By Alexander Carter, March 27, 2026

WA Performance School

A Creative Hub for Young Talent

The WA Performance School stands as a beacon of artistic expression and education for aspiring performers. Nestled in a vibrant community that fosters creativity and collaboration, this institution offers a multitude of opportunities for young individuals eager to dive into the world of performing arts. With a broad curriculum that ranges from acting and singing to dance and stagecraft, the school provides a comprehensive training ground that harnesses the talents of its students and prepares them for future endeavors in the entertainment industry.

Curriculum Overview

At the WA Performance School, the commitment to excellence is manifest in its diverse curriculum designed to engage and inspire. Students immerse themselves in various disciplines that cater to their unique talents and interests. For instance, acting classes not only focus on technique and improvisation but also enhance students’ emotional intelligence—an essential skill for any performer. Through a rigorous program, learners are equipped with the necessary tools to navigate the complexities of character portrayal and the nuances of dramatic storytelling.

The vocal training offered is another cornerstone of the school’s curriculum. Instructors, many of whom are seasoned professionals with significant industry experience, emphasize breath control, pitch accuracy, and vocal health. This foundation empowers students to express their individuality while honing their craft. Similarly, dance classes integrate multiple styles, including ballet, contemporary, and musical theater dance, ensuring that participants become well-rounded performers capable of dazzling audiences across genres.

Expert Faculty and Guest Artists

Centrally important to the success of students at the WA Performance School is the caliber of its faculty. The instructors not only possess a wealth of knowledge but also a passion for nurturing the next generation of performers. Many hold careers in theater, television, and film, bringing real-world insights into the classroom. This bridge between theory and practice ensures that students receive invaluable advice on how to stand out in the competitive landscape of performing arts.

Additionally, the school often invites guest artists from various sectors of the entertainment industry to conduct workshops and masterclasses. These events allow students to learn directly from professionals who have experienced the challenges and triumphs of the industry firsthand. Guest artists share their insights on topics such as audition techniques, the importance of networking, and the ever-evolving landscape of media consumption, preparing students not only for the stage but for sustainability in their careers.

Community Engagement and Events

The WA Performance School is not just an academic institution; it is a vibrant part of the local community. Through initiatives such as public performances and outreach programs, students engage with the community, showcasing their talents and spreading the joy of performance art. Events like the annual Showcase Night allow students to perform for family, friends, and community members, strengthening community ties and providing performers with a platform to highlight their skills.

Furthermore, the school organizes family-oriented events like “Broadway Story Hour.” This monthly initiative invites members of the community to enjoy stories read by artists associated with the school. It promotes literacy, creative expression, and connection, enriching the community’s cultural fabric. Not only does this event provide a fulfilling experience for children and families, but it also instills a sense of belonging and encourages the arts as a communal endeavor.

Alumni Success Stories

The impact of the WA Performance School is evident in the success of its alumni, who have ventured into various realms within the performing arts. Many have landed roles in prestigious productions, both on Broadway and in regional theaters, while others have appeared on television and in films. Alumni also find success in diverse paths, such as directing, choreographing, and teaching, ensuring that the legacy of the school’s dedication to performance continues through their achievements.

One notable alumnus, who originally walked through the doors of the school with dreams of performing, has successfully transitioned into a respected director, bringing innovative storytelling to life on stage. This success story, along with many others, illustrates how the foundational skills obtained at the WA Performance School translate into a robust career in the arts.

Conclusion

The WA Performance School continuously cultivates a rich environment for young artists to explore their talents and grow as individuals. By providing a comprehensive education in the performing arts, fostering community connections, and celebrating the successes of its students, the school solidifies its role as a paramount institution for nurturing the next generation of performers. Parents seeking a place for their children to flourish in creativity and build a solid foundation for a career in the arts will find that the WA Performance School is a worthy choice.

For those interested in additional programs and activities, consider looking into the WA Performance School, which offers opportunities designed for a variety of interests and age groups.

The WA Performance School invites all aspiring performers to embrace their passions, develop their skills, and join a community dedicated to the arts. With so much to offer, students can embark on a rewarding journey filled with learning, creativity, and connection.

Disclaimer: This content is intended for informational purposes and should not be considered professional advice. Please consult with a qualified expert for any specific queries regarding the performing arts or educational programs.

