TBA listings editor (and trained singer!) Kimberley Cohan began her time at TBA as an intern in December 2014, assisting marketing resource coordinator Alan Kline. She began working as staff in March 2015, much to everyone's delight, and has continued to inspire (and sometimes confuse) the rest of us with her Olympic-class cheery disposition, no matter what crazy stuff is going on around her. Come meet TBA's resident songbird!
So, Kim, where are you from?
I grew up mostly in Los Altos, except for several years of cruising and sailing on the East and West Coast. So I guess you could say that I’m a California girl with a serious traveling tendency.
How long have you been involved in theatre? Any specialized training or experience?
Some of my earliest memories are of running around the house singing at the top of my lungs (much to the chagrin of my parents, sister and neighbors). I found an outlet for all of that noise at music school, and fell in love with the performing arts. Although I was involved in endless shows, choirs and jazz groups growing up, it wasn’t until college that I became seriously involved in music and theatre. I visited the music department at UC Santa Cruz looking to take a couple lessons and maybe do a show, and came out four years later with a degree in music and way too many music theory jokes. The opera department at UCSC is small, affording many more opportunities to undergrads than most classical programs. Between amazing teachers, intense music theory classes and lots of performance opportunities, I found a new appreciation for opera, and my love of theatre increased tenfold.
What do you consider your artistic specialty now?
As I have spent the past four years studying music and vocal performance, I would certainly call that my current artistic specialty. However, I feel much more as though I have only begun my journey into the performing arts and theatre world, and would like to continue experimenting and dabbling in as many fields, styles and approaches as I can.
What's the biggest performance catastrophe you've ever experienced?
Hmmm…so many options to choose from! I’d probably have to go with Into the Woods at UCSC. Milky White the Cow—basically a box on dolly that we all attempted to drag around—fell over as Jack was singing goodbye. Everyone stood there trying desperately not to laugh as I dragged the cow offstage. Or when Rapunzel let down her hair and half of the length fell off, leaving me to yank the piece off as I jumped off the set and grabbed the hair...it was a truly wonderful production.
Who are some of your artistic heroes?
Again, there are so many artists I admire that it’s hard to choose just a few. I love Audra McDonald and Kelly O’Hara, as performers who began in the classical world but successfully broke into musical theatre (and straight theatre). I would love to get the opportunity to work with Ricky Ian Gordon (My Life with Albertine, The Grapes of Wrath) or Adam Guettel (The Light in the Piazza). But first and foremost, my artistic hero would be my first voice teacher, Patrice Maginnis. Legally blind, she never let her disability hinder her—helping begin and performing at Opera San Jose, becoming the most beloved teacher at UCSC Opera and giving me the best, most honest advice for four great years. (For example: “You’re not a dumb blonde. You’re not even blonde. So stop acting like it!”)
Do you have questions about job or show listings, BAPAS or “The Insider”—or just want to say hello?
Contact Kim at firstname.lastname@example.org.