Brandon Lee Sears is an American actor, singer, dancer and musical theatre performer. His musical theatre credits include Come From Away (Phoenix), On the Town (Open Air), Motown (Shaftesbury, West End) and Dirty Dancing.
…a special moment singing ‘The Prayer’ with my Czech sister @natallymusic! Gonna remember to keep asking for guidance and seeking a deeper connection to my spirituality. Keep singing, keep believing, and keep shining your light for all to see.
Get Musical Theatre Mindset Tips: https://www.brandonleesears.com ===== Timestamps: 00:00 Intro Who AM I. 00:30 entrance on stage. 00:38 Cooling off 00:58 head of department, Lewis, and Sheila 01:24 Just finished interval. I've had a little break. And now I'm going back on stage for the top of act two. 01:38 feeling rested, rejuvenated, I'm dry from sweating. Let's go. 01:45 Alex from WHAMN 02:14 And yeah, this is our team. This is our, this is part of Wigs Hair and Makeup. We call them the Wham team. It's the flash on, there you go. 02:33 We're ready, we're ready! 03:11 Morning 04:47 Getting into costume 05:10 Lighting 05:47 Backstage crew 06:17 Favourite number to perform 06:45 What's it like being in Shrek the Musical? 07:09 Forever dragon 07:40 Chinese new year 08:10 How I learn lines 08:42 Advice 09:33 What theatre is to me 10:03 Speaking about my core values 10:29 What the people thinkFOLLOW ME ===== YouTube Subscribe: https://www.youtube.com/watch?v=NT29xOKwINI IG: https://www.instagram.com/brandonleesears FB: https://www.facebook.com/BrandonLeeSears ===== BRANDON LEE THE PERFORMER ===== I’ve worked professionally as an actor, singer, and dancer in theatre, television, and film Internationally and currently in London's West End. Theatre includes: Donkey in Shrek The Musical (UK Tour); Jimmy Early in Dreamgirls The Musical (UK Tour); Come From Away (Phoenix Theatre); Heathers (Theatre Royal Haymarket); Motown the Musical (Shaftesbury Theatre); On The Town (Regent’s Park Open Air Theatre); Dirty Dancing (UK Tour); My Fair Lady, Guys and Dolls, Hamlet, King Lear, Much Ado About Nothing, Meet Me in St Louis and Othello (New Harmony Theatre). Film includes: Artemis Fowl, Greta, Cinderella, and Marriage of Reason and Squalor. Ballet includes: A Midsummer Night’s Dream (Nashville Ballet); Cain and Abel (Evansville Dance Theatre); Don Quixote (Milwaukee Ballet); Fix (Nashville In Motion) and The Nutcracker (Milwaukee Ballet). ===== BRANDON LEE THE TEACHER ===== As a professional teacher and trainer, I hold a Master of Arts Degree in Professional Practice, Dance Technique Pedagogy from Middlesex University. I demonstrate my commitment to maintaining and updating my knowledge of educational research to develop evidence-based teaching practice. As well, I co-led an MA Course in Acting at ALRA (Academy of Live and Recording Arts). The heart of my teaching philosophy lies in empowerment and motivation. It is important for me to create a climate where learners feel safe enough to take part in the discovery of new technical performing arts concepts; learn resilience; and appreciate themselves and others’ abilities. I understand that not all my students will have professional performing careers. Therefore, my aim along with teaching performing arts techniques is to encourage the development of thoughtful citizens who feel confident and empowered to contribute in healthy and positive ways to the arts community.
Scotland Edinburgh Playhouse and King's Theatre in Glasgow!!! ===== FOLLOW ME ===== YouTube Subscribe: https://www.youtube.com/channel/UChO7... https://www.instagram.com/brandonlees... FB: https://www.facebook.com/BrandonLeeSears ===== BRANDON LEE THE PERFORMER ===== Brandon Lee Sears has worked professionally as an actor, singer, and dancer in theatre, television, and film Internationally and currently in London's West End. Theatre includes: Donkey in Shrek The Musical (UK Tour); Jimmy Early in Dreamgirls The Musical (UK Tour); Come From Away (Phoenix Theatre); Heathers (Theatre Royal Haymarket); Motown the Musical (Shaftesbury Theatre); On The Town (Regent’s Park Open Air Theatre); Dirty Dancing (UK Tour); My Fair Lady, Guys and Dolls, Hamlet, King Lear, Much Ado About Nothing, Meet Me in St Louis and Othello (New Harmony Theatre). Film includes: Artemis Fowl, Greta, Cinderella, and Marriage of Reason and Squalor. Ballet includes: A Midsummer Night’s Dream (Nashville Ballet); Cain and Abel (Evansville Dance Theatre); Don Quixote (Milwaukee Ballet); Fix (Nashville In Motion) and The Nutcracker (Milwaukee Ballet). ===== BRANDON LEE THE TEACHER ===== As a professional teacher and trainer, I hold a Master of Arts Degree in Professional Practice, Dance Technique Pedagogy from Middlesex University. I demonstrate my commitment to maintaining and updating my knowledge of educational research to develop evidence-based teaching practice. I co-led an MA Course in Acting at ALRA (Academy of Live and Recording Arts). I teach ballet, contemporary, musical theatre, and jazz dance styles. The heart of my teaching philosophy lies in empowerment and motivation. It is important for me to create a climate where learners feel safe enough to take part in the discovery of new technical performing arts concepts; learn resilience; and appreciate themselves and others’ abilities. I understand that not all my students will have professional performing careers. Therefore, my aim along with teaching performing arts techniques is to encourage the development of thoughtful citizens who feel confident and empowered to contribute in healthy and positive ways to the arts community. I choose challenging, specific, and fun performing arts concepts to focus on in lessons to promote creativity, solving problems, and humour so that learners feel intrinsically motivated. I communicate theories and technical