Jordan Grubb

It’s been a while since my last blog post, but I hope you will find this entry well worth the wait!  It will give you valuable insight about dance auditions, swinging, and as promised, it will give you a tiny glimpse of life “behind the table” with the incredible Jordan Grubb.

I don’t think anyone would begrudge Jordan the title of the hardest working man in the Westchester Broadway Theatre’s production of “My Fair Lady.”  We have been very lucky to have had him as our dance captain and off-stage swing for the past three months.  The “off-stage” part of the “off-stage swing” title, however, is a bit misleading.  He was constantly stepping in almost every single week for a different performer, even me for one performance!  On some extra frantic days when we had two performers out, he was also responsible to adjusting the choreography and blocking accordingly and making sure the rest of the cast up to date and rehearsed on the changes.   In addition to being the dance captain and off-stage swing, he also had a heavy hand in casting the production.

I haven’t even mentioned yet what a fantastic dancer he is!  Every single audience member who saw him perform should count themselves very lucky.  A true triple threat, Jordan also effortlessly switched vocal parts, singing solos ranging from the bass to tenor line and put his own individual acting stamp on each character he played. Not to mention, he is just a really great guy with a heart of gold.  He is a true inspiration!

So without further ado, I give you Jordan Grubb’s “Muscles for Musicians” interview!

Can you give us a little bit about your dance background?

Well, about 20 years ago, I started taking classes at my local studio in Easton, PA. That really gave me my technical foundation. Because I lived so close to New York, my mother used to take me into the city on weekends/summers to take class as well. Those trips were really important in shaping me as a dancer.

What is your advice for someone who is a singer but has never danced? How should they get started, and how often should they practice?

I think like anything, you need to start at the very basics. Take a basic ballet/jazz/tap class, and don’t be afraid to go in and push yourself. I think how often you take should be related to what you want out of it. If you fancy yourself a singer and you just want to feel more comfortable in movement calls, I think a reasonable commitment is 3 times a week. If you’re looking to be a full-on dancer, you need to be in class 6 days a week.

Do you have any favorite classes in New York City that you would recommend for a singer who moves?

I think Kat Wildish’s ballet class at Alvin Ailey is amazing. Finding a ballet class that can keep my attention can be daunting, but she creates this great low-stress environment. You can be an absolute beginner or a “trina” who needs to brush up on some things, and they both can get something out of it. Kat has a great sense of humor, and really puts forth a great class.

Jim Cooney’s Musical Theatre class at Broadway Dance Center is also a great place to start. He really makes you push yourself to be a better artist.

For tap, there’s no one out there better for a beginner than Ray Hesselink. He’s my main tap teacher out here, and he provides such an attentive and easy-going class.  He teaches at both BDC and Steps.

Do you have any advice for how to quickly pick up combinations during an audition?

I think the hardest thing for people to pick up is transitions. If you can remember the beginning to any transitional step, I think that at least gives you a road map of the combination. Also, many times everyone is so concerned about picking up the steps that they just tune out what the choreographer is saying. Pay attention to how he breaks everything down. More often than not, he’ll help you.  If you can’t retain everything, then really hammer down the most important steps. When a choreographer is watching a group of 3 or 4 dance, he can miss lot. Even if you do mess up, he may not have seen it, so you need to fake it ’til you make it.

Where do you like to stand during auditions?

I like to go toward the front. Oftentimes, you’ll have choreographers change lines, but if they don’t and you’re stuck in the back, it’s so much harder to pick up a combination.

When everyone is broken down into smaller groups to practice, it’s important that if you don’t know the combination, stand in the back. The audition starts the moment you walk in the room. Just because you’re not broken down into groups of 4 doesn’t mean you’re not being watched. It’s better to learn it and work out the kinks and THEN blow everyone away in small groups than to look slightly lost in the front. So to recap: LEARN in the FRONT. PRACTICE it FRONT or BACK according to your confidence that day.

What do you typically wear to a dance audition?

When I first moved here, I was told by a Broadway choreographer that I needed to invest in a good pair of slacks. It makes you look more masculine and professional. I found a black pair that was made of stretchy material, and I also invested in a pair of Lulu Lemon pants. I always wear a belt to make it look clean, and I usually wear a tank or tight t-shirt. Unless the audition calls for it, I would NEVER dress/style myself effeminately. I’m all for having your own individuality, but often times, men type themselves out of things because the choreographer can’t see past what they’re wearing.