Singing Lessons: “A Soprano On Her Head” – Interview with Chicago Soprano Dodie Whitacker

by

Ruth Gerson

Chicago native Dodie Morris has appeared as a soloist with orchestras and choruses throughout the Midwest. Recent performances include Bach’s B Minor Mass and Cantata No. 51, Haydn’s Lord Nelson Mass and Beethoven’s Choral Fantasie. The Chicago Tribune applauds her “stylish, joyous…expressive spark;” her diverse career has led her from Symphony Center to Carnegie Hall and the stages of the Chicago and Boston Lyric Operas, performances with the Joffrey Ballet and numerous television appearances and recordings. Formerly a member of Chicago a cappella, the Oriana Singers and His Majestie’s Clerkes, she has been engaged full-time with both the Chicago Symphony Chorus and Music of the Baroque since 1996. Ms.Whitaker is a powerhouse with a soulful and breathtaking soprano. She masterfully accomplishes technical perfection with vivid and thoughtful performance. She received her Bachelor of Music from Oberlin College Conservatory and Master of Music from New England Conservatory.

RG: Thank you for taking time out of your intense schedule. I’d love to start with you telling me about your favorite role?

DM: That’s a great question…I haven’t ever gotten to play the roles I thought I would play. I’ve played the roles that were available and that were in my voice part, I’ve enjoyed them all. The role I remember best is Phyllis in Iolanthe, because the character fit my personality, the part fit my voice, and all of my friends were in it with me, and my sister was in it, which made the entire experience fun. The biggest singing lesson I have learned, is you have to keep your mind open; it’s not what you’d expect. When an opera comes up, and someone is doing it, you may never have heard of it, you may never have imagined what you would do. You do it.

RG: How much time do you recommend a serious voice student practice vocal warm-ups?

DM: That’s a tough one, because you don’t want to practice too much, in order to avoid wear and tear on your voice. A pianist will practice four to eight hours a day. A singer can’t do that. I would spend a few hours every day, not just singing vocal warm-ups and singing exercises, but learning music, plunking out notes. Sing twenty-five minutes, take a break, stay in the practice room, stay on the music, rest the voice, and then go back and practice in full voice again… Talking is the biggest issue. You have to be really cognizant of how you’re using your speaking voice. Speak high and off the chords or you’re in trouble.

RG: What would you consider the best way to practice?

DM: If you have a limited amount of time, even a few sighs up in the head, getting your palate up, that’s something you don’t do when you’re talking, do breathing exercises, several vocal warm-ups to get your throat open and get into singing mode. Yawn in the back, put the voice in the right place in your mouth, lift the palate and sing from the diaphragm. If you don’t do these to things, you can’t sing classical music, because there’s no way the sound is going to resonate.

RG: What are you vocal health secrets?

DM: Water, vitamin c, slippery elm, echinacea and goldenseal. Old time opera greats would swear by a shot [of liquor, brandy, cognac], that it would open up the voice; maybe it helped them not get nervous.

RG: Yes, but the problem with drinking alcohol is you lose sensation and can accidentally hurt yourself, because you don’t feel everything that’s going on.

DM: That’s the thing. If you’re in an intense situation when you’ve lost your voice, they give you cortisone, but you’re in danger of permanent damage and you can’t feel what you’re doing.

RG: What is your understanding about how to breathe when you sing?

DM: I took many singing lessons in my life with many a vocal coach. It took me a long, long time to figure that out. I always knew how to take a good breath, but managing it, parceling it out, so you’ve got enough so you’re not expending it all was the challenge. The Singingbelt is great because it gets you into the consciousness – there it is, you can’t ignore it. I didn’t understand before – I’d take these great breaths, and then I’d not have breath control, I’d let it go. Knowing how to manage the breath from the beginning of the phrase to the end is key.

RG: As you understand it, what is the correct position of the jaw?

DM: Relaxed, lowered, not sticking out or jutting forward. The biggest vowel modification is to make the mouth vertical and not horizontal, you can’t jut you chin out, if you’re truly dropping the jaw.

RG: What is the correct mouth position?

DM: I literally spread my fingers and put the hard part of my palms in the hollow of my cheeks. I guess I could get more technical, but the more you think about it that way, the easier it is. The hardest thing is to get people to open their mouths. Using a mirror helps.

RG: What about the tongue?

DM: Down behind the teeth, and scooped.

RG: Can you describe anything you’ve learned from a teacher that really improved your singing? e.g. how you support your voice, placement, position?

DM: You have to think “ah” all the time. There is an “ah” written over every page of my music when I look at my notes – it says, “think ah,” “think ah.”

RG: Any recommended reading for singing?

DM: Richard Miller, The Structure of Singing. When I was at Oberlin, this book was highly recommended for technique. Also, A Soprano on Her Head by Eloise Ristad, which is a more creative and holistic look at performing.

For more information, visit the Learning Center at

Singingbelt.com

– ?Interviewer and

vocal coach

Ruth Gerson has teaches at Princeton University, The Blue Bear School of Music and The Music Center in San Francisco. The founder of San Francisco Vocal Coaching and creator of The Singingbelt, Gerson has taught private singing lessons and singing classes for eighteen years in NYC and the Bay Area.

Article Source:

ArticleRich.com