aspects to learners using imagery, scaffolding tasks, differentiation, and models of inclusivity to eliminate potential barriers to learning. I subtly adapt and vary the tasks and teaching techniques to encourage their cooperative contribution, communication, self-reflection, evaluation, and appreciation based on learner feedback cues. I also build in teamwork practices and guided discussions into creative lessons so learners feel empowered and responsible for their learning. As a researcher, I continue to expand my understanding of the importance of emotional learning in theatre training, whereby learners make sense of challenges in the classroom. Learners will often equate their sense of self-worth to the execution of tasks, because of a natural tendency to psychologically define the self as the body thereby influencing their perception of self. Thus, my teaching practice addresses the affective domain in addition to the cognitive and psychomotor domains in arts learning by incorporating the teaching of ideas such as perseverance, conscientiousness (growth-mindset), self-discipline, optimism, and grit so learners become capable of self-generating positive emotions and self-managing negative ones to bolster their ability for resilience. This helps to develop attitudes in learners that equip them to self-improve and self-enrich their dance training experience by turning perceived challenges to experiences of lasting value. In this way, they learn to replace fear with courage and determination and commit to tasks. I use drama as a tool for learning in dance and theatre to explore narrative, emotion, expression, and the human condition. I believe that the process of performing, making (composition), and responding (appreciation) are beneficial for helping to develop creative dancers, so I teach creativity through dance concepts in a way that encourages learners to problem solve, self-reflect, and create. I focus on developing the attitudes and feelings of my learners to have an optimistic explanatory style in responding to adversity. Learners learn to value challenge and use perseverance and determination to develop strength and fortitude in their training. By promoting optimism and resilience in the dance classroom through technical training and teaching creativity; learners feel capable of responding to challenges in the microcosm of the dance classroom and in the macrocosm of the global world.
Our Blue Peter Performance live on BBC. FOLLOW for mindset tips and inspirational videos for aspiring theatre performers ===== YouTube Subscribe: https://www.youtube.com/channel/UChO7Lx_uSrV3i5nM2rJnOnwIG: https://www.instagram.com/brandonleesears FB: https://www.facebook.com/BrandonLeeSears ===== BRANDON LEE THE PERFORMER ===== Brandon Lee Sears has worked professionally as an actor, singer, and dancer in theatre, television, and film Internationally and currently in London's West End. Theatre includes: Donkey in Shrek The Musical (UK Tour); Jimmy Early in Dreamgirls The Musical (UK Tour); Come From Away (Phoenix Theatre); Heathers (Theatre Royal Haymarket); Motown the Musical (Shaftesbury Theatre); On The Town (Regent’s Park Open Air Theatre); Dirty Dancing (UK Tour); My Fair Lady, Guys and Dolls, Hamlet, King Lear, Much Ado About Nothing, Meet Me in St Louis and Othello (New Harmony Theatre). Film includes: Artemis Fowl, Greta, Cinderella, and Marriage of Reason and Squalor. Ballet includes: A Midsummer Night’s Dream (Nashville Ballet); Cain and Abel (Evansville Dance Theatre); Don Quixote (Milwaukee Ballet); Fix (Nashville In Motion) and The Nutcracker (Milwaukee Ballet). ===== BRANDON LEE THE TEACHER ===== As a professional teacher and trainer, I hold a Master of Arts Degree in Professional Practice, Dance Technique Pedagogy from Middlesex University. I demonstrate my commitment to maintaining and updating my knowledge of educational research to develop evidence-based teaching practice. The heart of my teaching philosophy lies in empowerment and motivation. It is important for me to create a climate where learners feel safe enough to take part in the discovery of new technical performing arts concepts; learn resilience; and appreciate themselves and others’ abilities. I understand that not all my students will have professional performing careers. Therefore, my aim along with teaching performing arts techniques is to encourage the development of thoughtful citizens who feel confident and empowered to contribute in healthy and positive ways to the arts community. I choose challenging, specific, and fun performing arts concepts to focus on in lessons to promote creativity, solving problems, and humour so that learners feel intrinsically motivated. I communicate theories and technical aspects to learners using imagery, scaffolding tasks, differentiation, and models of inclusivity to eliminate potential barriers to learning. I subtly adapt and vary the tasks and teaching techniques to encourage their cooperative contribution, communication, self-reflection, evaluation, and appreciation based on learner feedback cues. I also build in teamwork practices and guided discussions into creative lessons so learners feel empowered and responsible for their learning. As a researcher, I continue to expand my understanding of the importance of emotional learning in theatre training, whereby learners make sense of challenges in the classroom. Learners will often equate their sense of self-worth to the execution of tasks, because of a natural tendency to psychologically define the self as the body thereby influencing their perception of self. Thus, my teaching practice addresses the affective domain in addition to the cognitive and psychomotor domains in arts learning by incorporating the teaching of ideas such as perseverance, conscientiousness (growth-mindset), self-discipline, optimism, and grit so learners become capable of self-generating positive emotions and self-managing negative ones to bolster their ability for resilience. This helps to develop attitudes in learners that equip them to self-improve and self-enrich their dance training experience by turning perceived challenges to experiences of lasting value. In this way, they learn to replace fear with courage and determination and commit to tasks. I use drama as a tool for learning in dance and theatre to explore narrative, emotion, expression, and the human condition. I believe that the process of performing, making (composition), and responding (appreciation) are beneficial for helping to develop creative dancers, so I teach creativity through dance concepts in a way that encourages learners to problem solve, self-reflect, and create. I focus on developing the attitudes and feelings of my learners to have an optimistic explanatory style in responding to adversity. Learners learn to value challenge and use perseverance and determination to develop strength and fortitude in their training. By promoting optimism and resilience in the dance classroom through technical training and teaching creativity; learners feel capable of responding to challenges in the microcosm of the dance classroom and in the macrocosm of the global world. #musical #shrekthemusical #shrek #musicaltheatre #stage #theatre
Join us for SECRET SANTA, and a Christmas Warm Up! ===== FOLLOW ME ===== YouTube Subscribe: https://www.youtube.com/channel/UChO7Lx_uSrV3i5nM2rJnOnwIG: https://www.instagram.com/brandonleesears FB: https://www.facebook.com/BrandonLeeSears ===== BRANDON LEE THE PERFORMER ===== Brandon Lee Sears has worked professionally as an actor, singer, and dancer in theatre, television, and film Internationally and currently in London's West End. Theatre includes: Donkey in Shrek The Musical (UK Tour); Jimmy Early in Dreamgirls The Musical (UK Tour); Come From Away (Phoenix Theatre); Heathers (Theatre Royal Haymarket); Motown the Musical (Shaftesbury Theatre); On The Town (Regent’s Park Open Air Theatre); Dirty Dancing (UK Tour); My Fair Lady, Guys and Dolls, Hamlet, King Lear, Much Ado About Nothing, Meet Me in St Louis and Othello (New Harmony Theatre). Film includes: Artemis Fowl, Greta, Cinderella, and Marriage of Reason and Squalor. Ballet includes: A Midsummer Night’s Dream (Nashville Ballet); Cain and Abel (Evansville Dance Theatre); Don Quixote (Milwaukee Ballet); Fix (Nashville In Motion) and The Nutcracker (Milwaukee Ballet). ===== BRANDON LEE THE TEACHER ===== As a professional teacher and trainer, I hold a Master of Arts Degree in Professional Practice, Dance Technique Pedagogy from Middlesex University. I demonstrate my commitment to maintaining and updating my knowledge of educational research to develop evidence-based teaching practice. I co-led an MA Course in Acting at ALRA (Academy of Live and Recording Arts). I teach ballet, contemporary, musical theatre, and jazz dance styles. The heart of my teaching philosophy lies in empowerment and motivation. It is important for me to create a climate where learners feel safe enough to take part in the discovery of new technical performing arts concepts; learn resilience; and appreciate themselves and others’ abilities. I understand that not all my students will have professional performing careers. Therefore, my aim along with teaching performing arts techniques is to encourage the development of thoughtful citizens who feel confident and empowered to contribute in healthy and positive ways to the arts community. I choose challenging, specific, and fun performing arts concepts to focus on in lessons to promote creativity, solving problems, and humour so that learners feel intrinsically motivated. I communicate theories and technical aspects to learners using imagery, scaffolding tasks, differentiation, and models of inclusivity to eliminate potential barriers to learning. I subtly adapt and vary the tasks and teaching techniques to encourage their cooperative contribution, communication, self-reflection, evaluation, and appreciation based on learner feedback cues. I also build in teamwork practices and guided discussions into creative lessons so learners feel empowered and responsible for their learning. As a researcher, I continue to expand my understanding of the importance of emotional learning in theatre training, whereby learners make sense of challenges in the classroom. Learners will often equate their sense of self-worth to the execution of tasks, because of a natural tendency to psychologically define the self as the body thereby influencing their perception of self. Thus, my teaching practice addresses the affective domain in addition to the cognitive and psychomotor domains in arts learning by incorporating the teaching of ideas such as perseverance, conscientiousness (growth-mindset), self-discipline, optimism, and grit so learners become capable of self-generating positive emotions and self-managing negative ones to bolster their ability for resilience. This helps to develop attitudes in learners that equip them to self-improve and self-enrich their dance training experience by turning perceived challenges to experiences of lasting value. In this way, they learn to replace fear with courage and determination and commit to tasks. I use drama as a tool for learning in dance and theatre to explore narrative, emotion, expression, and the human condition. I believe that the process of performing, making (composition), and responding (appreciation) are beneficial for helping to develop creative dancers, so I teach creativity through dance concepts in a way that encourages learners to problem solve, self-reflect, and create. I focus on developing the attitudes and feelings of my learners to have an optimistic explanatory style in responding to adversity. Learners learn to value challenge and use perseverance and determination to develop strength and fortitude in their training. By promoting optimism and resilience in the dance classroom through technical training and teaching creativity; learners feel capable of responding to challenges in the microcosm of the dance classroom and in the macrocosm of the global world. #livetheatre #donkey #actor #musical #behindthescenes #shrekthemusical #shrek #musicaltheatre #stage #theater
