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Holiday Show Sampler
Ideas and tips to help make the season bright—with dance
The holiday season is full of warmth, cheer—and
the stress of too much to do. Why, then, would any sane school
owner choose to put on a performance in December? The creative
school owners and teachers in this article have come up with
imaginative concepts, good causes to support, and smart ways
to lighten—or simply accept—the season’s workload. And some of
them just can’t miss any opportunity to let their students
perform. Read on for a wide array of ideas that will get your
creative juices fl owing. You just might find yourself putting
your students onstage for the holidays.
 Summertime
Jump on the Holidays
Ericka Osswald, owner
Center Stage Dance Studio
New Bedford, MA
What better incentive to encourage students to participate in
summer camp than a performance opportunity? That’s how my
assistant, D’Lanor Tetschner, and I came up with the idea of a
winter holiday show. It was also a way to minimize rehearsal
time during the fall semester so that we didn’t have to take
time away from classes or jump right into weekend or night
rehearsals as soon as school started. In addition, it gave the
younger recreational dancers a chance to dance with the older
members of the competition team. All choreography for the show
was taught over four weeks (two nights per week) in August. We
then rehearsed several times in the fall.
Forty students participated in our 2005 Nutty Nutcracker
Camp. All of the senior team dancers were given character
roles (solos or featured parts in group routines) as well as
group numbers, and the younger students performed in group
dances. We put a spin on the Nutcracker story by
starting out with a large ensemble hip-hop routine to “Let’s
Get It Started,” which is the party scene on Christmas Eve.
Christmas carolers then entertain the party guests with
“Jingle Bell Rock.” As Clara falls asleep, the Nutcracker
Prince appears with his group of tap-dancing sailors. They
battle with the Pirate Queen and her pirates (jazz students),
using swords and mops as weapons and dancing to the theme from
Pirates of the Caribbean. As the Prince takes Clara
away, the lyrical students dance to “Song for a Winter’s
Night.”
The second act features the usual Russian, Spanish (Jennifer
Lopez’s “Let’s Get Loud” with dancers on pointe), Chinese
(tap), and Arabian (lyrical) divertissements, but we added
Irish Creme (a Riverdance-style tap number), French
CANCANdy (jazz/acro) from the Moulin Rouge soundtrack,
Dew Drop (a lyrical duet to “These Dreams”), Peppermint (jazz
to “Peppermint Twist”), Jelly Beans (young students), and
Mother Ginger and The Ginger Snaps (doing a jazz routine to
“Snap Your Fingers”). A Candy Hearts jazz trio, also featuring
the Prince and Clara, performs to “Do You Wanna Dance?” before
a traditional ballet finale.
For costumes, the students used old recital or competition
costumes or borrowed or purchased others. It was a great way
to reuse costumes that would otherwise collect dust. The
parents loved the fact that there was no costume fee, and they
didn’t mind purchasing some inexpensive clothing that their
children could use later.
We performed the show for the public at a local school
auditorium and made a small profit. To save the expense of an
extra day’s rental fee for the facility, we held the blocking/
dress rehearsal on the day of the performance.
The team parents had a bake sale to raise money for nationals,
and that did very well. Most important, the kids had a blast
and the dance camp and fall rehearsals (for which we charged a
fee) generated extra income. The school also sold T-shirts
that featured all the dancers’ names on the back—a great way
to advertise the studio and summer camp and generate a profit
at the same time.
Our first dance camp/holiday show went over so well that we
decided to do it again. I thought it would be a great idea to
put a spin on A Christmas Carol, and we combined that
story with a “Winter Festival” first act. This time 36
students signed up. Again, all of the costumes were made,
purchased, or reused or borrowed from previous recitals or
competitions. The performance, again at a school auditorium,
pulled in a small profit.
For the “Winter Festival” the students danced to songs such as
“Frosty the Snowman,” “Little Saint Nick,” and “The Man With
the Bag” (a tap dance with a boy as Santa and girls holding
gift boxes and wearing recital finale costumes with added
Santa hats). We also featured a 7-year-old student who sang a
Hanukkah song, as well as other group routines.
The second act was our Christmas Carol with a twist.
