Jazz And All That
I have always loved to sing. I started singing early on, took voice lessons, and trained both classically, and for musical theatre. At Colorado College, I worked with the esteemed conductor, Don Jenkins, where I sang the alto solo part in Handel’s Israel in Egypt, and other great choral pieces, and then I transferred to Boston Conservatory of Music, for my BFA in Musical Theatre/Drama/Dance. In transferring, I had to squeeze four years of general dance into two, so I became what was termed a triple threat. I was a dancer who could sing and act, and I went off to NYC to conquer Broadway. I didn’t conquer it, necessarily, but I certainly worked with it and around it, as I worked with the best and the finest at the time, doing many shows off-Broadway, off-off Broadway, and at Lincoln Center, regional theaters, dinner theatres, summer stock theatres, Atlantic City casinos, and cruise ships. I went up and down the East Coast, to Hawaii, to Bermuda, and I even turned down work in Monaco, and a cruise around the world. Go figure. I’ve done over a hundred shows, all told.
Beverly is a long-time member of the a cappella caroling group, The Music Companie, and has formed a jazz, standards and Broadway quartet called Jazz and All That. She also sings with the Bel Air Church choir. Singing credits are on the Contact/Resume Page.
Caroling at the home of The Bachelor
I did a particularly fun run of several productions of Sweet Charity and Sugar Babies, two of which were choreographed by the soon-to-be Tony Award-winning Susan Stroman, and directed by Jack Allison. Another was with Rudy Tronto, the originator of Sugar Babies. I performed with Bob Fitch, the original Rooster in Annie, and others like Georgia Engel, Alan Sues, Judy Kuhn, Sharon Lawrence, and Lillias White. At Lincoln Center, I sang “back-up” chorus for a cavalcade of celebrities, under the baton of Joel Silberman, directed by Richard Maltby, Jr. Even my smaller “almost” victories in NYC were exciting. As an extra in NY Stories, the P.A. was impressed when I was given personal direction by Woody Allen, and when I made it through first cuts by Bob Fosse and Gwen Verdon, and Ben Vereen, I felt at least validated. Standing nose to nose with Bob Fosse, being asked to stay and dance more, was its own reward. It was a rich time, artistically. I spent hours each week, honing my dancing and singing skills, studying with the masters at the time. Michael Shawn, Randy Skinner, Germaine Salsberg, all at the best dance studios. I coached with some brilliant vocal coaches. I worked at my craft. I did mostly musical theatre, along with some TV and film. After 13 years in NYC, though, it was time for a change, so I packed up and moved Beverly to the Hills of Hollywood…well, Santa Monica, that is. In LA, I did a lot of original theatre works, my favorite probably being Scream Queens, an homage to women in B-movie horror films, at the Whitefire Theatre.
My Personal Story
Lullaby of Swing
I took a bit of a break to raise my daughter, and then consequently got into directing children’s musicals. But I have never stopped singing. I sang for several seasons, and performed as a soloist, with the San Fernando Valley Master Chorale, led by Terry Danne. I now sing regularly with the Bel Air Church choir, conducted by Dan Korneychuk, and have sung with them several times at the Hollywood Bowl. For this year’s Christmas Concert, I staged the movements for the Children’s Choir, led by Nancy Ruczynski and sang in a four-woman quartet for the Annual Tea. For over two decades, I have been singing every Christmas/Hanukkah season with an a cappella caroling quartet, The Music Companie, in full Victorian garb. Wanting to sing the other eleven months of the year, four of us have just branched out to form a new quartet, called Jazz and All That!, and I am excited that we are currently putting together our repertoire, which is jazz, standards, and, like my life...all that.