Like this? Subscribe for more ===== DEALS AND WORKSHOPS ===== Get Musical Theatre Training: https://www.brandonleesears.com ===== FOLLOW ME ===== YouTube Subscribe: https://www.youtube.com/channel/UChO7Lx_uSrV3i5nM2rJnOnwIG: https://www.instagram.com/brandonleesears FB: https://www.facebook.com/BrandonLeeSears ===== BRANDON LEE THE PERFORMER ===== Brandon Lee Sears has worked professionally as an actor, singer, and dancer in theatre, television, and film Internationally and currently in London's West End. Theatre includes: Donkey in Shrek The Musical (UK Tour); Jimmy Early in Dreamgirls The Musical (UK Tour); Come From Away (Phoenix Theatre); Heathers (Theatre Royal Haymarket); Motown the Musical (Shaftesbury Theatre); On The Town (Regent’s Park Open Air Theatre); Dirty Dancing (UK Tour); My Fair Lady, Guys and Dolls, Hamlet, King Lear, Much Ado About Nothing, Meet Me in St Louis and Othello (New Harmony Theatre). Film includes: Artemis Fowl, Greta, Cinderella, and Marriage of Reason and Squalor. Ballet includes: A Midsummer Night’s Dream (Nashville Ballet); Cain and Abel (Evansville Dance Theatre); Don Quixote (Milwaukee Ballet); Fix (Nashville In Motion) and The Nutcracker (Milwaukee Ballet). ===== BRANDON LEE THE TEACHER ===== As a professional teacher and trainer, I hold a Master of Arts Degree in Professional Practice, Dance Technique Pedagogy from Middlesex University. I demonstrate my commitment to maintaining and updating my knowledge of educational research to develop evidence-based teaching practice. I co-led an MA Course in Acting at ALRA (Academy of Live and Recording Arts). I teach ballet, contemporary, musical theatre, and jazz dance styles. The heart of my teaching philosophy lies in empowerment and motivation. It is important for me to create a climate where learners feel safe enough to take part in the discovery of new technical performing arts concepts; learn resilience; and appreciate themselves and others’ abilities. I understand that not all my students will have professional performing careers. Therefore, my aim along with teaching performing arts techniques is to encourage the development of thoughtful citizens who feel confident and empowered to contribute in healthy and positive ways to the arts community. I choose challenging, specific, and fun performing arts concepts to focus on in lessons to promote creativity, solving problems, and humour so that learners feel intrinsically motivated. I communicate theories and technical aspects to learners using imagery, scaffolding tasks, differentiation, and models of inclusivity to eliminate potential barriers to learning. I subtly adapt and vary the tasks and teaching techniques to encourage their cooperative contribution, communication, self-reflection, evaluation, and appreciation based on learner feedback cues. I also build in teamwork practices and guided discussions into creative lessons so learners feel empowered and responsible for their learning. As a researcher, I continue to expand my understanding of the importance of emotional learning in theatre training, whereby learners make sense of challenges in the classroom. Learners will often equate their sense of self-worth to the execution of tasks, because of a natural tendency to psychologically define the self as the body thereby influencing their perception of self. Thus, my teaching practice addresses the affective domain in addition to the cognitive and psychomotor domains in arts learning by incorporating the teaching of ideas such as perseverance, conscientiousness (growth-mindset), self-discipline, optimism, and grit so learners become capable of self-generating positive emotions and self-managing negative ones to bolster their ability for resilience. This helps to develop attitudes in learners that equip them to self-improve and self-enrich their dance training experience by turning perceived challenges to experiences of lasting value. In this way, they learn to replace fear with courage and determination and commit to tasks. I use drama as a tool for learning in dance and theatre to explore narrative, emotion, expression, and the human condition. I believe that the process of performing, making (composition), and responding (appreciation) are beneficial for helping to develop creative dancers, so I teach creativity through dance concepts in a way that encourages learners to problem solve, self-reflect, and create. I focus on developing the attitudes and feelings of my learners to have an optimistic explanatory style in responding to adversity. Learners learn to value challenge and use perseverance and determination to develop strength and fortitude in their training. By promoting optimism and resilience in the dance classroom through technical training and teaching creativity; learners feel capable of responding to challenges in the microcosm of the dance classroom and in the macrocosm of the global world.
Donkey Diaries Day 3 : A little inspiration for you.
Day 3 Donkey Diaries - A little backstage tour from Brandon Lee Sears who plays Donkey in Shrek The Musical
West End Theatre Professional Brandon Lee Sears
Some other fun facts about me:
@brandonleesears What was it like Performing as Donkey from SHREK 12,000 people ?