The opening scene features a female Scrooge with Bob Cratchit
and an assistant in a hip-hop number to “Work It.” On
Scrooge’s way home she meets Isabelle, a poor woman she
ignores. Her nephew, Fred, invites her to a party on Christmas
Eve and they dance together. The townspeople all dance a jazz
number to “Dancing in the Streets,” but Scrooge wants no part
of it. At Scrooge’s house, the ghost of Marley appears and
they dance to Jaci Velasquez’s “Show You Love.” Then the Ghost
of Christmas Past appears and we see Young Scrooge being
bullied by some children and then his own mother (to an eerie
lyrical song, “Fire and Ice” by Enya). The Ghost of Christmas
Present then appears and shows Scrooge the Cratchit family
gathering for dinner and gifts. They dance a cute family
routine to a Céline Dion song (“Christmas Eve”). Then Scrooge
is shown the party at Fred’s, where Isabelle has arrived (a
hip-hop routine to “It’s a Party,” a fun song from the movie
Honey). The Ghost of the Future and Scrooge do a modern
dance to “Incognito” by Enigma, and then Scrooge realizes she
must change her ways. She wakes up on Christmas morning ready
to shop for the Cratchit family. For the finale, the entire
cast dances to “Jingle Bells.”
We began working on ideas for our latest dance camp in
February, so that we could advertise it to our students in
May. We give everyone who calls the school looking for
information details about the summer camp. It’s a great way
for new students to try out our studio, and most of them do
enroll in the fall. What started as a dance camp has now grown
to a second performance opportunity for the students. They
love it because the pressures of competitions and the recital
are not there. This show is all
about performing for the love and fun of it.
 Elvis
Tribute Fund-Raiser
Beverly Smithey, owner
Stage I Dance Academy
Greenwood, IN
For the last six years the focus of my studio’s holiday show has
been a benefit for spinal cord research. It began when I heard
about Emily Hunt, a local girl who at age 4 was left paralyzed
from the waist down after an accident. I learned through a TV
interview that she had wanted to be a ballerina when she grows
up. I contacted her parents and suggested that we include
Emily in a show from which all the proceeds would go toward
spinal cord research. The offer to be in our performance led
to her taking dance classes at our studio, which she has done
now for six years. Now 14, she is a member of our performing
company and graces the stage from her wheelchair.
The show’s theme varies from year to year; for 2006, it was called
If I Can Dream and included all Elvis Presley music.
The show featured Donny Edwards, an Elvis Presley tribute
artist from Las Vegas. The dancers performed upstage or
interacted with him while he sang. Emily’s performance in this
show was set to the song “If I Can Dream.” Along with Emily’s
solo, five young dancers depicted her as a child while one of
the school’s teachers portrayed her as an adult dancer.
Fifty dancers ages 7 to 18 performed routines ranging from “Blue
Suede Shoes” to the closing production number, “Viva Las
Vegas,” in which all of the dancers wore red, white, and blue
costumes. Other songs used in the show included
“Rock-a-Hula-Baby,” “Jailhouse Rock,” “Burnin’ Love,” “Teddy
Bear,” “All Shook Up,” and “Heartbreak Hotel.”
We do our show on the weekend before Thanksgiving to avoid the rush
of activities as the holidays approach; however, because we
usually do not start the preparations until September it is
quite a push. This year’s evening performance was accompanied
by a silent auction, a dessert buffet, and dancing in a
ballroom after the show.
Advertising was done through posters, websites, flyers, and mailers
to those who had purchased tickets in the past. Tickets are
usually $50 and this year we offered a discounted price of $25
to students and seniors. This worked very well and helped
bring in more grandparents. We also get corporate sponsors to
contribute, which helps pay for the expenses. (We do not
charge students a participation fee.) The show usually turns a
profit of $20,000 or more, all of which goes to spinal cord
research.
The benefit show is the highlight of the year for our performing
company. The students love being a part of a professionally
produced show that raises money for such a worthy cause. Also,
Emily has become a very important member of their group. Our
dancers now realize not only how fortunate they are to be able
to dance with a complete body, but also what a person with
limitations can do with enough determination.
 Babes
in Toyland
Carla Wilson, owner
Northwest Missouri Academy of Dance
Cameron, MO
We do a holiday show because it keeps our students interested and
gives them something to work toward before we start rehearsals
for our spring recital. We had done Cathy
Roe’s Nutcracker All Jazzed Up
for a few years, then a Magic of Christmas recital, and
I wanted to do something new. The idea of doing a musical
where the students could act out the parts seemed like fun.
After giving it some thought, I hit on Babes in Toyland.
I watched several versions of the video and then combined
parts from the different shows to create our own version,
which has both comic and serious parts. I started working on
the concept right after our spring recital. It worked well for
our little students since we were able to include several
nursery rhymes for their dances. The older students acted the
parts and mimed the lines along with the soundtrack we made,
using the songs from the movies and adding others.
