Whether it was a wink, a smile, Anthony Pires Jr’s mischievous laugh, the crackling chemistry and snappy asides among this multi-talented, finely adorned cast or Central Square Theater’s transformation into a vivid vintage Harlem nightclub, Ain’t Misbehavin’ certainly knows how to throw a roaring party.
With festive lighting by Jeff Adelberg, red cocktail tables and lamps lining a gold-embroidered stage that frames the intimate, big band orchestra while eye-catching portraits hang on each side of the stage, Jon Savage’s alluring set design immediately sets the mood for an interactive, carefree, spontaneous, and humorous concert event fueled by Fats Waller’s tremendous talent.
Accented by Elizabetta Polito’s distinctive costumes from furs to glimmering garments to slick pinstripe suits and bowler hats, Ain’t Misbehavin’ seamlessly rewinds the clock to the roaring 20s where Harlem nightclubs and speakeasies sprung up for a boisterous night of revelry during the Prohibition era. Kicking off the show with a recording from Fats Waller himself, Ain’t Misbehavin’ reveals Waller’s catchy musical repertoire ranging from exuberant romance to humorous irreverence to playful flirtation while also addressing significant and sobering issues of the era that remain rife today. This incredible cast depicts it all with clever and mesmerizing swagger as well as some measure of illuminating heartache.
Led and enhanced by conductor Dan Rodriguez’s swift and extraordinary piano work especially for the thrilling stride piano number, Handful of Keys, this fiery, six-piece orchestra masters every brass-tinged and drum-laden beat with finesse.
With an vocal aptitude for exciting, big band numbers as well as ardent crooning, a few of this show’s many highlights include Lovely Hoffman’s clever and moving Mean to Me and the sheer energy and vibrant vocals in Yacht Club Swing and The Joint is Jumpin.’
Ain’t Misbehavin’s crackling chemistry is well demonstrated between Lovely Hoffman and Anthony Pires Jr as they deliver a playful duet for the light and amorous number, Honeysuckle Rose. Christina Jones and Jackson Jirard take the stage for a sweet version of I Can’t Give You Anything But Love and Sheree Marcelle and Anthony Pires Jr deliver an equally charming duet for I’m Gonna Sit Right Down and Write Myself a Letter. Accented by Jirard’s limber movements and amazing choreography through hazy lighting, the show takes on a captivating, psychedelic turn as Jirard sings The Viper’s Drag. Anthony Pires Jr shows off big personality and comedic sass for Your Feets too Big before the cast gathers for a heartrending Black and Blue.
The only thing more exciting than the music are the side smirks, irritated looks and onstage antics clearly hinting of the juicy drama happening between cast members behind the scenes, though it is all part of a show that thrives on the audience’s enthusiasm and interaction. Ain’t Misbehavin’ is a riveting musical celebration for a multi-talented musician clearly ahead of his time.
Central Square Theater and The Front Porch Arts Collective continues sensational Ain’t Misbehavin’ The Fats Waller Musical‘ live and in person at Central Square Theater in Cambridge, MA through Sunday, May 29. Click here for more information and tickets.
“It’s such a good feeling to know we are lifelong friends,” was Mr. Rogers final words as he closed out his show, Mr. Rogers Neighborhood, in 2001. However, the impact he has had on the world is timeless.
Though The Sleepless Critic usually tackles the very best in music and theatre, one has to make an exception to express the rare, extraordinary quality in Morgan Neville’sWon’t You Be My Neighbor, a moving, deeply personal documentary which highlights Mr. Rogers Neighborhood, a children’s show that was unconventionally the best in television and ran from 1968 through 2001 on PBS. The film is currently in limited release. Click here for more information and ticket availability.
This is not to say Won’t You Be My Neighbor didn’t explore the power of music. American cellist Yo-Yo Ma appeared on Mr. Rogers Neighborhood at a young age and shared his exceptional musical talent.
Mr. Rogers also used music as a powerful tool to influence his viewers such as with his original song, It’s You I Like. An introvert from childhood, Mr. Rogers often expressed his feelings through music. This inspiring documentary opens with Mr. Rogers offering a metaphor on the piano about life’s difficult transitions. He expressed how easy it may be to get from a C note to a D, but how challenging it is to transition from an F to an F sharp, paralleling the challenges children face growing up. His dedication to children through television offered children support on how to overcome the hardships of life and feel like they have a unique importance in this world.