Welcome to Donkey Diaries: Day One - Winter Gardens Blackpool - in this episode, I talk a little about how I prepared for the role of Donkey, and introduce my mourning routine ===== FOLLOW ME ===== YouTube Subscribe: https://www.youtube.com/channel/UChO7... IG: https://www.instagram.com/brandonlees... FB: https://www.facebook.com/BrandonLeeSears ===== BRANDON LEE THE PERFORMER ===== Brandon Lee Sears has worked professionally as an actor, singer, and dancer in theatre, television, and film Internationally and currently on tour in Shrek The Musical. Theatre includes: Come From Away (Phoenix Theatre); Heathers (Theatre Royal Haymarket); Motown the Musical (Shaftesbury Theatre); On The Town (Regent’s Park Open Air Theatre); Dirty Dancing (UK Tour); My Fair Lady, Guys and Dolls, Hamlet, King Lear, Much Ado About Nothing, Meet Me in St Louis and Othello (New Harmony Theatre). Film includes: Artemis Fowl, Greta, Cinderella, and Marriage of Reason and Squalor. Ballet includes: A Midsummer Night’s Dream (Nashville Ballet); Cain and Abel (Evansville Dance Theatre); Don Quixote (Milwaukee Ballet); Fix (Nashville In Motion) and The Nutcracker (Milwaukee Ballet). ===== BRANDON LEE THE TEACHER ===== As a professional teacher and trainer, I hold a Master of Arts Degree in Professional Practice, Dance Technique Pedagogy from Middlesex University. I demonstrate my commitment to maintaining and updating my knowledge of educational research to develop evidence-based teaching practice. I teach ballet, contemporary, musical theatre, and jazz dance styles. The heart of my dance teaching philosophy lies in empowerment and motivation. It is important for me to create a climate where learners feel safe enough to take part in the discovery of new technical dance concepts; learn resilience; and appreciate themselves and others’ abilities. I understand that not all my dance students will have professional performing careers. Therefore, my aim along with teaching dance technique is to encourage the development of thoughtful citizens who feel confident and empowered to contribute in healthy and positive ways to the dance community. I choose challenging, specific, and fun dance concepts to focus on dance lessons to promote creativity, solving problems, and humour so that learners feel intrinsically motivated. I communicate dance theories and technical aspects to learners using imagery, scaffolding tasks, differentiation, and models of inclusivity to eliminate potential barriers to learning. I subtly adapt and vary the tasks and teaching techniques to encourage their cooperative contribution, communication, self-reflection, evaluation, and appreciation based on learner feedback cues. I also build in teamwork practices and guided discussions into creative lessons so learners feel empowered and responsible for their learning. As a researcher, I continue to expand my understanding of the importance of emotional learning in dance training, whereby learners make sense of challenges in the dance classroom. Learners will often equate their sense of self-worth to the execution of movement tasks, because of a natural tendency to psychologically define the self as the body thereby influencing their perception of self. Thus, my teaching practice addresses the affective domain in addition to the cognitive and psychomotor domains in dance learning by incorporating the teaching of ideas such as perseverance, conscientiousness (growth-mindset), self-discipline, optimism, and grit so learners become capable of self-generating positive emotions and self-managing negative ones to bolster their ability for resilience. This helps to develop attitudes in learners that equip them to self-improve and self-enrich their dance training experience by turning perceived challenges to experiences of lasting value. In this way, they learn to replace fear with courage and determination and commit to tasks. I use drama as a tool for learning in dance to explore narrative, emotion, expression, and the human condition. I believe that the process of performing, making (composition), and responding (appreciation) are beneficial for helping to develop creative dancers, so I teach creativity through dance concepts in a way that encourages learners to problem solve, self-reflect, and create. I focus on developing the attitudes and feelings of my learners to have an optimistic explanatory style in responding to adversity. Learners learn to value challenge and use perseverance and determination to develop strength and fortitude in their dance training. By promoting optimism and resilience in the dance classroom through technical dance training and teaching creativity; learners feel capable of responding to challenges in the microcosm of the dance classroom and in the macrocosm of the global world.
Learn how to overcome rejections and deal with failure in the performing arts by developing a growht mindset! ===== DEALS & TRAINING ===== Training Every Week: https://www.brandonleesears.com/blog Get Free Musical Theatre Dance Class: www.brandonleesears.com/westendworkshop ===== FOLLOW ME ===== YouTube Subscribe: https://www.youtube.com/channel/UChO7... IG: https://www.instagram.com/brandonlees... FB: https://www.facebook.com/BrandonLeeSears ===== BRANDON LEE THE PERFORMER ===== Brandon Lee Sears has worked professionally as an actor, singer, and dancer in theatre, television, and film Internationally and currently in London's West End. Theatre includes: Come From Away (Phoenix Theatre); Heathers (Theatre Royal Haymarket); Motown the Musical (Shaftesbury Theatre); On The Town (Regent’s Park Open Air Theatre); Dirty Dancing (UK Tour); My Fair Lady, Guys and Dolls, Hamlet, King Lear, Much Ado About Nothing, Meet Me in St Louis and Othello (New Harmony Theatre). Film includes: Artemis Fowl, Greta, Cinderella, and Marriage of Reason and Squalor. Ballet includes: A Midsummer Night’s Dream (Nashville Ballet); Cain and Abel (Evansville Dance Theatre); Don Quixote (Milwaukee Ballet); Fix (Nashville In Motion) and The Nutcracker (Milwaukee Ballet). ===== BRANDON LEE THE TEACHER ===== As a professional teacher and trainer, I hold a Master of Arts Degree in Professional Practice, Dance Technique Pedagogy from Middlesex University. I demonstrate my commitment to maintaining and updating my knowledge of educational research to develop evidence-based teaching practice. I teach ballet, contemporary, musical theatre, and jazz dance styles. The heart of my dance teaching philosophy lies in empowerment and motivation. It is important for me to create a climate where learners feel safe enough to take part in the discovery of new technical dance concepts; learn resilience; and appreciate themselves and others’ abilities. I understand that not all my dance students will have professional performing careers. Therefore, my aim along with teaching dance technique is to encourage the development of thoughtful citizens who feel confident and empowered to contribute in healthy and positive ways to the dance community. I choose challenging, specific, and fun dance concepts to focus on dance lessons to promote creativity, solving problems, and humour so that learners feel intrinsically motivated. I communicate dance theories and technical aspects to learners using imagery, scaffolding