All of our students (roughly 130) participated, and we charged
a $10 recital fee. We started rehearsals in October. At first
we used only a small part of our class time, but later it
turned into the whole class. We also had a “lock-in” from 8
P.M. to 8 A.M. All of the students ages 10 or older brought
food to share and a sleeping bag. Those who weren’t rehearsing
could lie down and rest. This gave different classes a chance
to work together and allowed us to put together the main part
of the show. A week later we had a rehearsal that also
included the younger students.
One of my daughters designed most of the costumes, which my
son and other four daughters helped to make, and we purchased
others. For the sets, which were very inexpensive, my husband
made 10 triangular frames, to which we attached hardboard and
set on a raised platform. They cover a 40-foot stage. We
painted scenery on all three sides; to change the scene, we
simply turn the triangles. We also had a few freestanding set
pieces, such as a moon and a Toyland door.
We advertised the show by appearing on a local radio talk
show. (To arrange this, all I had to do was call the station
and they scheduled us.) Some of the students talked about
their parts, and it was great publicity. I ran an ad in the
local paper along with a press release and students handed out
flyers during the city’s Christmas parade, which happened to
fall before our show. We gave one performance, at the local
high school. Mostly we take a loss, but I like to think that
we break even!
The show has been a great experience. We do not offer acting
classes at our studio, and this
chance to touch on acting has helped the students to be more
expressive in their dancing. It also helped them learn to work
together on a big project with students other than those in
their class. The studio gained a lot of exposure and we picked
up a record number of new students the following January. We
had the whole town talking! It was our biggest hit ever for a
recital or production. People told me that even the dads and
grandpas stayed awake. I’m not quite sure how we found the
time to do it, but it has been a lot of fun!
 Student-Powered
Production
Deborah Lamontagne, director
North Andover School of Dance
North Andover, MA
The holiday season is such a busy time of the year, but it’s also a
wonderful time to create a dance show or concert. So about 15
years ago, when I wanted to offer an additional performance
opportunity to our competitive and recreational dancers,
making it a holiday show was an easy decision. The
recreational dancers were especially excited by this chance to
perform because it showed them that they are special and that
their hard work would be rewarded.
Because I wanted the holiday show to be different than our annual
spring recital, I decided that it shouldn’t cost parents a lot
of money for tickets or costumes and that it should be a
fund-raiser, with the proceeds going back to the dancers. The
competitive dancers would receive a portion to help with
competition fees, and the recreational dancers would receive
funds to help with recital costume expenses.
The teachers used to start working on the choreography at the end
of October. They outlined the show and decided on music,
costumes, and choreography. But quickly we found that the
dancers were missing out on technique classes each week
because of rehearsals. That’s when we came up with a solution
that has been the basis for our holiday show ever since: We
handed the whole thing over to the students.
We asked the competitive dancers to choose groups of students,
select the music, create the choreography, and design the
costumes. There were 56 to 60 dancers, whom we divided into 7
or 8 groups. We gave them guidelines for what was needed,
including a timetable that showed when they had to have the
music approved and when the choreography and costume choices
needed to be completed. They had to do everything on their own
time, while maintaining their attendance in class. Of course
we helped them along the way, by editing music and offering
suggestions. Since the younger dancers aren’t included in the
student choreography, the teachers taught them a creative
routine that they could learn quickly.
There is no theme to the show; we use general titles like Winter
Wonderland, Holiday 2006, or Holiday Extravaganza.
As the years passed, two performances became necessary, both
to accommodate all the dancers who wanted to participate (I
chose to limit the show to one hour) and because the audience
demand was there. The seniors perform solos that they learned
during the summer in this show, not the recital, and also use
these routines for competitions.
This production is not as elaborate as our spring show. I rent an
auditorium that has adequate lighting and sound systems and
sometimes have the dress rehearsal on the same day as the show
to keep costs down. In the early years we used costumes from
previous years; later we used some of the show’s profits to
buy costumes that we could use year after year. There are no
backdrops or sets. Staff members volunteer their time, and
parent volunteers help
with all the production aspects.
Approximately 200 students participate in these shows, so we
have no worries about ticket sales. Every performance sells
out. We do a small amount of advertising, usually one ad in
the local newspaper. Everyone at the studio wants to attend,
but I also use the show as a tool for prospective students to
see our work. Though I don’t know how many students have
enrolled because they saw the show, we do get inquiries about
our school because of it.