More importantly, KNOW what you’re auditioning for. If it’s for “42nd Street,” I’m wearing a nice pair polo shirt with my hair slicked back. If it’s “Chicago,” I’m probably wearing something different. You have to be careful about this though. You want to have an allusion to the style, but not audition like you’re wearing a costume.

What do you do if you are having trouble picking up a combination or style?

I put the steps I’m having trouble with on a mental shelf, and learn the combination. Once we have any downtime, I’ll practice my trouble spots. Even when we’re broken down into larger groups, I’ll mark everything on the side. If I can’t 100% get a certain step, I just adapt it to look as much of the original step as I can. I’d rather see a clean single turn than someone falling out a sloppy double.

As far as style goes, look at the people who stand out. What are they doing that’s different than everyone else? Why are they standing out? Figure out what that is, and steal it and make it your own. Either way, you must have a semblance of style. Dancers who are just technique and no style don’t catch my eye. You need to have both.

Would you suggest asking the choreographer questions if you are having trouble in an audition? If so, what kind?

It’s fine to ask a question, but be sure to limit yourself to 1. You don’t want to come across as someone who can’t pick up a combination quickly. And make sure it’s something you can’t figure out later. Oftentimes, if you wait, your question will be answered.

How has dance captaining/swinging changed how you approach auditions?

It has helped me pick up choreography better. Right now, I’m covering 12 tracks. It’s been a lot of fun, but also a lot of work. I’ve learned so much through this process, and even more than auditioning, I’ve learned how to approach performance. I now know as an actor how I should take a note and how to approach my dance captain about things. I’ve also gained so much respect for what a swing does on a daily basis. It can be one of the most random and on-your-toes position in this business.  It requires a TON of work and focus.

When running a dance audition, are there any specific habits dancers do when they are learning the combination that turn you off?

I can’t stand when dancers continue to practice on the sides after I’ve broken people down into audition groups. A) It’s distracting to me.  B) It’s disrespectful to the people who are auditioning.

I’d also be very conscious of the attitude you give off. Nothing is more unattractive to me than someone who comes in looking cocky and “over it”.

What qualities do you look for in someone you want to hire (besides technical dance ability)?

I ask myself: “Would this person be fun to work with?” At some point, there’s an even plane of talent. There could be 6 people in the room who could all do the track I’m looking for, but what separates one from the other is how easy they look to work with. Cast chemistry is important. One bad apple can spoil the whole bunch, so it’s important to approach every audition with a positive attitude and to give 100%. Those qualities show.

What is the best audition advice you’ve ever received?

I think it was when a casting director once told me that I shouldn’t be so nervous because they WANT us to do well. It makes the people behind the table’s jobs easier if the actors they’re auditioning are good. They’re rooting for us to be the best we can be. I think people get so caught up in fear and worrying about what everyone else things. It was kind of a liberating when I just let it all go and let myself be the best I could be.




You can learn more about Jordan and his current adventures by visiting his website!

Michelle Joy

Michelle Joy IS a bundle of joy!  Every moment she is around you feel as though life is covered with sunshine.  She is also a spectacular dancer!  What really sets her apart aside from her impeccable technique is the emotion she brings to her dancing.  I saw her in Damnation of Faust at the Met Opera and was astounded by her free and passionate movement.  


It is incredibly exciting to be able to share her audition advice with you!  One thing that has always impressed me about Michelle is her laid back energy at auditions.  It is almost as though she is there just to have fun and go with the flow.  (In her own words: “I just try to perform my best.  I remind myself that everything else is out of my control.  When I was a younger dancer I used to compare myself to other dancers in the room.  Now I just try to stay focused on myself.”)  I think that attitude is part of what allows her to be so successful!  


But enough about my observations of the glorious Michelle Joy – let’s let her speak for herself!:)






Can you give us a little background your dance career?
  I’ve been dancing professionally for ten years nows.  I received my dance training from Houston Ballet Academy on full Scholarship.  After I graduated at age 17 I landed my first paid job with Colorado Ballet as an apprentice.  I later danced with Pittsburgh Ballet Theatre, American Repertory Ballet and The The Metropolitan Opera.  I’m currently performing this leading role a workshop of a new show, 49th St and Other Stories.
How has your approach to auditions changed over the years?
   
