THE NEW JACK COLE DANCERS'
CLUB ACT
DIRECTED AND CHOREOGRAPHED BY
CAM LOESER
CONCEIVED BY
COLE JAZZ
The NEW Jack Cole Dancers' CLUB ACT is reminiscent of Jack Cole's original troupe of dancers who made history over one hundred years ago performing in iconic clubs such as The Rainbow Room and The Embassy Club. Our CLUB ACT is hot off of a sold-out inaugural run this past June at The Midnight Theater at Hudson Yards, with roaring audience approval and everyone saying they want one thing... MORE!
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The COLE JAZZ Team is now creating an expanded version of the show through a developmental residency at Laguardia Performing Arts Center's Little Theater in NYC, followed by an official NYC run. We are planning to bring the project to London later in 2026, and we hope to partner with Sadler's Wells to make this vision a reality.
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​Jack Cole was the man who put Jazz Dance on the commercial map in America, who put Indian Classical Dance to Jazz music and created Hindu Swing, who was the only choreographer Marilyn Monroe would work with, who shaped Rita Hayworth, Betty Grable, and other stars of the Hollywood era, who gave a young Gwen Verdon a chance and sparked her rise to stardom. His work was seen across mediums, from Broadway shows to iconic films such as Gentlemen Prefer Blondes (Diamonds Are a Girl’s Best Friend was his first collaboration with Marilyn), Three for the Show, There’s No Business Like Show Business, On The Riviera, Kismet, and more. His provocative fusion of world dances was unlike anything ever seen before on the commercial stage, and folks were in awe of his innovative mind.
However, it was largely Cole’s work on the nightclub stage that first led to the popular spread of American Jazz Dance, so it is through this junction in time we now look. ​​​​​​Directed and choreographed by Cam Loeser, the CLUB ACT is a groundbreaking new concept and the only existing performance venture of its kind. The act transports its audience back in time to a roaring, scintillating supper club of the early 1900s, and celebrates the lineage and evolution of Jazz Dance through the lens of Jack Cole's legacy. ​
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THEN
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Cole made history when he traveled to India and the Caribbean, and immersed himself in the social dance community raging in Harlem, in order to foster an authentic understanding of these cultures and their vernacular styles. With this knowledge, Cole was able to theatricalize these dances for the stage and film, without losing the integrity of their cultural roots. Cole's style soon became the defining style of Theatrical Jazz Dance in America, and paved the way for many iconic artists who followed in his footsteps. Before Bob Fosse and Jerome Robbins.... there was Cole.
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NOW
We aim to reflect the care Jack Cole took to instill truth into his work by bringing those who have been historically unrepresented, but have contributed vastly to the identity of Jazz, back to the forefront of the conversation. The COLE JAZZ Team is committed to casting artists that represent the global majority, as well as the many dance and music backgrounds that relate to Jazz. In terms of choreography, we are proud to have Angel Kaba (African) and Ramita Ravi (Bharatanatyam) on our creative team, as well as partnerships with choreographers/ educators Ash Mukherjee (Bharatanatyam), Jreena Green (Authentic Jazz), and Bafana Matea (Afro-Jazz) in London. Our diverse company of performers are trained in Jack Cole's dynamic and nuanced style of dance, and collaborate with Cam Loeser, as well as Kaba and Ravi, to ensure that every aspect of the work is actively handled with authenticity and respect.
Though much of our show is a historical tribute to “old school” movement, we are bringing the work into the 21st century by actively challenging the notion that gender determines what roles our dancers are “right” for. Rather, we assign dancers according to their ability to capture the essences that exist within the movement… ie. aloof, feline, cool.​​​​​
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NYC LONDON
COLE JAZZ is gearing up for a New York premiere of THE CLUB ACT in Spring of 2026, following their developmental residency through the CUNY Dance Initiative this January/ February at the Laguardia Performing Art Center's Little Theater. We will take advantage of the NY run as an affordable and lucrative "out of town" process for a London production later this year.​
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We envision bringing the production to Sadler's Wells East, which, given its' modular design, would allow us the to maintain the immersive element of the production, while also expanding it for a larger audience. As the show exists within both theatrical and immersive/ avant-garde parameters, Sadlers Well's new venue offers the perfect environment to properly showcase this unique concept.​​​
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Given the affordability of the West End and the openness of its audiences, undertaking a London-based run before returning to New York City promises both an artistic and economical pay-off. We are also in conversation with SOHO Boulevard as a potential venue to present the show in London. After cultivating international appeal, we hope to transfer the production to a West End venue such as 'Here at Outernet' (pictured below) for a longer term run, and/ or tour the production with a highly-awaited return to NYC.
