Cameron has danced around the world, but never in a venue as large as Prudential Center in Newark, where 4,251 students will receive their diplomas over two ceremonies.

“I’m not going to be able to have a dress rehearsal, so I’m trying to put myself in a place of calm,” Cameron says.

For him, though, this moment is as much about what comes next as what happens on stage. Drawing on those years as a performer, his MFA work at Montclair has focused on how that experience can translate into teaching – using everyday gestures to make dance more accessible and to expand what “counts” as dance.

Expanding what counts as dance

Much of his graduate research has explored everyday actions as choreographic material, starting with familiar movement and building layered performance out of it.

“I’ve spent much of my life hearing people say they can’t dance, that they have two left feet, or that dance is only for the trained,” he says. “As an artist, I’ve become increasingly committed to challenging those beliefs and to expanding how dance is understood, created and experienced.”

His culminating project, Again, But Different, built an entire performance from familiar movement. Dance Professor Elizabeth McPherson, MFA Dance coordinator, says Cameron “approached every single assignment with insight and depth of thinking, often bringing in personal examples from his own teaching practice.” His thesis, she notes, used everyday gestures – often in humorous ways – “to show just how meaningful they can be when structured for performance.”

From stage to classroom

For Cameron, turning ordinary actions into choreography is another way to invite people in, and Montclair’s low‑residency MFA in Dance gave him the structure to pursue that work. The two‑year program features asynchronous online study and summers spent inside the Montclair dance studios.

“We were sweating and moving and doing all the creative practices that we could physically,” mixed with academics in dance technology and media, anatomy and movement analysis.

Montclair also let him step into the role he’d been working toward by giving him classroom experience teaching Dance Appreciation to undergraduates.

I’m in such a happy place now. I’ve found that, at an older age, I can still be on stage, but that’s not my main focus. My main focus is to be an educator, to enjoy the benefits of being a dance professor.”

From Nutcracker kid to Commencement speaker

The roots of that commitment go back to his childhood in Lynn, Massachusetts. His parents, Paul and Claire Brewer, got him into lessons after he began dancing around the house, mimicking The Nutcracker’s Rat King. “My parents worked hard and made sacrifices so I could have opportunities to dance. My dad even sanded the studio floors at my dance school and took on extra work to help make my training possible,” he says.

“When I say I’d missed my moment, I tried one year of college at SUNY Purchase’s Conservatory of Dance right out of high school,” Cameron says. “Fourteen thousand dollars for out‑of‑state tuition was just too much for my family. I also wasn’t very focused. I just wanted to dance professionally.”

At 20, he left for Florida to take a job at Busch Gardens in Tampa. “I ended up staying with that company for almost 12 years, working on cruise ships, dancing around the world, and being a production corporate dancer,” he says.

From performer to pedagogue

After moving back to Boston, teaching was always in the back of his mind, but he refused to do it halfway. “I knew that when I was going to teach, I wanted to do it correctly, and I knew I needed an education to do that,” he says. “That’s not hyperbole.”

That chance came when his husband, Kell Cameron, a business school professor, got a job at the University of South Florida and Jason enrolled at Hillsborough College, a nearby community college, giving him affordable access to general education classes and dance coursework.

“Once I got this academic bug, I couldn’t stop,” he says. He transferred to the University of Tampa on scholarship, drawn to its focus on pedagogy. From there, his sights turned north.

“Montclair was what I’d had my mind set on for quite a while,” he says. “Their reputation in our little dance world is phenomenal.”

When he thinks about how far he’s come, his mind goes back to those early living‑room Nutcracker performances before he ever set foot in a studio. From there to world dance tours and now earning a Master of Fine Arts to become a teacher, Cameron says, “Dance is just a part of my being.”

“I’m just not kicking my face and doing triple pirouettes and all that kind of jazz much on stage anymore.”

This story is part of a series celebrating ����vlog’s graduates – students who embody the University’s mission to broaden access to exceptional learning opportunities and contribute to the common good.

The production featured an acclaimed cast that included Tony Award nominee Marc Kudsich and Drama Desk Award winner Andrea Burns, alongside four current Musical Theatre BFA students: Jack Gemmell, Genesis Harper, Diogo Ramirez, and Lussi Pearl Sal. It also featured two alumni, Darius Lee ’16 and Jadon Lopez ’23.

The workshop provided students with the opportunity to collaborated with established Broadway peformers, gaining valuable industry experience while contributing to the development of a new musical work.

Flynn is an award-winning director, writer, and educator who has created two educational programs and several new musicals. Formerly the Director of Musical Theatre at the Stella Adler Conservatory, he developed curriculum integrating training for the singing actor with the Adler acting philosophy.