  I find I’m less stressed about auditions, I just try to perform my best.  I remind myself that everything else is out of my control.  When I was a younger dancer I used to compare myself to other dancers in the room.  Now I just try to stay focused on myself. 
Where do you like to stand during auditions and why?
  I like to stand is where I can see the combination the best and practice the steps.  Sometimes the most space is in the very front, (because some people are scared to stand there) and sometimes it’s in the back row.
What do you wear to auditions?

  I seem to do the best when I am wearing just a nice leotard and booty shots or something that shows my body.  Directors and choreographers want to see dancers, not their wardrobe.
Do you have any advice on picking up choreography quickly at an audition?

  I try not to over analyze any one step and let the entire combination sink it.  Paying close attention to the counts helps memorize the combination faster.
What do you do if you are having trouble picking up a combination or style?
  If I’m not familiar with the style I try to pay more attention to the counts and make sure that my body is in the right place at the right time.  Hip hop and tap combinations are very difficult for me. 
Would you suggest asking the choreographer questions if you are having trouble in an audition? If so, what kind?
  Yes, but I try to be specific, such as: “what is on count seven?” or “can you repeat the opening section?”
What was your most challenging audition and how did you conquer it?

  The most challenging audition for me was when I auditioned for American Repertory Ballet.  The audition was six hours long including a class, repertory, partnering and improve.  They kept making cuts after every different combination.  I had no idea I was going to be there all day long.  I ended up signing the only female contract at the end of the day, but I couldn’t walk for a week.
If you were to recommend one style of dance for a singer who moves to study – which would it be and why?

  I would suggest a musical theatre class such at Richard Pierlon’s class because the first hour you spend in the center working on technique and flexibility and the second half you work on a combination.


Which classes do you take that you feel are most helpful for auditions?

  Deborah Roshe’s jazz class at Steps on Broadway helped me learn to pick up choreography quickly and to put counts to every move. 

As a dancer who sings – how do you approach a singing callback? Do you have a different mentality than during a dance call?

  Naturally I’m way more nervous about the singing portion of the audition.  I’ve been taking weekly voice lessons for the past 3 years which has given me more confidence.  My voice teacher and I always prepare a song in advance for an audition which I may or may non get called back to sing.
Are there any classes you would recommend a non-dancer take to work on audition skills?

  Lisa Lockwood’s class at Steps is a great basic ballet class with lots of begging adults.  I think that taking a ballet one or twice a week will help anyone with the basics for any dance audition no matter what the style is.  
What is the best audition advice you’ve ever received?

  You’re not going to get any job sitting in your apartment.  Showing up is the most important thing whether you think you are right for the show or not.


Annie’s Audition Advice

Ashley Anne Russ, who I know as Annie, is one of those incredibly luminous people who was born to dance.  Any audience would be lucky just to watch her take class, let alone sparkle on a stage.  


I met Annie back in the day when I was actually more of a director than a performer.  She auditioned for a show I was directing (choreographed by the brilliant Jeff Shade), nailed every aspect of the choreography, and was instantly cast.  Her work ethic makes choreographers and love working with her.  Her huge heart and giving spirit make dancers love working alongside of her.  Every time we audition together, I am astounded at how quickly she latches on to the choreographer’s style and executes the combination as though it were a final performance.  It is truly inspiring.  She is a true star inside and out, and Muscles for Musicians feels incredibly lucky that she was willing to share her audition experiences with us.   So without further ado, here is Annie’s audition advice!







Can you give us a little background your dance career?


I grew up in Chicago in more of a “concert dance” world. I was fortunate to get my jazz training at Gus Giordano, and I studied ballet in a studio my mom’s best friend owned. I would also take class at Lou Conte in the city on occasion. To further my training, I was accepted into ABT summer camp as well as three years with Chicago National Association of Dance Masters (CNADM). My first taste of musical theater was with Northstage Theater Company in Chicago where I connected with Rebecca Timms (former Broadway dancer turned choreographer). She got me an audition for West Virginia Public Theater which ended up being my first taste of summerstock (2 years in a row). Upon moving to the eastcoast, I attended SUNY Purchase Conservatory. Being so close to the city, I couldn’t resist the temptation to take the train into Manhattan for auditions. Needless to say, I didn’t last 4 years… I landed my first agent and immediately booked a show in the city. Since then, I haven’t stopped doing everything from regional work & tours, as well as international with Tokyo Disney.  I would consider myself a “theater jazz dancer”. While I am trained in everything from ballet, tap, contemporary, latin, etc. I am most comfortable in athletic movement that tells a clear story or emotion. 