The film draws from Mr. Rogers’s charisma, which softened the toughest of hearts with his assertion that everyone either had love or lacked it. Through his family members, cast, crew, and some of his adversaries, it is a balanced portrayal of an ordained minister with a simple purpose, a purpose that was not always understood. Nonetheless, Won’t You Be My Neighbor is an important film that has navigated generations of children through grief, assassination, divorce, disabilities, and other hardships, providing glimpses into devastation in recent history such as war, the Challenger tragedy, and 9/11.
Won’t You Be My Neighbor was also not without its own sense of humor from backstage antics to show parodies. However, the best quality of Won’t You Be My Neighbor is, like a good neighbor, Mr. Rogers had a warm smile and an open door, and he genuinely cared. That’s an awful lot of comfort in a troubled world.
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NPR’s famous composer, conductor, and music commentator Rob Kapilow certainly knows his way around a baby grand piano. Under soft lights and in front of a full house, he is once again ready to transform the way the audience hears and understands some classic tunes.
Renowned soprano Jessica Rivera Photo courtesy of Celebrity Series of Boston
Calling on a few of Broadway’s most enchanting and classic love songs, Rob was accompanied by renowned soprano Jessica Rivera. Adorned in a shimmering black dress, Jessica’s versatile, impressive vocals ranged from lighthearted to passionate yearning as Rob had Jessica peel back the layers of each song, revealing what makes each tune shine. With humor and grace, Rob and Jessica also revealed what each song might have sounded like without its individuality. What Makes It Great never fails as an eye-opening experience.
Delving into the musical atmosphere and history of Leonard Bernstein’s time, Rob chose a selection of powerful, yet dreamy classic Broadway songs reflective of this era while showing how they are also vastly ahead of their time. From dreamy songs such as, A Little Bit in Love from Bernstein’s Wonderful Town to the high-spirited I Could Have Danced All Night from Lerner and Loewe’s My Fair Lady to the powerful Somewhere from Bernstein’s West Side Story, Rob shows how the composer ties the musical elements together to enhance the listener’s musical experience. For example, he describes how Leonard Bernstein’s wildly successful West Side Story is a perfect fusion of classical technique to popular theatre.
Evan Kinnane, a renowned Boston tenor, joined Rob and Jessica for a special stage performance of Tonight after Rob described what makes this song so special. Full of passion and excitement, Evan and Jessica have a mesmerizing rapport and their marvelous blend of vocals demonstrates the song’s and Bernstein’s timeless appeal.
NPR’s Rob Kapilow and his piano Photo courtesy of Celebrity Series of Boston
After 22 years, Rob Kapilow continues to captivate audiences with his vast musical knowledge, sense of humor, and his careful analysis of what makes music such a rich, fulfilling experience. Capping off the evening, Jessica Rivera poignantly sang Some Other Time from the Leonard Bernstein’s musical, On the Town, about how quickly time passes by. It’s a fond farewell until next time.
For 25 years, the Boston Pops has made Gospel Night a highly-anticipated tradition. A glorious, enthusiastic audience which includes newcomers and returning fans greet Conductor, pianist, and composer Charles Floyd, the Boston Pops Gospel Choir, and a selection of guest artists. This year, multiple Grammy award-winning Gospel singer Cece Winans headlines this special 25th anniversary concert for one night only on Saturday, June 17 at Symphony Hall in Boston, Massachusetts. Click here for more information and for tickets to this monumental concert event.
Renowned conductor, pianist, and composer Charles Floyd talks about his longtime role with Gospel Night and its evolution as well as dreams he never imagined coming true.
Renowned conductor, pianist, and composer Charles Floyd leading the Boston Pops Photo courtesy of Stu Rosner/Boston Pops
Sleepless Critic: The Boston Pops Gospel is an incredible event each year. The last time I went, it seemed like the Boston Pops Gospel Choir was a nonstop celebration, joyfully continuing even after the concert was over.
Charles Floyd: Everybody looks forward to that part of the program because it is probably the most energetic. The music can be very exciting and uplifting. We like to feature something that the gospel choir performs without the orchestra. The orchestra wants to go into overtime and that gets into an issue, but if the building is still open, there’s no reason why the choir can’t stay to do a couple more numbers if they enjoy singing and the audience is going to stick around. When the formalities are done, it’s a nice moment when people can just let their hair down.