When we first thought of this idea, we didn’t realize what a
learning experience it would create for these high-school
students. We’ve been impressed with the results and give out
awards—Creative, Entertaining, and Overall Excellence. The
winners are invited to take the choreography to competition in
the student choreography division. But it also has brought the
dancers together, allowed them to be creative, and taught them
all the aspects of choreographing, plus how to work together
and manage their time. They feel honored to be asked to
choreograph and look forward to it each season. Armed with
this experience, many of my former students have choreographed
for their college dance teams, and some now dance
professionally.
Our holiday show is an easy task to accomplish, and it puts
everyone at the studio in the holiday mood.
Is there a better way to do that
than with dancing?
 Family-Affair
Talent Show
Jennifer Shiplet, owner
Dance Arts Center
Albuquerque, NM
December is a busy and exciting time of year for everyone, but at
Dance Arts Center we get especially excited about our annual
Holiday Talent Showcase, which we started seven years ago.
Performed in our studio, it consists primarily of
student-choreographed dances along with a mix of students
playing musical instruments, singing, performing skits, and a
few studio numbers. We use our largest room, cover and
decorate the mirrors, and tape off the stage perimeter.
The idea for the showcase came from a young home-schooled
student who wanted a venue to present a musical play that she
and her sister had written, as well as a place for other
students to perform. They also wanted to raise money for
charity. As studio director, I took the showcase over after
several years. It has really blossomed in the last few years
due to our summer choreography workshops. The students in
these workshops are so excited about creating their own work.
They have learned to direct other dancers, work with various
kinds of music, create their own costumes, and present the
whole package to an audience.
The show truly is a dance family affair: The dancers’ siblings
run the music and parents borrow and set up chairs and act as
photographers. Costumes are simple—we use the previous year’s
recital or company costumes or new ones provided by talented
parents and students.
Preparations start with a sign-up sheet in the lobby in late
September. Interested students prepare works in progress for
an audition that is held about a month before the performance.
We may offer a few suggestions, but usually we accept all of
the numbers. The dress rehearsal is held the night before,
with two performances on the same day. The only problem we
deal with each year is not having enough studio space for the
students to rehearse; many family homes have become rehearsal
spaces.
Our showcase makes money because it costs so little to
produce. We keep ticket prices low, usually $3, to allow more
young students to attend. Profits go to either a charity or
the studio’s performing company. Sometimes parents hold
raffles or collect food or clothing for the homeless as an
adjunct to the show. Advertising is only needed at the studio
since we outsell our audience space, packing in about 75 viewers.
By keeping this showcase in the studio we avoid the stresses
of a larger production. Outside venues are usually expensive
and require costly marketing and more selective auditions.
Also, audiences for a larger production would be limited due
to the many holiday performances in Albuquerque.
One of my main goals as a studio owner is to promote the joy of
dance, and I see that happening at this holiday showcase.
Students learn to create, perform, and entertain an audience.
The show must be successful because the students begin working
on the next year’s numbers soon after the showcase. They love
creating and performing, and audiences love watching them.
 Dancing
for a Cause— and a Cure
Susan Mendoza Friedman, director
Dance Designs
Hyannis, MA
In the fall of 2006 my best friend and three of my dancers’ mothers
were battling cancer. That’s how our school’s holiday show,
Dancing for a Cure, began—as a fund-raiser to benefit
ovarian and breast cancer research. Most of our past
fund-raising projects had benefited our competition team, but
given the time of year it made perfect sense to include the
entire studio community. The money goes to the Friends of the
Dana-Farber Institute, a leading organization for cancer
research.
Our students have always enjoyed learning variations from The
Nutcracker in their classes each November and December,
but they had never performed the ballet. I saw this
performance as a perfect opportunity to give them this
experience while feeling that they were contributing to a
worthy cause.
With the help of parents from our studio, my staff and I formed
several committees to take charge of the event. The parents in
turn enlisted the help of countless others to make plans for
refreshments, setup, publicity, costumes, program design, and
decorating. To keep costs down, most of the costumes were
recycled from previous recitals, which we then altered or
embellished to fit each of the Nutcracker variations;
others were made especially for this event by volunteers.
