Vic Dimonda

Vic Dimonda

Mr. DiMonda currently serves as the Associate Producing Director for the John W. Engeman Theater at Northport, Long Island’s only year round Equity theater, where he directed and choreographed their inaugural production of Smokey Joe’s Café.  Mr. DiMonda is also a faculty member of The Ailey School and The Ailey Extension. He founded and served as Artistic Director for the Harkness Dance Center’s Tap Team and has also been a faculty member of The American Academy of Dramatic Arts and an artist in residence for the Metropolitan Opera Guild where he taught the Creating Original Opera program.

As an accomplished SDC Stage Director, Choreographer and Fight Choreographer Mr. DiMonda’s work has taken him throughout the United Sates, Canada, Mexico, Central America, Europe and The Far East. He has performed, directed and choreographed in every imaginable venue and has created original productions of Tick, Tick, Boom!,Isabelle and the Pretty-Ugly SpellThe King and I,My Fair Lady, Carousel, High Society, Always…Patsy Cline, Dames At Sea, Forever Plaid, The Fantasticks, Annie, Blues In The Night, The All Night Strut, The Taffetas and Joseph and the Amazing Technicolor Dreamcoat.  As Choreographer Mr. DiMonda has recreated the Broadway choreography for Crazy For You. His original works include Miss Saigon, West Side Story, A Wonderful Life, Oliver!, The Music Man, Fiddler On The Roof, How To Succeed…, Kiss Me, Kate, Mame, Funny Girl, Cinderella, Do I Hear A Waltz?, and Annie. Mr. DiMonda is also an accomplished Fight Choreographer. He has assisted the leading lady stab her attacker in the back in Dial M For Murder. He’s created whimsical ‘fights of fancy’ for The Fantasticks, helped clans to make war on each other in that Scottish play by William Shakespeare and didn’t even try to play referee between two women fighting with stiletto heels in The Actor’s Fans!

Mr. DiMonda has been a teacher of professional dancers for over 15 years and realized that many actors have limited facility with their physical instrument and many dancers have limited access to their emotional-life when on stage. As both a classically trained actor and an accomplished dancer, he has created techniques that blend the two art forms in ways that are rarely seen in the industry or in the classroom. During his career he came to realize that when studying their craft, performing artists must be given the opportunity to develop physical and emotional skills at the same time in a nurturing yet disciplined environment.