SC: The concert is so uplifting you don’t want to leave anyway. You have been with Gospel Night for 23 years, almost since its start.
CF: I appeared the second year. I was called because the conductor the first year could not do it the second year. I had to take a year away back in 2004, so this is my 23rd and it’s their 25th, but I am celebrating 25 years just like they are.
SC: It must be amazing to see how it has evolved over the years.
Gospel Night at the Boston Pops Photo courtesy of Stu Rosner/Boston Pops
CF: It’s been an honor to be a part of it. I was working with Miss Natalie Cole for close to 14 years. We had done a few concerts with the Boston Pops, and at the time, Maestro Lockhart and I were in the running in some capacity to step in. Keith got the gig and I was very happy for him. It was great for the community and I was somewhat new, and so they called and asked if I had done that sort of thing. I said I have and only had about 6 weeks’ notice to prepare. It was little bit nerve-wracking to put together an entire program, write orchestration that didn’t exist, and then learn the classics and light classics on top of having to cater to guests artists. We balanced out the program with Keith conducting the first part of the program and I conducted the 3rd part of the program, Rhapsody in Blue. Keith had to be at Tanglewood and other places as the date of Gospel Night moved around. That’s kind of how it happened. When the door opens you walk through or the door might not open again and here we are.
SC: Some of the best things happen spontaneously. This year, CeCe Winans will be the featured artist on Saturday, June 25. Do you have a hand in who performs each year?
CF: I am involved in the process. I don’t always have control over who the artist will be because a certain artist that I may want to work with may not be available, but they are nice enough at the Pops office to ask who they could look into. They come up with their own ideas too. We all put our cards on the table and explore the possibilities. CeCe is big in the Gospel world and was available. We’re really excited to have her as our guest.
Legendary, Grammy award-winning Gospel singer CeCe Winans Photo courtesy of the Boston Pops
SC: Will there be any surprises on this 25th anniversary celebration?
CF: I don’t think I’ll be flying in from the balcony on a cable, but we do have a few things. (Laughs) The first part of the program is mostly Americana. We’ll start the program with Fanfare for The Common Man. It recently would have been JFK’s 100th birthday. Maybe the first part will feature the music of John Williams edited together and text added from the speeches of the late president JFK called, Let the Word go Forth. Some of the music by John Williams will accompanying the narration is from the movie, JFK. We are just going to celebrate a little Americana with CeCe Winans and the choir is going to perform some favorites over the past 25 years. We may never get out of there. (Laughs)
SC: It is fitting since the Boston Pops season is dedicated to John Williams this year.
CF: Absolutely. Tying the program together with Boston Pops tradition as well as the Gospel music tradition and its history has been a challenge and a lot of fun. I look forward to it as well as some many other people.
Acclaimed composer and conductor John Williams leads Film Night Photo courtesy of Stu Rosner/Boston Pops
SC: I’m glad you have been part of the Gospel Night tradition for 23 years and I know you performed all over the world. Music has been a part of your life since you were 4.
CF: That’s when I finally got to a piano. I used to bang on cables and pretend like I was playing. Everybody thought it was so cute. By the time I got to a piano, I was 4 and I was already taking out melodies and ordering things by year. It was another six months before I started taking formal lessons, but yeah, music has been a part of my entire life.
You never know what life is going to hold when you are young. Just because you start playing the piano no matter how good or bad you are at it, there is no guarantee of what the future will hold. I took physics and journalism just as a back up in high school, but once I got to college, I dedicated myself completely to music and didn’t try to be a master of all trades. All through 10 years of conservatory and grad school, it was all piano. I was not a conducting major and I found myself in a situation where a conductor was needed, I was the only person who could step in at the time, so I got serious about conducting. I started studying all kinds of things such as opera, had to go through all the symphonies and all the major works of all the major composers. I learned so much about accompanying singers with the baton from listening and attending operas. I played for singers my entire life, but to watch a conductor accompany a singer is something I don’t think a lot of people really appreciate at least the way that I did and what I learned from it. It’s been fun and as long as the work keeps coming in, that’s the greatest thing. Just to keep going.
