Kurt Domoney

MFA, BFA, AEA

FOUNDER / ARTISTIC DIRECTOR / COACH

AVAILABLE TO WORK VIRTUALLY AS WELL AS IN-PERSON IN NEW YORK CITY

WHY I COACH — I coach to help channel a young person’s passion and energy into a performance where they have a creative experience. I strive to help them think on their feet so they can be generous and confident in their skill set, and dream big. I hope to inspire them to become more confident, courageous, and fearless people that will help shape the future of this amazing art form.

Kurt Domoney is considered a top expert in audition techniques and repertoire selection for young performers and is a highly sought after audition and repertoire coach for many professional actors in New York. His students have worked on Broadway and on tour in The Music Man, Les Miserables, Annie, Oliver! and Love Life (Encores!), Tina: The Tina Tour Musical, The Lion King, Mrs. Doubtfire, Dr. Seuss’ How The Grinch Stole Christmas, Matilda, School of Rock (pretty much any show with kids in it) as well as major regional theaters. In addition, they have been seen on camera on shows for Hulu, Netflix, HBO Max, and Peacock. However, his philosophy is that every project that a student is auditioning for is important, whether it’s the school play, community theatre, Broadway or a major TV/ Film project. It’s all about building confident artists who will continue to create art over the course of their lives.

Performing credits include Broadway: Don Kerr in the revival of A Chorus Line starring Mario Lopez, First National Tour of the revival of 42nd Street, and Irving Berlin’s White Christmas at the Ordway in St. Paul, MN. Off-Broadway & New York: Roadside at the York Theatre Company, The Radio City Christmas Spectacular at Radio City Music Hall and A Naughty Knight at the Duke Theatre on 42nd Street. Regional Theatres: Arena Stage and Ford’s Theatre in Washington DC, Goodspeed Opera House, North Shore Music Theatre, Geva Theatre, Cape Playhouse, Ogunquit Playhouse, Houston’s Theatre Under The Stars and three seasons with the Sacramento Music Circus.

Directing and Choreography credits: The Pirates Of Penzance (Opera North, NH), A Chorus Line (Northwestern University), The Hunchback Of Notre Dame (Carnegie, Cincinnati). Choreography credits include: Evita, Carousel, Orpheus In The Underworld, Daughter of the Regiment, and La Belle Helene at Opera North, and Everyone’s Carol Off-Broadway. Kurt has also been a casting associate for two seasons at the Cape Playhouse as well as being an agent assistant at Kerin-Goldberg NYC. These jobs gave him the privilege of working on the “other side” of the audition table while seeing hundreds of actors audition. In addition, he is currently on faculty at the American Musical and Dramatic Academy (AMDA) in NYC.

Mr. Domoney holds a BFA in Musical Theatre from the University of Cincinnati College-Conservatory of Music (CCM) and an MFA in Interdisciplinary Arts (Directing and Choreography) from Wilson College.

Kurt has been a proud member of Actors’ Equity Association for over 25 years.

Follow Kurt on Instagram @kdomoney and BKA @broadwaykidsauditions or visit his website at www.kurtdomoney.com

Teaching Statement:

My goal is to empower artists to be able to answer questions within a piece of dialogue, song or dance on their own and to not look at performing it as a nebulous, unattainable task, but rather, an objective situation that can be solved with various practices. I teach students under the mission of helping them embrace their uniqueness, to inspire others with their passion and commitment, and to leave a meaningful impact on the world by sharing their gifts. I do this by helping them channel an artist’s passion and energy into a performance where they have a fully realized creative experience. This starts with a strong technical acting foundation that I have developed as a road map for students to “think” and “do” on their own. My hope is that my students will be strong enough in this work that they will no longer need me!

I consider myself an acting teacher, who can help students express themselves as actors through all three mediums of musical theatre performance. In order to build students’ acting foundations, I work with students on inciting incidents, getting to the tone and essence of a piece, combined with strong actions, reactions, and objectives. All of this is done by engaging the student’s life experience without having them re-experience past traumas to get an emotional response.

Using some Meisner techniques, I encourage my students to always think about what change they’re trying to create in whomever they’re speaking to; this applies whether monologues are danced, spoken, or sung. I also bring a solid technical foundation in ballet, jazz, tap, and modern which has been influenced by studying under Randy Skinner, Baayork Lee, Josh Bergasse, Andy Blankenbueller, and Susan Stroman, among others. Drawing from my own experience in professional musical theatre, I am able to teach students using a holistic approach. Rather than thinking of acting, singing, and dancing as three separate skill sets, I encourage them to think of them all as means of communication. I work with many acting students who at first think dance is something they can’t or won’t do; by getting out of the headspace that dance is a seemingly unattainable skill, I’m able to teach them how to embrace singing, dancing and acting as a form of physical storytelling.