How has your approach to auditions changed over the years?

My approach to auditions has changed over the years since I have learned to not put so much pressure on myself. I am an assistant to a director/choreographer which has put me on the “other side of the table” for auditions. Casting a show is like putting together a puzzle. 90% of the time when you walk in the room, they may only be looking for 1 or 2 specific tracks. You can be cut before even learning the combination because they are looking for someone 5’8″ or someone who sings the alto line. I’ve learned to just show up, do MY best, have a good time, treat it as a free dance class or a chance to meet new people and if I’m not the puzzle piece they are looking to fill…”onto the next!” 







Where do you like to stand during auditions and why?

I like to stand toward the center in auditions. I don’t always put myself right in the front because I want a full view of the choreographer, but I stand where I can see and have the most space to move. 


Do you have any advice on picking up choreography quickly at an audition?

I have always been a “fast learner”, so picking up choreography has never been a problem for me. I do find that saying the steps in my head as I’m doing them helps. 





What do you do if you are having trouble picking up a combination or style?

When it comes to style, I focus more on making the pictures and “less is more” to start. If it’s a style that doesn’t feel as comfortable in my body, I try and copy the shapes that the choreographer is making and allow my body to RELAX when making transitions. Feeling the music helps too.


Would you suggest asking the choreographer questions if you are having trouble in an audition? If so, what kind?

YES! Always ask questions and pay attention when other people ask questions too. There is nothing worse than asking a question that was just answered. When I am unsure of something I ask for clarification, ie. “Can you clarify this phrase—“, “Would you mind breaking down the steps before/after…”, …Be as professional as possible because how you ask a question says a lot about how you will be in a rehearsal setting. 


What was your most challenging audition and how did you conquer it? 

My most challenging audition was actually for the Michael Jackson Cirque du Soleil tour. Like I said before, I am a theater jazz dancer…the hip-hop/pop stuff isn’t my forte. I felt completely out of my comfort zone. Instead of comparing myself to the other girls in the room and trying to be a carbon copy of the choreographer, I decided to learn the steps as well as I could…have fun…show my personality…and even learn a new way of moving. I didn’t get cut right away, but I didn’t make it to the final round either. I actually learned a lot from that audition because there were dancers in the room who moved exactly like MJ—it was incredible to watch. They were made for that particular show. However, if they were auditioning against me for a show that I am perfect for, the tables would be turned. 







Are there any classes you would recommend a non-dancer take to work on audition skills? 

Just take class and vary it up! The more you challenge your brain & body outside the audition room, the easier it gets. I recommend Jeff Shade, Lisa Harvie, Scott Thompson…they all teach a beginner level and are wonderful at mixing up styles. All three of them were once performers themselves, so they get where you are coming from. 





What is the best audition advice you’ve ever received?

The best advice I can give is to just show up. There is a puzzle that everyone fits in. Don’t take anything personally, and don’t try and be someone you’re not. Judy Garland once said, “Always try and be the first rate version of yourself instead of the second rate version of someone else.” By trying to be what you think the people behind the table want may cost you a job you are perfect for further down the line… I’ve been called in for shows after being seen at a different audition. You may not be right for the show you are auditioning for, but you may be perfect for their next project! Have fun and do what you love to do!




Marisa’s Audition Advice

I first met the stunningly beautiful (inside AND out) Marisa Merliss while working on a production of “Fiddler on the Roof” with the Village Light Opera Group.  She was brought in as an assistant choreographer.  From the moment she stepped into the rehearsal room, she brought nothing but sunshine and happiness.  We had a huge cast which was comprised of performers ranging from six to eighty-six years old, most of non-dancers.  All needed to meet the challenge of executing the original Jerome Robbins choreography at a professional level, and yes this included the infamous bottle dance!  (Our brilliant director demanded nothing less than the best!)  Marisa was a true gift.   She attended every rehearsal, drilling the choreography with the cast and individually helping each performer with their technique, style, and emotional connection to the material.  Thanks to her hard work and expertise, the audience left the show saying that they couldn’t have seen better on Broadway.  She was asked to come in and do the same for the company’s production of “Carousel” this past spring.  While I was unable to attend, my friends who did all praised Marisa’s work above all compare.  In addition to her choreography/dance captain skills, Marisa is a gorgeous dancer and captivating performer.  Because of this,  I thought sharing her insight would be a beautiful way to start off the “Audition Advice” series of this blog.  So without further ado – here is MARISA MERLISS!

