Triple-threat performer Tim Connell‘s work spans the stage, small screen and cabaret stages. He’s the recipient of the 2023 Bistro Award for Outstanding Vocalist and a 2023 MAC Nominee for 
Male Vocalist. In addition to a solo concert at the Brownville Concert Series in Brownville, NE, Connell has presented many cabaret pieces (all at Pangea), including …and so it goes…, Lucky Me!, and Dreamin’ Again. Other credits include television roles on shows such as “Bull” and “The Village.” On Broadway, Connell was seen in Nick & Nora as Juan the Mariachi, and on National Tour in Monty Python’s Spamalot. Additionally, Connell has appeared in many Off and Off-Off Broadway theaters, including Theatre for the New City, Urban Stages, NY Fringe Festival and the Actors Playhouse, as well as regionally at North Shore Musical Theatre , GEVA, Lake Dillon Theatre, Connecticut Repertory Theatre and more. International tours have included West Side Story and Crazy For You. Connell is also a faculty member of the Alvin Ailey School.
Tim Connell, returns to Pangea with …it’s the joy in your heart… on Saturday, January 27 at 7 PM. Music direction is by James Followell. Direction is by Mark Chmiel. Visit www.pangeanyc.com for reservations.
NiteLife Exchange (NLE) asks Tim Connell (TC) Six Questions:
NLE: What are some of the key experiences or lessons you learned growing up in Philadelphia that still inform your performances?
TC: I’ve been a performer from way back in my youth, playing piano, doing shows in the backyard up to and including doing local community theatre. The aspect of play and fun were core values back then and still are to this day.
NLE: It’s the joy in your heart …, your upcoming show, sounds inspirational. How did you come to conceive it? Inspiration? Was your long-time accompanist, James Followell involved in the process?
TC: The title is a lyric from one of the songs in the show. And that song itself, “Waters of March,” invites listeners to just be, and digest all that is around them. And, in my interpretation, by doing so, the joy of being emerges. It was James who suggested that title. And in the end, the title is a frame with which we are hanging all of the songs and stories on. So in essence, the evening becomes a musical storytelling experience of joy for both the audience and James and I.
NLE: You’ve been on The Mabel Mercer Cabaret Convention stage twice now; has the experience added to your process of performing and honing your craft?
TC: Yes indeed it has! The MMCC experience has raised the bar for me in terms of being in the league with other notable performers. Very grateful to KT Sullivan for championing my talents. And working James on both appearances has also made the experience easy and enjoyable.
NLE: Storytelling is one of your strengths. Is there one story that repeatedly finds its way into your shows that you consider your life’s mantra? If so, what is it?
TC: “Yes and…”, while not a story, it’s a continued mantra that always lingers whether literally or metaphorically in the room for me as I step onto the stage. And, in my humble opinion, it is vital to help me stay in the moment.
NLE: You’re a triple threat: a singer, dancer and actor. As an educator you teach these musical theater disciplines at The Alvin Ailey Dance School. Of this curriculum you designed, what’s most applicable to success for a cabaret performance?
TC: Being aware that storytelling is the foundation for any piece of art being created. I often tell the students at Alvin Ailey, as a dancer, singer, actor and even human in the world, we are ALWAYS telling a story. It is the responsibility of the artist to lead from a storytelling frame of mind – always. That makes the art being created accessible for all audiences—even when the art created is abstract, esoteric or just plain out there.
Masters in Applied Theatre (from CUNY – SPS) has provided me additional confidence and affirmation of what my natural performative instincts are. And I know that as a director the Applied Theatre experience would be incredibly beneficial.