tasks, differentiation, and models of inclusivity to eliminate potential barriers to learning. I subtly adapt and vary the tasks and teaching techniques to encourage their cooperative contribution, communication, self-reflection, evaluation, and appreciation based on learner feedback cues. I also build in teamwork practices and guided discussions into creative lessons so learners feel empowered and responsible for their learning. As a researcher, I continue to expand my understanding of the importance of emotional learning in dance training, whereby learners make sense of challenges in the dance classroom. Learners will often equate their sense of self-worth to the execution of movement tasks, because of a natural tendency to psychologically define the self as the body thereby influencing their perception of self. Thus, my teaching practice addresses the affective domain in addition to the cognitive and psychomotor domains in dance learning by incorporating the teaching of ideas such as perseverance, conscientiousness (growth-mindset), self-discipline, optimism, and grit so learners become capable of self-generating positive emotions and self-managing negative ones to bolster their ability for resilience. This helps to develop attitudes in learners that equip them to self-improve and self-enrich their dance training experience by turning perceived challenges to experiences of lasting value. In this way, they learn to replace fear with courage and determination and commit to tasks. I use drama as a tool for learning in dance to explore narrative, emotion, expression, and the human condition. I believe that the process of performing, making (composition), and responding (appreciation) are beneficial for helping to develop creative dancers, so I teach creativity through dance concepts in a way that encourages learners to problem solve, self-reflect, and create. I focus on developing the attitudes and feelings of my learners to have an optimistic explanatory style in responding to adversity. Learners learn to value challenge and use perseverance and determination to develop strength and fortitude in their dance training. By promoting optimism and resilience in the dance classroom through technical dance training and teaching creativity; learners feel capable of responding to challenges in the microcosm of the dance classroom and in the macrocosm of the global world.
Learn how to overcome fear and self-doubt in auditions by understanding how the brain works when we feel fear and self-doubt. ===== DEALS & TRAINING ===== Training Every Week: https://www.brandonleesears.com/blog Get Free Musical Theatre Dance Class: www.brandonleesears.com/westendworkshop ===== FOLLOW ME ===== YouTube Subscribe: https://www.youtube.com/channel/UChO7Lx_uSrV3i5nM2rJnOnw IG: https://www.instagram.com/brandonleesears FB: https://www.facebook.com/BrandonLeeSears ===== BRANDON LEE THE PERFORMER ===== Brandon Lee Sears has worked professionally as an actor, singer, and dancer in theatre, television, and film Internationally and currently in London's West End. Theatre includes: Come From Away (Phoenix Theatre); Heathers (Theatre Royal Haymarket); Motown the Musical (Shaftesbury Theatre); On The Town (Regent’s Park Open Air Theatre); Dirty Dancing (UK Tour); My Fair Lady, Guys and Dolls, Hamlet, King Lear, Much Ado About Nothing, Meet Me in St Louis and Othello (New Harmony Theatre). Film includes: Artemis Fowl, Greta, Cinderella, and Marriage of Reason and Squalor. Ballet includes: A Midsummer Night’s Dream (Nashville Ballet); Cain and Abel (Evansville Dance Theatre); Don Quixote (Milwaukee Ballet); Fix (Nashville In Motion) and The Nutcracker (Milwaukee Ballet). ===== BRANDON LEE THE TEACHER ===== As a professional teacher and trainer, I hold a Master of Arts Degree in Professional Practice, Dance Technique Pedagogy from Middlesex University. I demonstrate my commitment to maintaining and updating my knowledge of educational research to develop evidence-based teaching practice. I teach ballet, contemporary, musical theatre, and jazz dance styles. The heart of my dance teaching philosophy lies in empowerment and motivation. It is important for me to create a climate where learners feel safe enough to take part in the discovery of new technical dance concepts; learn resilience; and appreciate themselves and others’ abilities. I understand that not all my dance students will have professional performing careers. Therefore, my aim along with teaching dance technique is to encourage the development of thoughtful citizens who feel confident and empowered to contribute in healthy and positive ways to the dance community. I choose challenging, specific, and fun dance concepts to focus on dance lessons to promote creativity, solving problems, and humour so that learners feel intrinsically motivated. I communicate dance theories and technical aspects to learners using imagery, scaffolding tasks, differentiation, and models of inclusivity to eliminate potential barriers to learning. I subtly adapt and vary the tasks and teaching techniques to encourage their cooperative contribution, communication, self-reflection, evaluation, and appreciation based on learner feedback cues. I also build in teamwork practices and guided discussions into creative lessons so learners feel empowered and responsible for their learning. As a researcher, I continue to expand my understanding of the importance of emotional learning in dance training, whereby learners make sense of challenges in the dance classroom. Learners will often equate their sense of self-worth to the execution of movement tasks, because of a natural tendency to psychologically define the self as the body thereby influencing their perception of self. Thus, my teaching practice addresses the affective domain in addition to the cognitive and psychomotor domains in dance learning by incorporating the teaching of ideas such as perseverance, conscientiousness (growth-mindset), self-discipline, optimism, and grit so learners become capable of self-generating positive emotions and self-managing negative ones to bolster their ability for resilience. This helps to develop attitudes in learners that equip them to self-improve and self-enrich their dance training experience by turning perceived challenges to experiences of lasting value. In this way, they learn to replace fear with courage and determination and commit to tasks. I use drama as a tool for learning in dance to explore narrative, emotion, expression, and the human condition. I believe that the process of performing, making (composition), and responding (appreciation) are beneficial for helping to develop creative dancers, so I teach creativity through dance concepts in a way that encourages learners to problem solve, self-reflect, and create. I focus on developing the attitudes and feelings of my learners to have an optimistic explanatory style in responding to adversity. Learners learn to value challenge and use perseverance and determination to develop strength and fortitude in their dance training. By promoting optimism and resilience in the dance classroom through technical dance training and teaching creativity; learners feel capable of responding to challenges in the microcosm of the dance classroom and in the macrocosm of the global world.
