BIO
Julie Peoples-Clark, a Baltimore City native, has led a dynamic and eclectic career in the performing arts. She has danced in a cage as a go-go performer, dazzled as a showgirl in Atlantic City, and taken the stage as a backup singer/dancer for Richard Marx. Her journey has included roles as a magician’s assistant, a teen idol in three John Waters films, a tap-dancing book on television, a hoofer on 42nd Street, a free-spirited hippie in Hair, and a cunning murderess in Chicago. As a professional modern dancer, she performed avant-garde works that made her father question why he had spent so much money on dance classes when she was a kid. The Washington Post praised her artistry, stating, "Peoples-Clark performs bravely, knowingly, with a heated sultriness rarely seen in the ethos of modern dance.” Dance Magazine lauded her choreography, “Peoples-Clark’s graceful approach dissects the bodies when they are apart and make them whole when they come together.” In 2006, she relocated to Vermont with her husband, Dave, and their daughter, Ella. She is a faculty member in the Theatre and Dance Program at the University of Vermont teaching Contemporary Dance, Musical Theatre styles and Somatics. She serves on the board of the Vermont Dance Alliance. She has written extensively on healthy grieving and the healing power of movement and is currently working on a memoir chronicling her own journey. Above all, she cherishes her role as the mother of Ella the Great and Emanuel Blessing.
Area(s) of expertise
Contemporary Dance, Movement Analysis, Musical Theatre Styles, Tap Dance and Somatics
Bio
Julie Peoples-Clark, a Baltimore City native, has led a dynamic and eclectic career in the performing arts. She has danced in a cage as a go-go performer, dazzled as a showgirl in Atlantic City, and taken the stage as a backup singer/dancer for Richard Marx. Her journey has included roles as a magician’s assistant, a teen idol in three John Waters films, a tap-dancing book on television, a hoofer on 42nd Street, a free-spirited hippie in Hair, and a cunning murderess in Chicago. As a professional modern dancer, she performed avant-garde works that made her father question why he had spent so much money on dance classes when she was a kid. The Washington Post praised her artistry, stating, "Peoples-Clark performs bravely, knowingly, with a heated sultriness rarely seen in the ethos of modern dance.” Dance Magazine lauded her choreography, “Peoples-Clark’s graceful approach dissects the bodies when they are apart and make them whole when they come together.” In 2006, she relocated to Vermont with her husband, Dave, and their daughter, Ella. She is a faculty member in the Theatre and Dance Program at the University of Vermont teaching Contemporary Dance, Musical Theatre styles and Somatics. She serves on the board of the Vermont Dance Alliance. She has written extensively on healthy grieving and the healing power of movement and is currently working on a memoir chronicling her own journey. Above all, she cherishes her role as the mother of Ella the Great and Emanuel Blessing.
Areas of Expertise
Contemporary Dance, Movement Analysis, Musical Theatre Styles, Tap Dance and Somatics