Our dance faculty of three took responsibility for all the
choreography, including six Nutcracker variations,
which were danced by a different cast in each of the three
performances. The Nutcracker pieces were rehearsed
mostly during class time in the six-week period before the
performance, with a few extra rehearsals on the weekends. We
fleshed out the program with other holiday dance pieces that
featured tap, ballet, or lyrical dance, which were rehearsed
on weekends or during company rehearsal time. We also invited
musicians and singers from the community to perform in the
show. All of the songs were in the holiday spirit or had
inspirational themes. Also included in the program were what
we called “Dance Designs Storybook” readings, in which dancers
ages 8 and up, whose mothers were battling cancer, read poems
and shared personal stories. The musical pieces and readings
were woven throughout the program to make it a varied and
delightful show for all. After the final bow we played the
song “Everybody Dance Now,” and the entire audience and cast
danced together.
The show was held in the studio, which was a major undertaking. The
25-by-50-foot space was transformed into a seating house for
150 people and a small stage area. Additional lights and a
sound system were brought in, and the space was transformed
with creative holiday decorations.
As part of the fund-raiser, refreshments donated or baked by
parents were served during intermission and a giant gift
basket, filled with incredible items donated by local
businesses, was raffled off at the end of each show. More than
$5,200 was raised, and with that donation we created what is
now an established fund at the Friends of the Dana-Farber
Cancer Institute.
Dancing for a Cure
was a magical
and spiritual experience for all involved. All of us at Dance
Designs are committed to making this an annual event.
 Nutty
Nuns
Katrina Wallace, owner
Kennett School of Performing Arts
Kennett, MO
This year will be the first time that my school puts on a holiday
performance. When I was a child, my parents were always
involved in huge Christmas productions with our church, so I
learned at a young age that putting aside your personal needs
during the holiday season is another way to give. Because my
studio is in a very small town, where many arts programs have
been pushed aside for other activities, I decided to do a
holiday show to help children experience the arts and bring
our community together.
Another reason for doing this show, Nuncrackers: The Nunsense
Christmas Musical, is that my small number of students
will get to experience some of The Nutcracker without
my having to produce a full-length ballet. At least 20
students will be involved, and I plan to include as many as
possible.
Nuncrackers
is a musical in a series
by Dan Goggin called Nunsense. When I was in college
the drama department put on Nunsense II, and I had the
pleasure of being one of the five nuns. For this production,
the college cast members will play the nuns and my students
will be added to the musical numbers and the Nutcracker
pieces. It’s a neat way for the original cast to come
together. Three of the five original cast members’ children
are students at my studio; since they will be dancing in it,
the show is kind of a full-circle experience.
The musical is set in the basement of Mt. Saint Helens School,
where the nuns have created a public access TV studio in order
to perform The Nutcracker on television. Here we meet
the Little Sisters of Hoboken, NJ, and their students, who
indulge the audience in songs featuring ballet, tap, and jazz.
(I will choreograph the children into all of the numbers to
shift the focus more toward them.) Their production of The
Nutcracker (which I plan to expand) begins as the children
take their places onstage. During the telecast, the nuns
discover that all of their Christmas presents are missing.
Chaos ensues until one of the nuns wins the lottery and the
sisters give the winnings to a poor family. The story is
filled with touching moments, Christmas cheer, great music,
and dance.
I have a budget of $500 for sets and props. My brother, James
Dumas, is in charge of set design. This one, mostly consisting
of painted flats, will be larger than anything we have used in
the past. We recycle our sets; it’s quite easy to repaint and
revamp them if you plan carefully. I plan to borrow some
furniture from a local antique store, in exchange for which I
will offer free advertising in our program and mentions in the
local press releases. And several of my theater friends have
offered to donate time and materials.
The students will purchase their own basic costumes from the
studio as they do for our spring recital. Although the
official website for Nunsense offers habits (as well as
sets and props) to purchase or rent, we will have the nuns’
costumes made by a local seamstress for about $50 each.
Rehearsals will start in early October. We will perform 10
shows over 2 weekends in 2 towns. We have chosen small
theaters to keep the licensing fees ($300 per weekend) down
and create an intimate setting.
For advertising, I plan to send a press release to the
newspaper and do a radio morning show. Many of our local radio
stations welcome guests to speak about their upcoming
performances on their morning shows. All it requires is a
phone call or an email to the DJ. Also, our local news station
has an arts spot on which they often do brief interviews with
local people about upcoming productions and events. I also
plan to give tickets away to a local nursing home, children’s
home, and women’s shelter.
Given the popularity of the cast (one member is a public
official), I am sure we will break even, if not turn a small
profit. And I believe that we will gain new students in the
fall; a performance opportunity in addition to our recital
might encourage parents to enroll their children. The studio
will gain exposure from the papers and radio and TV stations;
ideally, even if people don’t come to see the show, they will
remember our name.
I believe the holiday season is a time for traditions. I look
forward to the day when our annual Christmas show becomes a
holiday tradition in our community.