Charles Floyd and Melinda Doolittle perform on Gospel Night in 2010. Photo courtesy of Stu Rosner/Boston Pops
CF: I was trying to explain it to my sister and family not long ago. People talk about having their dreams come true. My situation is a little backwards. It’s not a question of my dreams not coming true, but most everything that has transpired in my career were things I never dreamed of in the first place. If I had said when I was eight years old that in 2017, I would be celebrating 25 years at Symphony Hall with the Boston Pops or working with an orchestra at Carnegie Hall with James Taylor and Sting or sitting at an event next to Harry Belafonte or conducting orchestras for Natalie Cole or playing the piano for somebody else. These are usually once in a lifetime events and I’m grateful that they continue to happen. New things are coming in all the time and I couldn’t be more grateful and happier.
Click here for Gospel Night tickets, call SymphonyCharge at 1-888-266-1200, or visit the Symphony Hall box office during business hours at 301 Massachusetts Ave in Boston, Massachusetts. Follow The Boston Pops on Facebook and Twitter for updates.
For a musician, choosing the right instrument is the key to success. For Grand Harmonie flutist and co-founder Sarah Paysnick, family and Sesame Street played a big part in her choosing the right one. When a group of successful musicians got together to pursue something new and exciting, the innovative and eclectic music ensemble, Grand Harmonie was born.
Grand Harmonie in action Photo courtesy of Sarah Paysnick
Grand Harmonie will deliver March Madness, two exciting and inventive concerts that mixes a little bit of everything. Featuring conductor Scott Allen Jarrett and soprano Jacquelyn Stucker with horn by Yoni Kahn, March Madness kicks off on Friday, March 24 at Arts at the Armory in Somerville, Massachusetts at 7:30 p.m. On Sunday, March 26, March Madness will take the stage at the Second Church of Newton in West Newton, Massachusetts at 3 p.m.
Grand Harmonie conductor Scott Allen Jarrett Photo courtesy of Scott Allen Jarrett
Sarah Paysnick discusses her music career, Grand Harmonie’s educational outreach, the excitement behind Grand Harmonie, and a closer look into March Madness. Click here for more information and for tickets.
Jeanne Denizard: What first sparked your interest in music and what inspired you to pursue it as a music career?
Sarah Paysnick: In kindergarten, many of my friends started learning piano. They would teach me what they were learning, so I begged my mom for piano lessons. I remember wanting to quit after a short time, but my mom told me I had to finish the year. A few years later, many of my friends started learning string instruments. I have a cousin my age that played the violin and she’d teach me when we got together. When I told my mom I also wanted violin lessons, she said that I have two cousins who play the violin and I should pick something else. Watching Bob on Sesame Street and because another cousin was learning it, I decided on the flute.
In 4th grade, when asked what we wanted to be when we grew up, I said I wanted to be a cantor because Judaism and music were important to me. I didn’t have proper training as a singer. Something told me, over the next few years, it would exclusively become a music career even though Judaism is still important to me. I never really thought about doing anything outside of music, though my music path has taken me in a variety of directions. Ultimately, it led me to historical performance on flutes and teaching piano to children.
JD: How did you become a founding member of Grand Harmonie and what do you enjoy most about this group?
SP: I knew Yoni Kahn, our horn player and soloist for this concert! With Yoni Kahn and a couple of other founding members, we were interested in starting something new and exciting. Though my favorite music to perform falls a bit earlier than Grand Harmonie’s core repertoire, I am constantly inspired by my colleagues who push me every day to be a better musician and honored to be an organizing member of the kind of ensemble people enjoy working with. Everyone has such a positive, generous attitude and it’s infectious!
Yani Kahn, horn Photo courtesy of Grand Harmonie
JD: Grand Harmonie is very versatile and can transform from a symphony orchestra to an opera orchestra, or even become a chamber ensemble. Is the unexpected part of what sets Grand Harmonie apart from other groups?
SP: Yes, Grand Harmonie is a bit of a moving target. People attempt to put us into a box and we don’t fit into one. Every performance is different, but it also makes anything possible!
JD: Grand Harmonie will be touring through Somerville and Newton on March 24 and 26 for March Madness. Is this Grand Harmonie’s first time performing March Madness? Where did the idea come from?
SP: This is our first time doing this performance as well as splitting up the movements of a symphony and sprinkling them throughout a concert. In the 19th century, performances were quite different than they are today. Maybe a full symphony wasn’t performed or it was performed in its entirety but not straight through. Perhaps a small chamber ensemble gave listeners a break from the big symphonic sound or a soprano would delight everyone with her beautiful voice.
