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An artist who believes in the balance between commercial profit and art for arts’ sake.. 

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My name is Hannah Brady. I grew up in a small town in New Jersey on a competitive dance team and I'm now a professional vocalist and dancer.

 

But I have much more to offer than that.

 

Humble Beginnings

I grew up in an average town with few connections.​ Singing was not my strong suit: I was mainly a dancer.

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NY transition, Paying the Bills, College

I had to work all day and night to pay my way as a performer in New York City. I worked at 5-star restaurants, did background work on TV and film, did overnight shifts so I could still audition for Broadway shows during the day, and worked as a nanny. I stood outside promoting Broadway shows in Times Square, rain or shine. I worked 40 hour work weeks in the span of one long weekend so I could still take class full time at Montclair State University. I never got into the program I wanted (Musical Theater BFA) even though auditioned 3 times. 

 

College, Making It Work, Low Budget

 I spent my nights jimmying the locks of the dance and vocal studios, since I was not applicable to use them as a non-major. I hired my own vocal coaches outside the program, primarily Jane Seaman and Greg Dlugos, who were instrumental in my growth as a legitimate musical theater vocalist. 

 

College/NYC transition training. Becoming a Singer

I took countless workshops in Manhattan, including Beyond The Table with Benton Whitley and Backstage University by Tom Lapke. I also trained with Paul Russell, Bob Cline, and eventually Actor Therapy by Ryan Scott Oliver and Lindsay Mendez. This is where I made the arduous transition from dance to singer: through many months of tedious training,  I rerouted my breathing technique to support my voice. It was easier said than done.

 

Work Study 

I funded my dance training by joining the Work Study program at Broadway Dance Center and Steps on Broadway. 

 

China, World View Changes

I finally got my big break to travel the world in 2014. Once I saw the United States from the perspective of my coworkers from China, the Philippines, Mexico, the Middle East, and Venezuela… my world view changed entirely. I feel fortunate to have lived long-term as a resident of foreign countries. I have made friends with people I never would have met otherwise, who showed me how much more I have to learn as an American citizen. 

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I strive for all of my artistic endeavors to serve the people around me, not just those signing the checks. I strive to hire people who are truly worthy of their job title, who have put in the hours, who might otherwise be overlooked. I have no desire to cut people down on my way up; I prioritize people over things in every budget I draft.

 

When you hire me as a singer or host of your event, you are hiring someone who is trained to communicate with people from all over the world, regardless of whether or not I speak their language. You are hiring someone who has seen the world both from a place of poverty and luxury. You are hiring someone who cares deeply about the human condition, who  pays close attention to different demographics and their cultural and commercial needs.

 

When you book me as a choreographer or dancer, you are hiring someone who has taken at least one class in every genre of dance, from Korean folk dance, to traditional ballet, to krumping. You are hiring someone who has trained with the best creators in their field. You are hiring someone who was not naturally gifted and consequently knows HOW to teach choreography (no matter the skill level of her dancers). You are hiring someone with a vast knowledge of dance history across the genres, especially the origins of these styles. You are hiring someone who can handle intricate and advanced choreography, someone who can create pieces that are thrilling and inviting. 

 

When you hire me for your ensemble production, you are hiring someone who believes in always delivering 100%, whether there are two people or 20,000 people in the audience. You are hiring someone who understands her individual role in a larger project. You hire someone who is detail-oriented and follows directions, but also someone innovative who can lead elite professionals. You are hiring someone who has learned firsthand from the best in the business (Paul Rubin, Greg Dlugos, Rod Kaats, Haley Swindal, Tom Lapke,  Ryan Scott Oliver, etc).  You are hiring someone who has experience in immersive theater all the way up to large-scale circus arenas. You are hiring someone who is athletic and capable, while also understanding the dynamics and values of simplicity in high-quality entertainment. You are hiring someone who can command an audience of thousands.

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You've come to the right place.