Like this? Subscribe for more ===== DEALS AND WORKSHOPS ===== Get Musical Theatre Training: https://www.brandonleesears.com ===== FOLLOW ME ===== YouTube Subscribe: https://www.youtube.com/channel/UChO7... IG: https://www.instagram.com/brandonlees... FB: https://www.facebook.com/BrandonLeeSears ===== BRANDON LEE THE PERFORMER ===== Brandon Lee Sears has worked professionally as an actor, singer, and dancer in theatre, television, and film Internationally and currently in London's West End. Theatre includes: Come From Away (Phoenix Theatre); Heathers (Theatre Royal Haymarket); Motown the Musical (Shaftesbury Theatre); On The Town (Regent’s Park Open Air Theatre); Dirty Dancing (UK Tour); My Fair Lady, Guys and Dolls, Hamlet, King Lear, Much Ado About Nothing, Meet Me in St Louis and Othello (New Harmony Theatre). Film includes: Artemis Fowl, Greta, Cinderella, and Marriage of Reason and Squalor. Ballet includes: A Midsummer Night’s Dream (Nashville Ballet); Cain and Abel (Evansville Dance Theatre); Don Quixote (Milwaukee Ballet); Fix (Nashville In Motion) and The Nutcracker (Milwaukee Ballet). ===== BRANDON LEE THE TEACHER ===== As a professional teacher and trainer, I hold a Master of Arts Degree in Professional Practice, Dance Technique Pedagogy from Middlesex University. I demonstrate my commitment to maintaining and updating my knowledge of educational research to develop evidence-based teaching practice. I teach ballet, contemporary, musical theatre, and jazz dance styles. The heart of my dance teaching philosophy lies in empowerment and motivation. It is important for me to create a climate where learners feel safe enough to take part in the discovery of new technical dance concepts; learn resilience; and appreciate themselves and others’ abilities. I understand that not all my dance students will have professional performing careers. Therefore, my aim along with teaching dance technique is to encourage the development of thoughtful citizens who feel confident and empowered to contribute in healthy and positive ways to the dance community. I choose challenging, specific, and fun dance concepts to focus on dance lessons to promote creativity, solving problems, and humour so that learners feel intrinsically motivated. I communicate dance theories and technical aspects to learners using imagery, scaffolding tasks, differentiation, and models of inclusivity to eliminate potential barriers to learning. I subtly adapt and vary the tasks and teaching techniques to encourage their cooperative contribution, communication, self-reflection, evaluation, and appreciation based on learner feedback cues. I also build in teamwork practices and guided discussions into creative lessons so learners feel empowered and responsible for their learning. As a researcher, I continue to expand my understanding of the importance of emotional learning in dance training, whereby learners make sense of challenges in the dance classroom. Learners will often equate their sense of self-worth to the execution of movement tasks, because of a natural tendency to psychologically define the self as the body thereby influencing their perception of self. Thus, my teaching practice addresses the affective domain in addition to the cognitive and psychomotor domains in dance learning by incorporating the teaching of ideas such as perseverance, conscientiousness (growth-mindset), self-discipline, optimism, and grit so learners become capable of self-generating positive emotions and self-managing negative ones to bolster their ability for resilience. This helps to develop attitudes in learners that equip them to self-improve and self-enrich their dance training experience by turning perceived challenges to experiences of lasting value. In this way, they learn to replace fear with courage and determination and commit to tasks. I use drama as a tool for learning in dance to explore narrative, emotion, expression, and the human condition. I believe that the process of performing, making (composition), and responding (appreciation) are beneficial for helping to develop creative dancers, so I teach creativity through dance concepts in a way that encourages learners to problem solve, self-reflect, and create. I focus on developing the attitudes and feelings of my learners to have an optimistic explanatory style in responding to adversity. Learners learn to value challenge and use perseverance and determination to develop strength and fortitude in their dance training. By promoting optimism and resilience in the dance classroom through technical dance training and teaching creativity; learners feel capable of responding to challenges in the microcosm of the dance classroom and in the macrocosm of the global world.