Jacquelyn Stucker, soprano for March Madness Photo courtesy of Jacquelyn Stucker
These concerts were a social event and audiences didn’t remain silent as they think they are expected to today. Grand Harmonie wants to break the tension and allow people to clap when they want to, explore the space around them, and enjoy the concert without fear of getting stared down if they clap at the wrong moment or make a noise during the music.
On Friday night, the cash bar at the Somerville Armory will be open all night. Through a generous donation from Aeronaut Brewing Company, the first 30 ticket purchasers will receive one free beer! On Sunday in Newton, we encourage people to relax and enjoy themselves, but the concert will not include alcohol and will be a more traditional performance.
JD: This concert will be a particularly intimate and uplifting concert experience since it will take place in-the-round. Additionally, Grand Harmonie will deliver classical pieces in an entirely unique and rollicking way. Putting something like that together must have been a lot of fun.
SP: Friday’s show is a really exciting experiment in how to make a “classical” concert more accessible and we can’t wait to experience it with our audience! Sunday’s show will be more traditional with the audience in pews and the orchestra in front, but we still expect it will be a rollicking good time!
JD: For March Madness, Grand Harmonie weaves Mozart, Beethoven, and Weber into one big concert. You have a unique way of breaking up Beethoven’s First Symphony during this “in the round” concert experience.
SP: It may sound unique to split up a symphony today but this was not unusual in the 19th century! Sometimes even a single movement was chosen for a particular program.
JD: Grand Harmonie also participates in educational outreach. Please tell me about that.
SP: Grand Harmonie has given master classes at the Longy School of Music at Bard College, MIT, and Harvard, among others. We have also given informational lecture/demonstrations at MIT and Yale’s Lewis Walpole Library. We love sharing what we’ve learned with musicians and music enthusiasts young and old! Audience members are very curious about our instruments and we are happy to engage with them.
JD: A few Grand Harmonie concerts are coming up before the end of the season. Please tell me about Grand Harmonie’s future plans.
SP: March Madness is the official close of our season, but we have plenty coming up! We will be performing Haydn’s The Creation with Edward Jones and the Harvard University Choir and Mendelssohn’s Symphony No. 2 Lobgesang with Edward Jones and the Harvard-Radcliffe Chorus. We have loved working with Ed at least once a year since we began and it’s fair to say we have a mutual admiration for each other. In NYC, we will be partnering with On Site Opera to perform a wind octet Harmonie arrangement of Mozart’s The Secret Gardener by our own Yoni Kahn on horn and Thomas Carroll on clarinet. Also, keep an eye out for us during the Boston Early Music Festival the second week in June!
Grand Harmonie group Photo courtesy of Hannah Shields
Click here for all of Grand Harmonie’s upcoming concerts and here for more on Grand Harmonie’s educational outreach. Follow Grand Harmonie on Facebook and Twitter for upcoming events and more.
World-renowned choreographer William Forsythe, dressed in a baseball cap and modest attire, addressed an eager, mesmerized audience in a post-show talk with Boston Ballet’s acclaimed Artistic Director Mikko Nissinen after the evening performance of William Forsythe’s Artifact on Saturday, March 25. Mikko Nissinen introduced Forsythe with enthusiasm and said that working with him has been a lifelong dream fulfilled. William Forsythe and Boston Ballet’s Artistic Director Mikko Nissinen have a five-year partnership, working together to establish each season’s performances, highlighting one of Forsythe’s exceptional works each year.
The Boston Ballet Photo courtesy of Rosalie O’Connor/Boston Ballet
Friendly and unassuming, Forsythe spoke about his beautifully-unconventional production, Artifact, a piece he created over 30 years ago and a work that audiences and critics alike have embraced ever since. Veiled on the Boston Opera House stage and enhanced with minimal props, lies a complex, timeless, and thought-provoking masterpiece which makes a powerful statement on the essence of the art of ballet. Shown in its full length, Forsythe revised Artifact’s finale specifically for the Boston Ballet, which is a thrilling, compelling spectacle that blends classical and contemporary dance in a unique way.
Boston Ballet presents ‘Artifact’ Photo courtesy of Rosalie O’Connor/Boston Ballet
Boston Ballet presents William Forsythe’s Artifact through Sunday, March 5 at the Boston Opera House. Click here for tickets, call 617-695-6955, or visit the Boston Ballet box office at 19 Clarendon Street in Boston, Massachusetts. Take a closer look at William Forsythe’s Artifacthere.
