Penelope Thomas

From Canada, Penelope Thomas came to NY to study dance with Merce Cunningham; then through a series of fortunate and unfortunate events, she wound up back in singing and acting. Credits include lead vocals with FauveMuseum on two albums and live at Symphony Space, singing back-up for Bistro Awards director Shellen Lubin at the Metropolitan Room, reading poet Ann Carson’s work at the Whitney, and touring North America and Europe with Mikel Rouse’s The End of Cinematics. In Toronto, she studied piano at the Royal Conservatory of Music and cello with the Claude Watson School for the Arts, and in New York she studied music theory with Mark Wade. She's taught in the New School’s Sweat musical theatre intensive and taught dance in public schools and conservatories.

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Articles by this Author:

Club Review: Miss Maybell and Her Jazz Age Artistes

Early twentieth century popular music is a melting pot: with strong roots in Black American music, blues and ragtime grew into hot jazz and Tin Pan Alley, laying the groundwork...

Club Review: Linda Purl’s “This Could Be the Start”

Linda Purl is a true working actor: whether you’ve seen her on Happy Days or The Office, on or Off Broadway, in regional theatre, in straight plays or musicals, or...

Club Review: “Ann Hampton Callaway Sings Peggy Lee and the Songs of the ’70s”

Ann Hampton Callaway is a seasoned jazz artist, songwriter, an interpreter of the American Songbook, and an entertainer who knows how to work a crowd—especially when her ex-husband is bravely...

Club Review: Shana Farr’s “Dream Reality”

Shana Farr is a beautiful singer. She looks beautiful. She was beautifully prepared for her show Dream Reality at the Laurie Beechman Theatre. Her life story, give or take 1.5...

Theatre Review: Melissa Etheridge in “My Window—A Journey Through Life”

Melissa Etheridge (Photo: Elizabeth Miranda) When a Rockstar wants to do a theatre piece you hope it’s going to be good; that they make the leap...

Club Review: Josephine Sanges’s “The Funny Girl in Me”

In cabaret, the overall quality of a performer is often much more important than the beauty of a voice—or even the skill of a vocalist; I’ve gradually been won over...

Club Review: “Broadway’s Next Hit Musical”

You know that gothic musical, Haunted Garden, and its brooding lament that’s been done to death: The Pavement Grows Flowers While Our Garden Is Empty? It’s a chestnut in the...

Club Review: Kavita Shah

I first heard vocalist and composer Kavita Shah accidentally. Needing a walk after a long day last fall, I wandered over to  55 Bar, a classic West Village dive jazz...

Club Review: Madelaine Warren’s “Invitation”

Madelaine Warren’s most recent cabaret offering, Invitation, featured well-chosen, often cinematically-inspired repertory from 1933-1989. Warren brought conviction and emotional connection to this set, packed with romantic songs that took her...

Club Review: Meg Flather’s “Rodgers & Hammerstein 2021+”

If you ever get stuck in thinking that the Rodgers & Hammerstein songbook can be dated and dusty, you haven’t yet heard Meg Flather sing from it. With multiple albums...