Whether you're a student, recent, grad, or a working professional, you can improve your skills and master your training from home! ===== DEALS AND WORKSHOPS ===== Training Every Week: https://www.brandonleesears.com/blog Get Free Musical Theatre Dance Class: www.brandonleesears.com/westendworkshop ===== FOLLOW ME ===== YouTube Subscribe: https://www.youtube.com/channel/UChO7Lx_uSrV3i5nM2rJnOnw IG: https://www.instagram.com/brandonleesears FB: https://www.facebook.com/BrandonLeeSears ===== BRANDON LEE THE PERFORMER ===== Brandon Lee Sears has worked professionally as an actor, singer, and dancer in theatre, television, and film Internationally and currently in London's West End. Theatre includes: Come From Away (Phoenix Theatre); Heathers (Theatre Royal Haymarket); Motown the Musical (Shaftesbury Theatre); On The Town (Regent’s Park Open Air Theatre); Dirty Dancing (UK Tour); My Fair Lady, Guys and Dolls, Hamlet, King Lear, Much Ado About Nothing, Meet Me in St Louis and Othello (New Harmony Theatre). Film includes: Artemis Fowl, Greta, Cinderella, and Marriage of Reason and Squalor. Ballet includes: A Midsummer Night’s Dream (Nashville Ballet); Cain and Abel (Evansville Dance Theatre); Don Quixote (Milwaukee Ballet); Fix (Nashville In Motion) and The Nutcracker (Milwaukee Ballet). ===== BRANDON LEE THE TEACHER ===== As a professional teacher and trainer, I hold a Master of Arts Degree in Professional Practice, Dance Technique Pedagogy from Middlesex University. I demonstrate my commitment to maintaining and updating my knowledge of educational research to develop evidence-based teaching practice. I teach ballet, contemporary, musical theatre, and jazz dance styles. The heart of my dance teaching philosophy lies in empowerment and motivation. It is important for me to create a climate where learners feel safe enough to take part in the discovery of new technical dance concepts; learn resilience; and appreciate themselves and others’ abilities. I understand that not all my dance students will have professional performing careers. Therefore, my aim along with teaching dance technique is to encourage the development of thoughtful citizens who feel confident and empowered to contribute in healthy and positive ways to the dance community. I choose challenging, specific, and fun dance concepts to focus on dance lessons to promote creativity, solving problems, and humour so that learners feel intrinsically motivated. I communicate dance theories and technical aspects to learners using imagery, scaffolding tasks, differentiation, and models of inclusivity to eliminate potential barriers to learning. I subtly adapt and vary the tasks and teaching techniques to encourage their cooperative contribution, communication, self-reflection, evaluation, and appreciation based on learner feedback cues. I also build in teamwork practices and guided discussions into creative lessons so learners feel empowered and responsible for their learning. As a researcher, I continue to expand my understanding of the importance of emotional learning in dance training, whereby learners make sense of challenges in the dance classroom. Learners will often equate their sense of self-worth to the execution of movement tasks, because of a natural tendency to psychologically define the self as the body thereby influencing their perception of self. Thus, my teaching practice addresses the affective domain in addition to the cognitive and psychomotor domains in dance learning by incorporating the teaching of ideas such as perseverance, conscientiousness (growth-mindset), self-discipline, optimism, and grit so learners become capable of self-generating positive emotions and self-managing negative ones to bolster their ability for resilience. This helps to develop attitudes in learners that equip them to self-improve and self-enrich their dance training experience by turning perceived challenges to experiences of lasting value. In this way, they learn to replace fear with courage and determination and commit to tasks. I use drama as a tool for learning in dance to explore narrative, emotion, expression, and the human condition. I believe that the process of performing, making (composition), and responding (appreciation) are beneficial for helping to develop creative dancers, so I teach creativity through dance concepts in a way that encourages learners to problem solve, self-reflect, and create. I focus on developing the attitudes and feelings of my learners to have an optimistic explanatory style in responding to adversity. Learners learn to value challenge and use perseverance and determination to develop strength and fortitude in their dance training. By promoting optimism and resilience in the dance classroom through technical dance training and teaching creativity; learners feel capable of responding to challenges in the microcosm of the dance classroom and in the macrocosm of the global world.
West End Theatre Professional Brandon Lee Sears shares how safeguarding intervention impacted his life and his story of how we can respond to adversity to build resilience in ourselves and in our students. @brandonleesears
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Tony Award-winning Canadian musical Come From Away will land at London’s Phoenix Theatre for its UK premiere from 30 January 2019, with a pre-West End stop-off at the Abbey Theatre in Dublin from 6 December 2018 to 19 January. Now we know which performers are on the journey, are you going to join them?
We heard it through the grapevine... and we're not happy about it at all. MOTOWN will finish its three-year West End run in April next year when the Shaftesbury Theatre closes for major refurbishment. Ahead of that, a separate UK tour will launch this October...
Stop! In the name of your love for musicals. MOTOWN has extended its booking at the West End's Shaftesbury Theatre until January 2019 and 500,000 tickets for new dates have now been released. Do you know who's in the current cast?
It may have been a dramatic start to the current run of ON THE TOWN at Regent's Park Open Air Theatre, with injuries and recasts pushing the Press Night back, but that hasn't stopped the show being a success! Watch the incredibly talented cast sing and dance their hearts out in the official trailer...
Randy American sailors Gabey, Chip and Ozzie - immortalised in the 1949 Hollywood film of Leonard Bernstein's classic musical ON THE TOWN - will be played in this summer's much-anticipated Open Air Theatre production by Strictly Come Dancing and Hollyoaks star Danny Mac, newcomer Fred Haig and Jeremy Taylor. It's the biggest dance production in the theatre's history, directed and choreographed by Drew McOnie. Full cast of #StageFaves now announced...
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