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.

Since joining the tour, she has performed in cities across the United States, including Lincoln, Nebraska; Boston, Massachusetts; and Oxford, Mississippi, with many more to come. “I’m definitely looking forward to our shows in my home state of Georgia,” she said. “We have a night in Savannah, and another in Evans. I’m also excited to travel to Canada and Mexico, and to perform at the Pantages Theatre in California at the end of the tour.”

Life on tour is anything but predictable. “Every day looks different on the road,” she shared. “Some mornings start as early as 6:00 am for bus call and travel up to eight hours straight into a show. Other days, I get to sleep in, find a cafe for breakfasts, and hit the gym before heading to the theatre. It all depends!”

Her rigorous schedule is powered by the foundation she built at Montclair State. “My Musical Theatre training at ����vlog definitely set me up for success as a performer,” she said. “I went into callbacks confident and learned the show quickly. Montclair instilled a focus and drive in me that allowed me to stand firmly in my skills and who I am as a performer, thriving in so many different environments.”

For her, the most profound part of this experience goes far beyond the stage lights. “The most meaningful part of this tour is telling Tina’s story alongside so many other beautiful black women,” she said. “Tina’s story is one of resilience, power, and triumph, and it’s an honor to share her life and accomplishments with audiences across the country. Being surrounded by my people in this way is rare, and it means so much to be part of the Tina Broadway legacy.”

As she continues to bring Tina Turner’s story to audiences nationwide, she carries lessons from Montclair State, and some advice for those following in her footsteps.

“My biggest piece of advice for performers is to prioritize yourself in every situation. Your physical and mental health and safety are more important than any show or contract. GO RED HAWKS!”

–Moriah Baskett

Story by Web and Digital Media Manager Alexandra Thelin Blackowski

The class began with a guided warmup as Batten Bland prompted the students to explore movement through various emotional and physical states, such as moving slowly, moving urgently, embodying the perfect body, employing elements of seduction, and finally, suspicion. Once the dancers became ‘suspicious’ of one another, the movement transitioned into departure, breaking away, and ending with a dance solo. For this special session, dancers layered more additional clothing than usual to help convey story and character.

After the warmups, McCalla joined the group, performing live as the students composed original choreography to three of her songs.

The first piece, “East End Elegy,” served as an emotional foundation.

“This song should portray systemic and generational grief, with centuries-old pain. There is so much fatigue in this grief. The song was inspired by a cemetery, and it is a love letter to the people who are buried there—over 16,000 people—as well as to their descendants, who may still struggle with the effects of capitalism and racism in this physical space.”

–Leyla McCalla

As the music unfolded, Batten Bland encouraged the dancers to experiment with gesture and presence; “You can make a portrait,” she told them, adding, “Bring in highs and lows, make the sound of an inhale, or the sound of finding another person in the space.”

The second song, “Weep,” introduced props such as a mattress bed and a boudoir table to expand the dancers’ storytelling. After multiple takes, Batten Bland reflected on the work, saying, “This movement unpacks into incomprehensible dream space, and then rubber bands us back to reality. It’s beautiful.”

The final piece, “Dodinin,” carried a different energy. The title, which means “rocking,” is a double entendre, evoking both the motion of a rocking chair on a plantation porch and the idea of being rocked out of one’s comfort zone. With its faster tempo and rhythmic intensity, the piece captured McCalla’s ongoing exploration of themes like immigrant displacement, revolution, and history.

Through this collaboration, music and movement became inseparable, with each influencing and reshaping the other. For the students, the session offered a rare opportunity to engage directly with a professional artist’s creative process, deepening their understanding of how live performance can express shared histories and emotional truths.

Story by Web and Digital Media Manager Alexandra Thelin Blackowski