He also previously served as Artistic Director of the Hangar Theatre in Ithaca, New York, and Artistic Director of the Perry-Mansfield New Works Festival in Steamboat Springs, Colorado, where he partnered with industry leaders including Stephen Schwartz, Jeanine Tesori, and Adam Bock while mentoring emerging artists from across the country.

Through projects like If I Could Go, Flynn continues to connect Montclair State students with  meaningful creative experiences within the theatre industry.

Photo by Christian Pajaro

The evening opened with Safe Harbor, a collaborative work by and . Developed through the fellowship, the piece blended fluid movement with an emotionally grounded tone, evoke a sense of transition. The dancers balanced precision with vulnerability, drawing the audience into a reflective, almost dreamlike environment.

In What Holds Us Together, choreographer turned inward, examining human relationships through intimate partnering and subtle gesture. The work emphasized trust and interdependence, with dancers moving in ways that suggested invisible bonds connecting them. The staging allowed the emotional nuance of the choreography to take center stage.

A sharp shift in tone came with State of Emergency, a high-energy world premiere by . Infused with hip-hop and street dance styles, the piece energized the program with bold theatricality and a vibrant musical mix featuring artists like Tyler, the Creator and Childish Gambino. Each dancer brought a distinct voice to the stage, underscoring themes of individuality and empowerment.

The program also featured excerpts from Moonlight Parade by , a visually rich and musically intricate work. Layered choreography and precise timing created striking stage patterns, while moments of fluidity and tension showcased both ensemble unity and individual artistry.

Taken together, Spring Dance 2026 offered a compelling snapshot of contemporary dance today, blending genres, perspectives, and emotional tones. Through innovative choreography and strong performances, ����vlog’s dancers demonstrated not only technical excellence but also a deep commitment to storytelling through movement.

Graduating summa cum laude in 2024 with a BFA in Musical Theatre and a minor in Environmental Justice, Caroline was also a member of the Honors Program, and an active performer during her time at Montclair.

A Day in the Life of a Performer

“While it depends on the type of show I am doing, the most important thing I must do is ensure I get enough sleep after a late performance,” Caroline says. Her performance days will then start with hydrating with plenty of water, drinking a hot beverage and utilizing a vocal steamer, rolling out muscle areas of tension, eating a protein-packed meal to boost energy, and getting in a workout to align her body physically for the day.

On two-show days, that preparation intensifies: “After my workout I’ll do a vocal warm-up while putting my hair in wig preparation before I head to the theatre,” she explains. “Once at the theatre, I’ll then do a proper physical warm-up, finish perfecting my stage makeup, put on my microphone, wig, and costume, and complete whatever other tasks I have deemed necessary to guarantee I am ready for that specific show.”

Many of these habits were shaped during her time at Montclair. “These daily practices have been developed through the lessons I learned from my professors” she says, including Eren Sevasti, Lisa Harvie, Mark Hardy, and Sharon Milanese.

Outside of performance, she makes time to explore. “If I only have one evening performance, I love to utilize my time exploring whatever city I am in,” she says. “It is important to me to make wherever I am living for a particular contract feels as much like home as possible.”

As Anytime Annie in 42nd Street – Shaffer Photography

Building a Career

“My training in the Department of Theatre and Dance at ����vlog was instrumental in establishing the career I now have,” Caroline says. “I found my voice in ways I couldn’t have even imagined.”

She credits Peter Flynn with helping her grow as an actor and collaborator, while her studies in the John J. Cali School of Music strengthened her musicianship. Daily ballet classes alongside dance majors refined her technique, while Clay James and Lori McCann helped her develop her voice as a choreographer. Her work assisting Mark Hardy with Musical Theatre auditions strengthened her confidence as a leader.

The Power of Connection

For Caroline, one of the most meaningful parts of her journey has been seeing how college relationships evolve over time. “It is a wildly exciting and rewarding thing to witness how the connections you make in college blossom into consistent working relationships in the industry,” she says.

But she emphasizes that success goes beyond networking. “It’s not just about who you know; it’s about being a kind, hard-working, collaborative individual who fosters professional relationship through being a dependable artist.”

Caroline Lynch Desmarais with John Kearney (’27) and Chase Fontenot (’23). They performed in 42nd Street at The Lexington Theatre Company together in the summer of 2025. Caroline and Chase were the Co-Dance Captains.

Advice for Students

Her advice to current students it to embrace every moment of their time at Montclair. “Enjoy this time to grow and learn about yourself as both a human and performing artist,” she says. “Soak up the time you have…because the time will fly.”