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The company is also currently in the process of collaborating with a presenter in Mumbai, India who wishes to bring the show over for a limited run this October 2026, in conjunction with a cultural trade between our company and her local dance students. The production would be licensed and promoted by a large-scale venue in Mumbai, and the company brought over to perform CLUB ACT for 1-2 weeks. Cam Loeser and his associates will also spend time in Mumbai training local students in the Cole Technique, as well as receiving regular Bharatanatyam classes given by a Classical Indian dance expert. We would love to explore a way for Sadler's Wells to be a part of this endeavor, strengthening their ties to the production's international presence and appeal ahead of the London premiere.
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Clayton Howe (Roxedge Entertainment) and Mitchell Reeve (M. Green Entertainment) are onboard as our US/London General Management team, both of whom work in NY and London and can facilitate a smooth transition between the two cities.​​​​​​​​​
THE PROCESS
In September/ October of this year, COLE JAZZ will return to London for our third annual training program. This will be an intensive 3 weeks that offers professional artists the continued opportunity to research in Cole's insular technique, instilling the taste and awareness needed to access his style, as well as train in the cultural modalities that influenced it. After the program we plan to hold a week long paid Development & Research workshop to develop new material for the show and engage artists who could potentially be cast in the production.
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The NEW Jack Cole Dancers here in the US have gained recognition for their unparalleled virtuosity and insular understanding of this historic style. Through our London training programs we aim to cultivate West End artists who reflect this heightened artistic caliber and can do Cole's iconic style justice.
​​The official process itself would consist of a 3 week rehearsal period in November/ December, with the daily schedule running similarly to that of a dance company's, beginning with company class every morning (Cole Technique, African, Bharatatyam, Vernacular Jazz/ Swing) and continuing on with rehearsal in the afternoon. The cast is made up of 7-9 featured dancers, 2 principal dancers (Cole's Essence & a Female Star), a Lead Vocalist/ Host, a guest vocalist, and a Jazz Quintet (horn, bass, drums, hand percussion, piano). For the company and band we aim to cast mainly from the London talent pool, with a few select dancers joining from our NY company if budget allows.
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As partners for the CLUB ACT, we envision Sadler's Wells sponsoring our training program and D&R workshop by offering us studio space for the program as well as the culminating industry presentation, which will continue to raise awareness for the forthcoming production. This partnership would highlight the educational aspect of the work and demonstrate both our company's commitment to making dance accessible to the next generation of artists. This summer, Eliza Ohman (Associate) is able to come to London and lead an audition for the workshop, which can also serve as a preliminary call for the official CLUB ACT.
"The tide is turning. Or, has it turned? With the arrival of The NEW Jack Cole Dancers, we see a return, for dance and choreography, to form, shapeliness, and stylishness. We see dancers taking measure of the space within; the space between each other; and the space their music lays down in hot syncopation. As part of a receptive audience at the 2025 Jazz Dance Conference West in Los Angeles, I watched the six-member troupe set the stage on fire in Cam Loeser’s “Club Act: Sing Sing Sing,” created in the style of the great Jack Cole. Try though I did to remain cool and removed, I clapped my hands raw, I shouted my head off. It’s that exhilarating."
- Debra Levine
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​Author, “Jazzed: Jack Cole and Twentieth Century American Dance" published by the University Press of Kentucky, early fall 2026
THE ACT
The evening consist of boundary-pushing work that will stun the NYC nightclub and burlesque scene. The performance includes a live Jazz band of multi-versed musicians, thrilling and unique dance works, and passionate vocals. As patrons enter the space, they will be transported to a time when nightclubs and speakeasies were all the rage and pulsating Jazz music blocked out the rest of the world. Patrons will be captivated by a dreamlike sense of timelessness, and by the time our performance begins, they will already be engrossed in our world.
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Through the reinvigorated lens of its social context, The Act pays homage to Jack Cole's innovative commercial work that spanned mediums, as well as the possibilities for the future of his legacy.
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PROLOGUE
The NEW Jack Cole Dancers​
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The space sizzles with energy as the company enters and the band plays jazz standards that bring us back to 1920’s. The company welcomes the patrons and share exciting bursts of movement together, riffing off the Band. A thrilling social dance gathering is born, the dancers bringing the space to life the more they dance together. The group forms a cypher, and various company members lead the group in expressing different cultural influences of this work. We see a rhythmic African soloist, a Bharatanatyam soloist, and a joyous Swing dancer light up the center of the dance floor. Our VOCALIST for the evening joins in the celebration.