Blending humor, philosophy, drama, and a wide range of traditional and contemporary ballet, William Forsythe’s Artifact, since the show was introduced, set a significant precedent in the inspiring works that followed. A production packed with a wide range of welcome surprises, each distinct character offers their own insight into this mysterious tale. Featuring a shimmering backdrop that matched the majestic, glittering black gown worn by Dana Caspersen, a statuesque woman in grey portrayed by Caralin Curcio, and a dapper, yet frustrated older man with megaphone portrayed by Nicholas Champion, Artifact is an intensely fascinating work from its start.
Raina Sawai as Woman in Gray and Nicholas Champion as Man with Megaphone
Caspersen’s performance is full of jubilance and inquisitiveness from the moment she welcomed the audience with a peerless smile. Curcio delivers a haunting, athletic, and captivating non-verbal performance, her movements sharp, poised, and vigorous while she appears in unexpected places. Dignified and authoritative, Champion’s dynamic performance boasts comedic moments, especially in his interaction with Caspersen. While Champion’s musings are incomprehensible and muffled, Caspersen’s seem philosophical and poetic.
Artifact, divided into four parts like a symphony, features piano by Margot Kazimirska and delves into a full range of emotions as the piano seems to have a mind of its own, often breaking convention. The music, featuring J.S. Boch: Chaconne from Partita Nr. 2 BWV 1004 in D-Minor by Nathan Milstein, Sound Collage by William Forsythe, and music from composer and pianist Eva Crossman-Hecht, progresses from playful to somber then frantic to rhythmic.
Sao Hye Han and Paul Craig in William Forsythe’s ‘Artifact’ Photo courtesy of Rosalie O’Connor
Dressed in rich, vibrant color and launching into choreography ranging from romantic and sweeping to freestyle to stiff and regimented, the Boston Ballet often break convention under the direction of Curcio. A few of the highlights are ballet dancers breaking away into romantic, sweeping duets as they spin, sway, and soar. With a verbal countdown, they perform intrinsic dance combinations such as a row of dancers drop to the floor in unison, embracing. Another thrilling highlight is the ballet directs the curtain to lift and close, creating snapshots of various, choreographed scenes. As Artifact culminates into an unpredictable, uplifting, and magnificent finale, unified dancers are as mesmerizing as the dancers breaking away into frantic, dynamic arrangements, performing pirouettes to a wild rhythm, blossoming into a new entity.
Seo Hye Han and the Boston Ballet in ‘Artifact’ Photo courtesy of Rosalie O’Connor/Boston Ballet
Click here for tickets, call 617-695-6955, or visit the Boston Ballet box office at 19 Clarendon Street in Boston, Massachusetts. Subscriptions and group rates are also available. Follow the Boston Ballet on Twitter.
The Boston Ballet’s 2017-18 season boasts masterful works such as Kylian/Wings of Wax from March 23 through April 2, Robbins/The Concert from May 5 through May 27, Obsidian Tear from November 3 through November 12, and the return of Tchaikovsky’s beloved holiday classic, Mikko Nissinen’s The Nutcracker from November 24 through December 31, 2017. Click here for a closer look at all of Boston Ballet’s 2017-18 season highlights.
From learning music instruments to singing, dancing, exercise, theatrical play and more, South Shore Conservatory has a stellar reputation of immersing students of all ages in a wide spectrum of exciting activities as the spring warmth approaches. Ranging from basic to more advanced skill levels, spring registration is now open for young children with Music Together and Music Sprouts programs starting on March 13. South Shore Conservatory is located at convenient locations on the South Shore of Massachusetts. Click here for a list of classes available.
Young students enjoying Music Together class at South Shore Conservatory, image by Michelle McGrath PR
Drum class at South Shore Conservatory Photo courtesy of Michelle McGrath and South Shore Conservatory
South Shore Conservatory has created a comfortable, inspiring, and exciting learning environment for students at all levels at their Duxbury and Hingham campuses. Satellite classes are offered at the South Shore Community Center in Cohasset, Massachusetts. South Shore Conservatory also offers financial aid. For further details and to register, call Early Childhood Program Coordinator Jana Kahn at 781-749-7565 ext. 33 or online at sscmusic.org.
South Shore Conservatory partners with the American Ballet Theatre. Photo Courtesy of Michelle McGrath and South Shore Conservatory
Click here to learn about all of South Shore Conservatory’s upcoming events. Follow South Shore Conservatory on Facebook and Twitter.