Can you give us a little background your dance career? ( where have you trained/worked, what would you say is your primary style)

I’ve been dancing since I was 3 and trained at the Hartford Conservatory, Atlanta Ballet, and currently take class at Steps, BDC and Peridance . Since graduation I’ve danced in several musicals, a few casino shows, and tons of dance industrials, concerts, and photoshoots. I’m currently the fit model for Capezio dancewear and am in the Off-Broadway Cabaret Show Erotic Broadway-Vintage Variety. I don’t really have a primary style at this point though theatre dance and tap are what I’m enjoying most these days.

How has your approach to auditions changed over the years?

I used to get so nervous and worked up at auditions. I would get hyperfocused on what the people behind the table where thinking and if I fit into their idea of what they were looking for, etc, etc. Now I tend to look at it as an opportunity to dance and perform, I walk in and have a good time. And if I get a job great, if not at least I had a fun day!

Where do you like to stand during auditions and why?
In the front close to the middle of the room. That way I’m seen, I can easily see what the choreographer is teaching and when it comes time to switch lines I can work out the choreography and screw it up, if need be, in a place where less people can see me.



Do you have any advice on picking up choreography quickly in auditions?

Stay IN THE ZONE and focus Focus FOCUS!!!!! Forget about the train delay that almost made you late for the audition, the fight you had with your boyfriend/girlfriend the night before, if you’ll be able to sublet your apt. if you get this job, blablablaaaaa…..keep what ever is weighing on your mind out of the audition room and out of your head. If there are a few steps you can’t get, even after you’ve asked the choreographer for help just focus on what you’re good at and figure out a way to get through it without drawing extra attention to your weaknesses. Don’t apologize in words or expression. Smile and perform with confidence, a lot of times choreographers really want to see if someone can pick up a style and perform rather than perfect every little step they threw at you in 10 minutes. Don’t sweat it, just go for it!

What do you do if you are having trouble picking up a combination or style? Would you suggest asking the choreographer questions if you are having trouble in an audition? If so, what kind?

If it’s a style issue I’ll pay close attention to the choreographers assistant since they are typically someone they have hired multiple times and who gets their style. Definitely ask a question if you need to, I wait for an appropriate moment and ask the choreographer or preferably the choreographer’s assistant. I also pay attention to the answers of the questions other people are asking. If the choreographer gives specific direction on a step, esp. one you asked a question about, do your best to execute that movement the way they directed you. Choreographers, just like directors, want to know that you are directable.




What was your most challenging audition and how did you conquer it? 

Hmmm…..I’ve had so many different kinds of challenging auditions it’s hard to choose. The first “challenging” audition that comes to mind was a dance agency audition about 4 years ago. I had been out of commission for 5 years due to severe injuries and multiple surgeries I had after having a terrible accident in a show I did. I was #622 on the sign in list and wanted to leave from the time I walked in the door. There were some really talented looking people covering every inch of the holding room and I remember feeling more intimidated than I was comfortable with. They brought us in the audition room in groups of 60 and taught the choreography so fast and I could barely see what was being taught through the sea of people. Then it was time to go and I thought to myself “ok, I can stress over getting half the steps and look like a fool or just go for it with the steps I’ve got, smile and enjoy the fact that I’m dancing again and hopefully look like a little less of a fool”. I did the latter and a week later I had a dance agent!



Are there any classes you would recommend a non-dancer take to work on audition skills? 

YES!!! Jim Cooney’s Beginner Theatre Dance Class at BDC is fantastic. If you want to focus in on Fosse Technique or learn choreography from shows Diana Laurenson at BDC/Steps is great. Jeff Shade has a great Beginner Theatre Dance Class at Steps which is so fun and creative, it helps you get out of your head and really enjoy “the dance” as he calls it! Find a good ballet class to work on your strength and I would recommend find a dancer friend and do a trade. Rent a studio, practice basic dance moves across the floor and work on specific choreography you may need to know for your auditions, then you help them on their audition songs or monologues. It’s a great free way for you both to boost your audition skills!

Lastly, you are an incredibly fit person, what sort of cross-training do you do to stay in shape? Is there anything you would especially suggest to singers?