She also encourages students to explore beyond their primary field of study. “Take advantage of all of the academic pursuits beyond the realm of the arts,” she says. “It will only enrich your wealth of knowledge as an artist.”

Story by Web and Digital Media Manager Alexandra Thelin Blackowski

The center of the night was , one of today’s most celebrated musical theater artists. An ultimate multi-hyphenate – composer, lyricist, conductor, arranger, orchestrator, director and performer – Brown is best known for his dazzling and emotionally resonant scores for some of the most renowned musicals of our time, including The Last Five Years, Songs for a New World, and Parade.

Performing as a solist and alongside his band: Hidayat Honari (guitar), Sam Minaie (bass), (drums), and (woodwinds), Brown guided the audience through an intimate musical journey. Between songs, he shared candid insights into his creative process, the stories behind the music, and moments from his career, creating a conversational atmosphere that made the evening feel personal and inviting.

Selections from The Last Five Years, including “Shiksa Goddess” and “I Can Do Better Than That,” were met with enthusiastic applause, while “Mary Mallon,” a haunting, self-proclaimed murder ballad written during isolation in Brown’s New York City apartment during the COVID-19 pandemic, offered a stark and reflective contrast. The program also included “Shed Shack” from Midnight in the Garden of Good and Evil, songs from The Connector and Parade, and original works, showcasing the breadth and evolution of his artistry.

The evening featured powerful performances by vocalists Ashley Perez Flanagan and , both Broadway performers whose voices brought depth, nuance, and clarity to Brown’s songs. Brown’s warmth, quick wit, and natural rapport with the audience were evident throughout the night. At moments, the crowd clapped and sang along; at others there was a shared stillness.

Brown had a solo debut at Carnegie Hall in 2024 and a sold-out appearance at the London Palladium with Cynthia Erivo, and brought the same caliber of artistry to this intimate setting. At the end, it was clear that this was a shared experience that reminded the audience why live music, storytelling, and human connection matter now more than ever.

Story by Web and Digital Media Manager Alexandra Thelin Blackowski

Both credit their time in the Department of Theatre and Dance at ����vlog as foundational to their growth as artists and professionals. Through rigorous training, mentorship, and a supportive creative environment, they learned what it truly means to work in the industry. Faculty challenged them to raise their standards while nurturing their individual strengths, instilling a work ethic and confidence that continue to guide their careers today.

Their story began during a production of West Side Story in the Alexander Kasser Theater, when Coldin was a freshman and Adriana a sophomore. What started as a friendship quickly grew into something more. Coldin remembers first noticing Adriana earlier that year in Life Hall, doing yoga with her friends. That quirky encounter was unforgettable to him, and the shared production brought them together creatively. From there, they fell in love.

Since graduating, both have built dynamic careers in musical theater, often crossing paths across the country. Adriana recently made her Broadway debut in A Chorus Line – The 50th Anniversary, performing the role of Diana Morales in a production honoring the show’s enduring legacy. She also appeared in national tours of Disney’s Aladdin, CATS, The Prom, and Mystic Pizza at the . One of her most meaningful recent moments came when she performed with A Chorus Line in the . This was a lifelong dream as she watched the parade from home with her family, now fulfilled.

Coldin’s career has been equally prolific. He led the first national tour of Disney’s Winnie the Pooh: A New Musical in the title role, a standout experience that combined puppetry with storytelling on a national scale. His Off-Broadway debut came in FRIENDS! The Musical Parody, alongside ensemble roles in productions such as Newsies, Bandstand, and Beauty and the Beast.

The couple states that navigating careers in a demanding and unpredictable industry is easier, as they understand each other’s world. Whether traveling to see one another perform or visiting while on tour, with Alaska being a favorite shared stop, they’ve learned to celebrate each other’s successes while staying grounded as a team. More recently, their collaboration has expanded beyond performing as they begin directing and choreographing projects together, discovering the joy of creating art side by side.

Coldin has also turned his focus toward building opportunities for others. He recently helped launch The Actors Studio of New Jersey, where he serves on the Board of Directors as Director of Development. Through producing mainstage shows and shaping the company’s growth, he is committed to supporting professional talent and strengthening the local theater community.

For Adriana and Coldin, the paths they walk today on Broadway, on tour, and in leadership roles, trace back to where it all began. Montclair didn’t just prepare them for careers in the arts; it brought them together, gave them the tools to thrive, and continues to be an integral part of their shared story.

Story by Web and Digital Media Manager Alexandra Thelin Blackowski

Recharge & Restore Kits will be distributed on specified days at the Red Hawk Pantry and Bear Necessities on the Bloomfield campus at the end of the semester.

