of everything. I’ll use some of my old stuff, but I’m finding a lot of new aesthetic in this too.
In addition to being a choreographer, you’re also a professor of dance at Tisch. Do those two roles differ a lot for you?
They overlap. You know, as a teacher, I’m trying to teach young artists how to prepare, how to ready themselves, so they can do their best work. So that means I’m talking about how to come to the work—their preparation. Teaching them how to be able to be rigorous, and focus, and strive for excellence. And you want to teach them all those fundamentals, but at the same time you want them to be able to do their best work.
Likewise you want to do the same thing in the rehearsal room. You want to create an atmosphere and an environment that’s going to encourage the artists to do their best work. And to take chances! To step outside their comfort zone and know that the room is safe and supportive. So that they know it’s okay to make a mistake. I want to set the environment and the groundwork that’s going to allow them to do their best work, inside and outside the classroom. In choreography you want to celebrate who’s in the room. So I may have a vision in my head, but then I come into the room and my vision’s slightly askew. But I’ve got to celebrate who’s in front of me in a big, bold, crazy, loud, raucous way! it’s a celebration of life through movement!
Audio DescribedDecember 6, 2014 – 2:00pm
Open CaptionedDecember 18, 2014 – 8:00pm
December 24, 2014 – 7:30pm
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