 “Dance
With Santa Day”
Tonya Kraner, teacher
TNT Dance Team and Susan’s Tap-n-Toe Dance Studio
Lancaster, OH
In 2000, my school was looking for an interesting and fun
fund-raiser that would benefit the community and raise
awareness of dance. Since our community has rare opportunities
to enjoy dance, we wanted to expose people to forms of dance
other than ballet. Because the holidays were coming up, I came
up with the idea for a “Dance With Santa Day.” Our dance team
then brainstormed activities we could host throughout the day.
We included photos and a chance to dance with Santa, mini
classes, face painting, and holiday card and craft making for
the attendees; hip-hop, tap, lyrical, jazz, and tumbling
performances by our students; and visits from Santa’s elves
and The Nutcracker’s Clara and Sugar Plum Fairy. The
concept gave us the perfect chance to “share the love!”
Our theme, “Dance With Santa,” stays the same from year to year,
but we change what we perform, as well as the informal classes
we offer, every year to keep them fresh for the kids who
return. In addition to the Santa and Nutcracker
costumes, we also utilize some recital costumes. The setting
is in the studio, so it’s informal— chairs set up around a
performance space for the kids, along with Santa’s chair, a
Christmas tree with gifts piled underneath it, and seasonal
decorations. Our entire dance team of 25 to 30 students
participates in the day’s events. The performances and classes
run throughout the day as new children arrive.
Parents and staff (and Santa, of course!) also help make the day a
success. The staff teaches the classes and dances with the
team; parents make refreshments, supply the art materials,
keep the children organized with the activities, and take
pictures of each child with Santa.
We advertise with posters at the studio and in the community,
newsletters in the schools (as allowed), flyers handed out by
our students during the community’s holiday parade, newspaper
ads, and word of mouth.
During the first few years the show just about broke even, mainly
because the parents donated the supplies. Since then we have
made a small profit, but nothing that justifies all the work
we put in—it’s just fun!
The experience benefits our students in several ways: It teaches
them how to maintain a character for a more sustained period
than the length of a routine (and not only on the dance
floor); how to deal with the general public (including upset
kids); and how to pace themselves to get through a full day
and still have the energy required to keep kids involved. And
because they are a part of everything that goes into making
the day happen, they also learn organizational and
problem-solving skills.
The benefits go beyond the students, too. This event has brought in
new students and increased current parents’ positive feelings
about the studio. They love having something safe, fun, and
inexpensive to which they can bring their children. It also
builds rapport among the competition team, and their parents,
as they work together for something other than dance. The
community is more aware of dance and what our studio can offer
their children. As a participant in National Dance Week, I
appreciate the increased awareness of dancing and the
realization that ballet is not the only form of dance (as most
people around here seem to think). It’s especially nice when
the guys join in and other boys see them and realize that boys
can dance, too!
Photo captions (from top
to bottom):
Center Stage Dance Studio
students (left to right) Alyssa Brenner, Lindsey Vermette, and
Serena Gaudencio stay warm backstage before their tap trio,
“Frosty the Snowman.” Photo by Ericka Osswald.
Emily Hunt, the
inspiration for the Stage 1 Dance Academy fund-raiser, with
Elvis (Donny Edwards). Photo courtesy Beverly Smithey.
The “Lemonade” dance in
Northwest Missouri Academy of Dance’s production of Babes in
Toyland. Photo by Karen Thompson.
Students at North Andover
School of Dance perform to “Getting in the Mood” at the annual
holiday show. Photo courtesy Deborah Lamontagne
Dance Arts Center students
Maura Talley and Katie Marshall in “Searching for Twitchmire”
(2005), a comedic tap number that they have developed over the
last three years. Photo by Susan McLendon
Dance Designs students
perform “Let It Snow” in the school’s holiday fundraiser for
cancer research, Dancing for a Cure. Photo courtesy Susan
Friedman
Katrina Wallace (left) as
Sister Mary Leo and Shawnee Trowbridge as Sister Robert Ann in
a photo shoot for Kennett School of Performing Arts’
production of
Nuncrackers. Photo by Karen Brown
“Dance With Santa Day”
participants get to hang out with Santa. Left to right: (front
row) Tiffany Travis, Nikki Baker, Kanda Strohl, Katie Mauger,
Allyssa Benson, Sheena McCullough, (back row) Valerie Lewis,
Santa, Jennifer Willison, and teacher Tonya Kraner. Photo
courtesy Tonya Kraner
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