Musical Theatre Triple-Threat Training
Nicole has had the privilege to perform iconic Broadway triple-threat roles across the USA and globe for over a decade. Currently as a Swing for the Broadway company of CHICAGO The Musical, Nicole daily lives in the world of balancing training and growth with the demands of a professional career. Nicole holds a dual degree in Musical Theatre and Dance, is classically training in piano, and holds further experience as a choreographer and facilitator for collaborative arts concert works and competitive dance programs. Nicole specializes in coaching on Audition Prep (both for music and dance auditions), Mock Auditions, Tools & Techniques of the Trade, "The Biz & The Hustle", and Theatre Dance master classes for individuals, private groups, universities and academies. Other certifications include Personal Training & Nutrition (NASM), so total health and wellness coaching is available as performers and students prep for audition season.
For those students looking to pursue any of the three elements of Musical Theatre (acting, singing, dancing) or simply enjoy the genre as a continued hobby, Nicole is the ideal candidate to help hone the trifecta and help boost any one area for greater confidence.
I take great pride in finding ownership of aspects of who I am (and who my students are!) in a safe space that champions authenticity as a way to tell a great story. Seeing a student discover an inner tool that can now be used for success in the arts is synonymous with discovering an aspect of themselves that can be empowering in every day life. It's a win-win!
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Frequently asked questions
What is your typical process for working with a new student?
Nicole not just enjoys discovering what it is about how theatre, dance, music and/or the collaborative work makes a performer's heart tick, but it is an essential key in how Nicole teaches. An initial discussion about artistic goals and "the good the bad and the ugly" of your artistic experience will often preceed critique on finite work. Nicole is of the philosophy that a holistic approach based in self-authenticity and self-realization is as equal a component as refining quality technique for a lasting career in the Broadway biz.
What education and/or training do you have that relates to your work?
Nicole is an Actors Equity Association member who carries a dual degree of BFA Musical Theatre and BA Dance, plus a Classical Vocal minor. Additionally, Nicole is a lifelong classically trained pianist who also performs on guitar.
Do you have a standard pricing system for your lessons? If so, please share the details here.
Nicole's rates vary dependent on lesson length and type (in-person or virtual).
How did you get started teaching?
I grew up in a household of teachers so the apple certainly never fell far from the tree. As a dance teacher and choreographer, I was instructing as early as 16 years old. I further went on to assist to Master teachers for Dance Masters of America, and continued to choreograph and work collaboratively with a myriad of art forms in my collegiate years. I have actively been traveling for teaching for over a decade now, and will often also conduct classes with individual students or groups remotely.
What types of students have you worked with?
I have worked individually with students in their post-collegiate years as they break their first ground in NYC as well as young students still in young artist training programs, academies and clubs. As a masterclass teacher Nicole has taught as a guest artist for university theatre programs, at reknown adult performing artist spaces such as BalletArts/CityCenter in NYC, and at private dance studios and arts programs around the USA.
What advice would you give a student looking to hire a teacher in your area of expertise?
It is really easy for a student to feel overwhelmed when trying to train multiple demanding areas of the arts. Whether you are a "dancer-first", "singer-first", "actor-first" or any combination therein, I believe it is important that a student pursue a teacher who has considerable experience in each of those areas and as well as reputable contacts in each of those areas.
What questions should students think through before talking to teachers about their needs?
I always recommend students make a list of questions of three things: A) what appears to be the most physically, emotionally and/or mentally frustrating aspects "keeping" them from their goals, B) what is their current regimine in trying to juggling their training, C) do they have any successful individuals that inspire them in the arts and why? Sometimes these questions can be very revealing in how to navigate and shift a student's pathway toward greater confidence in the field.