Teaching hips to swivel to new circumferences, dance instructors impart their masterful moves unto students in the respected tradition Arthur Murray schools have upheld since 1912. Students can bring a partner to their lessons or fly solo and dance with the instructor. Protégés may find their new moves applicable in a number of settings, such as when prepping for a wedding dance or when blending into an airport crowd that breaks out in the cha-cha. Embodying the three-count time of a stately waltz brings partners in close, and rumba moves or swing steps add vibrancy and playfulness to a repertoire.
The Orlando studio provides a warm, aesthetically sound environment for engaging in private and group dance lessons. The full class schedule is well suited to teaching feet to slice and dice a rug until it is no longer recognizable.
Melanie LaJoie’s dance career began almost three decades ago and has since taken her to Morocco, Egypt, and Russia, where she developed her expertise in an impressive number of ethnic dance traditions. Today, she directs the instructors at A Magi Temple Belly Dance and choreographs and performs pieces at local sites such as Universal Studios, Walt Disney World, and the House of Blues. Her students, who can include ladies age 10 and up, learn everything from warm-up exercises to routines in Bollywood, belly-dancing, and flamenco classes scheduled five days per week.
Legendary rock icon and influential multi-instrumentalist Edgar Winter struts his decades of musical savvy as his latest tour rollicks generations of fans. A child prodigy, Winter has built a long-lasting career on imagination and inimitable virtuosity. Famous for such classic-rock staples as “Tobacco Road,” “Free Ride” and the hummable No. 1 hit “Frankenstein,” the performer left his forever stamp on popular music by pioneering the use of keyboard body straps, synthesizers, and solar-powered kazoos in his live shows. Winter whisks away audiences on an electrifying trip through his oeuvre, hitting all the hits and running through genres with no regard for the genre guard.
For more than three decades, the Orlando Ballet has infused the stage with a mixed repertoire of graceful classical ballet and fiery contemporary programs. In the second production of "Battle of the Sexes," male and female dancers surge forward with sensual volleys of arms and legs timed to the choreography of Robert Hill. Gaze in awe from the middle or upper balcony as sultry silhouettes perform flying leaps and spins in tandem under red lights and full-bodied music. En pointe enthusiasts can purchase multiple Groupons and accompany their family, friends, or passing tour group to the ballet.
From its inception in the 1980s performance-art scene in New York, the Blue Man Group?s shows have evolved from impromptu sets in Central Park to stages across the world. The eponymous blue-skinned trio, described by the Chicago Tribune as ?ever-curious, ever-hopeful, ever-restless,? remains unchanged by its decades-long stint in the spotlight, still bewildered by the telescoping tubes of PVC piping it uses as instruments and the appreciative applause of the audience. But the group's shows are nothing if not timely, deftly posing questions about technology and stardom.
The spectacle is equal parts aural and visual, with live rock bands accompanying the men as they tap out rhythms on tangled snarls of pipe and flail wobbly poles covered in neon lights. Videos provide context for the speechless drummers, as well as a constant stream of wry humor. Evenings with the Blue Man Group build to an electric conclusion, thrilling the audience with brilliant bursts of light, cheery floods of color-changing balloons, and an adrenaline-laced original score.
In 1926, it was called the Orlando Little Theatre. Since then it has undergone four name changes, two mergers, and five expansions. Today, the Orlando Repertory Theatre (REP) enriches the lives of families with theater performances based on classic and contemporary children’s literature and outreach events designed to get young audiences involved in the arts.
Every year, approximately 40,000 children attend the REP's productions, which change seasonally and will include The Voyages of Doctor Dolittle, Dr. Seuss' The Cat in the Hat, and The Adventures of Tom Sawyer in the 2012–2013 season. Children with hearing impairments have access to assisted hearing devices, and one performance of each production includes ASL interpreters. A product of the REP's goal to target families, the Sideways Series showcases plays with challenging themes to encourage children to think outside the box and ask serious questions. The REP also sponsors a number of youth and community-outreach events, including a writing workshop, summer camps with student-led performances, a theater-tech academy, and theatrical-training workshops for underserved youth.