You can support this initiative by donating supplies for the kits from the .

Monetary donations can be made online via the . Select “Red Hawk Pantry Care Kits” (see image below) to donate to this project. The cost of 1 kit is about $15.50. Our goal is to give out 150 boxes this first semester. Help us reach this goal!

United States Artists is dedicated to supporting artists unconditionally, guided by the belief that investing in artists strengthens the cultural and social fabric of society. Through this fellowship, the organization affirms the importance of artists’ voices in broadening perspectives, fostering dialogue, and enriching public life.

A , choreographer, and educator, Shah spent more than twenty-seven years creating work that confronts cultural narratives and hierarchies that diminish the dignity of South Asian women. Drawing from the rich tradition of North Indian classical dance, her choreography embodies resistance, artistry, and personal agency. Her works center stories of women who push against boundaries, whose labor, histories, and voices have too often been overlooked or erased.

“Rooted in the storytelling traditions of Indian classical dance, my body becomes a vessel where memory, resistance, and transformation intertwine. Through gesture, I give voice to forgotten narratives.”

-Parul Shah

Trained in India by the late, groundbreaking choreographer Kumudini Lakhia, Shah developed a distinctive movement language that expands Indian dance technique while challenging male-dominated and Eurocentric frameworks. Her work has been presented at major venues including City Center’s Fall for Dance Festival, Jacob’s Pillow Inside/Out, Jazz at Lincoln Center, The Kennedy Center in Washington, DC, and Asia Society in New York City. Equally committed to education and community engagement, Shah teachers while pursuing a doctoral degree in Dance Education at Teachers College, Columbia University, where her research and pedagogy emphasize embodied practice and critical inquiry to disrupt dominant narratives.

Shah’s selection as a United States Artist Fellow honors both her artistic excellence and her sustained commitment to cultural equity, education, and social impact.

Set during one of the most influential cultural movements in American history, The Healers followed a secret society of Black artists whose creative practices were imbued with extraordinary powers. Within the world of the play, painters altered reality, musicians healed through sound, sculptors reshaped space, and poets influenced minds, using art not only as expression, but as survival and resistance. The production centered prolific Black figures of the Harlem Renaissance while drawing clear connections to contemporary struggles and the enduring role of artists as healers.

The project marked the second collaboration between Wagner and Blackman, following their 2023 production of REFLECTIONS at ����vlog. With The Healers, the alumni continued to build a shared artistic vision rooted in history, imagination, and advocacy, while demonstrating the lasting impact of our graduates on professional stages beyond campus.

Bebout first began exploring Dr. Mueller’s research on zebrafish and the emotional brain by initiating a Print Jam arts exchange between students at ����vlog and Kansas State University. This exchange invited students to respond visually to neuroscience concepts, translating brain research into expressive, experimental printmaking.

The resulting exhibition opened at Kansas State University in Fall 2024 before traveling to ����vlog’s Finley Gallery in Spring 2025. The exhibition was accompanied by a Neuroscience Symposium featuring four distinguished panelists whose work focuses on the emotional brain, offering students and faculty a rare opportunity to engage directly with leading scientific voices.

In addition to presenting collaborative student print works, the exhibition and symposium highlighted the power of interdisciplinary learning. Neuroscientists and visual arts students came together to examine how science, emotion, and perception inform each other and revealed new ways to visualize research and deepen scientific storytelling through art.

Building on this momentum, Professors Bebout and Maxine Steinman (Department of Theatre & Dance) have expanded the project to include a new interdisciplinary performance titled Memoir of a Zebrafish. This multimedia dance work blends movement, animation, print design, costume innovation, and lighting to further explore the emotional lives and behaviors of zebrafish.

The animated score was created by Bebout in collaboration with technical assistant , bringing visual rhythm and scientific imagery to life on stage. Professor Sharon Lindenfeld and her textile design students contributed printed costume elements, developed in collaboration with Costume Designer Marlene Hamm, adding tactile and symbolic layers to the performance. Professor Nick Kolin serves as Lighting Director for the Fall Dance Series, shaping the visual atmosphere through dynamic, research-inspired lighting design.

Memoir of a Zebrafish will premiere at ����vlog’s Memorial Auditorium, Life Hall, on December 3–6, 2025, with evening performances at 7:30 p.m., a 12:30 p.m. matinee on December 5, and a 2:00 p.m. performance on Saturday.

This expanding Art and Science initiative exemplifies ����vlog’s commitment to collaborative research, creative innovation, and experiential learning, showing how the arts can illuminate scientific inquiry and how science can inspire new artistic possibilities.