Well first off, thank you! And secondly the best thing I think you can do is to find a couple or more workout that you enjoy or semi-enjoy doing. The best way to lose inches, tone, or if your at your optimal weight/size the best way to maintain it is to confuse your muscles. Change it up, don’t do the same thing every time you workout. I run a couple times a month but I can’t stand the treadmill or the eliptical so I picked up rollerblading and biking. Both of these activities are easier on your joints and less counterproductive to dancing. I also do pilates, occasionally yoga and I stretch every day. If you are into non-dance workout videos I really enjoy Rev Abs and Brazilian Butt Lift by Beachbody. I do a lot of workout video shoots and these programs were the ones I found to be most effective and fun.





Any other words of wisdom?

Hmm…..let’s see…..
Don’t offer to do anything in an audition that you don’t want to do 8 shows a week. If you’re worried about injuring yourself in an audition don’t be afraid to say no or walk out, jeopardizing your health is not worth it.
Find a way to enjoy the audition process and surround yourself with supportive positive people at auditions and more importantly in life!


***




You can learn more about Marisa Merliss and her career by visiting her website.  You will see that in addition to being an incredible dancer, she is a kind giving spirit, who is intelligent (She’s a pediatric nurse!) and a national baton twirling champion!  You can currently see her in Erotic Broadway at the Triad at 158. West 72nd street!  

ZUMBA take 2!

Back in January, when I was still good about keeping this blog updated, I did a special on Danielle Pierce and her Zumba class – found HERE.

Tonight I actually took her Wednesday, 8 p.m. Zumba class at Steps on Broadway.  Because I had such a fabulous experience, I wanted to share it with all of you.  It is also my belief that all singers should get their butts into a zumba class as soon as possible.
So – without further ado – here was my Zumba experience.
I am a pretty darn fit person and have experience with a very diverse variety of dance techniques/classes. I went to zumba, feeling a little strange having sneakers on my feet and not character shoes and a bit apprehensive because rhythmic latin movements aren’t exactly my forte.  However, Miss Danielle immediately made me feel at ease by learning everyone’s name (magic memory skills) and ecouraging us to smile, have fun, and SING along to the music.  She then put on some latin music (the music, for the record ranged, from samba to bollywood to Glee to the golden oldies) and began to sing loudly, proudly, and incredibly joyfully off-key – which made everyone in the class (who ranged from professional dancers to students who were true beginners) feel free to make fools of themselves, let loose, and have fun both physically and vocally.
What sets Zumba apart from other dance classes for me is that you never stop moving. It is a true cardio workout!  Your legs and arms are constantly moving, be it fancy footwork, jumping, or gliding.  Without even knowing it, you are giving your core a massive workout just from coordinating your arms and legs together.  While there is certainly a Zumba technique, the class seems to be more about getting yourself moving – which makes it appropriately challenging for ANY level.  Professional dancers will get just as much of a workout as a movement novice.   Miss Danielle’s class has a wonderful mix of highs and lows, so you do get some breathing time.  Before this experience, I have taken a grand total of ONE Zumba class.  It was at a health club in Florida and there was no breathing time – it was all the highest energy jumping and samba-ing possible. It nearly killed me!  I definitely appreciated the mix of high energy and calm energy Miss Danielle provided.  More importantly – Miss Danielle creates a completely judgement free environment where she runs around the room dancing with and high fiving her students.  We even did a conga line at the end of class!  I can’t remember a time I smiled so much during a class!  
While it’s not necessarily movement you will directly use in an audition or choreography for a show, it is invaluable for the cardiovascular workout it gives you AND simply getting you moving, accustomed to shifting weight, standing on one leg, and jumping.  If you are IN a show, you will appreciate this – as dancing through a whole number is far different than the 48 count snippet they give you in a jazz class.  Since Miss Danielle has you vocalizing while Zumba-ing (to make sure you are breathing) – you even get a little practice at singing and dancing at the same time!  I TRULY BELIEVE EVERY SINGER SHOULD TAKE ZUMBA!  Anyone who is looking for a class to get started in the dance world should DEFINITELY get to a Zumba class ASAP – any dancer looking to improve their stamina should get to a Zumba class ASAP – and anyone just looking to have a fun dancing time should get to a Zumba class ASAP.  Basically – this entry is one big Zumba advertisement!
For those of you who would like to watch a video of what Zumba is so you know what to expect when you walk into class – here is a special the TODAY SHOW did back in 2007!
And here is a Zumba fitness basic steps demo!
I hope to see you in Zumba class!!!!