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The spirit of COLE is among the company, observing and lightly participating. Our star, EVY, begins as a patron and throughout the prologue is gradually enticed and brought into the world. She and COLE share a playful and electric duet, before the company comes together and finishes with a big finish and a flourishing exit.
​SCENE 1. OJAI
The NEW Jack Cole Dancers​
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​The company performs a provocative group number to a groovy Big Band piece that layers in elements of the worlds Jack Cole explored, including African, Afro-Cuban, Indian, and Swing dance styles. We see these elements coalescing and living in harmony in the iconic Cole style.​
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EVY is seen exploring the group and the space, her curiosity peeked by this new world she’s stepped into.
SCENE 2. STRAIGHTEN UP
Vocalist + The Band​
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Our VOCALIST, a classic crooner with star power, welcomes the crowd and sings an uplifting tune with The Band, charming us all with their smooth vocals and intoxicating spirit.
​SCENE 3. DAWN
Soloist + Percussionist​
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Cole’s essence simmering in the vibration of the space, like a phantom or quiet memory.
The space is still. COLE crawls into the space as our percussionist plays a heavy swung rhythm on the djembe. COLE performs a cool, quiet solo that builds to an electric ferver, feeding off the drum. A fiery warm spotlight encases the drummer and dancer, the sun igniting the dawn. The start of a new era.
​SCENE 4. CINEMATIC
The NEW Jack Cole Dancers​
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An homage to Cole's Hollywood film and burlesque work.
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1. BLUES
Ala Cole’s ‘Beale Street Blues’ from The I Don’t Care Girl.
The ladies arrive one by one, flirting with the horn player’s sultry melody. There is heat between them all, an air of challenge and mystery, and they come together in a sensual demonstration of female prowess.
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2. HEATWAVE
Ala Cole’s ‘Heatwave’ performed by Marilyn Monroe in There’s No Business Like Show Business.
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A light bossanova kicks in and the ladies dance an easy Afro-Cuban groove, floating and snaking through the space as a unit.
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3. DIAMONDS
Ala Marilyn in ‘Diamonds Are A Girl’s Best Friend’ from Gentlemen Prefer Blondes.
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EVY interrupts the group, stirring things up and flaunting for the ladies. COLE flies into space to join the group. The dancers flock around EVY, intoxicated by her, finishing with a bombastic theatrical finish.
​SCENE 5. VOCALIST SET 2
Vocalist + The Band​
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Our Vocalist performs another upbeat tune with The Band.
​SCENE 6. STRUT OF THE PEACOCKS
Trio + Percussion​​
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3 female dancers strut across the stage, on the prowl for the felines they will later dance with in Sing Sing Sing. They exude peacock energy, bird-like but carnal.
​SCENE 7. THE RIFF
Trio​
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COLE and two other feline dancers (our Feline energies) share a rowdy, high flying, athletic trio, filled with quick feet, jumps, splits, slides, cartwheels, and partnering. An homage to The Riff Brothers, Gene Kelly & Fred Astaire, and The Berry Brothers.
The three slink through the space, break out into explosive dance breaks, and show off for one another in a playful challenge of strength and grace.
​SCENE 8. MS. EVELYN VAUGHAN
Female Burlesque Soloist​
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A female tore de force 11 o'clock number paying homage to Gwen Verdon, Chita Rivera, and other stars of the era. Filled with nods to old-school torch songs, burlesque, vaudeville, Can-Can, and comedic crowd work.
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EVY begins her act with a strip tease. Before she reveals herself, she stops and decides she would rather do something more personal. She has the BAND strike up ‘In A Sentimental Mood,’ serenading the crowd with her voice, all the while “absentmindedly” continuing her strip. This builds to a thrilling burlesque dance break, cheeky and vaudevillian, which buttons with EVY on the floor.
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EVY decides to go one steps further and she takes the microphone out into the audience and begins chatting with patrons. Her charm and humor romances us all. Before leaving, she breaks out into her wild Can-Can finish. Thanking the crowd, she leaves us with just her silhouette as she perches atop the piano.
​SCENE 9. AIN'T MISBEHAVIN'
The Band
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The Band plays a set as more food and drink is served to our patrons.
​SCENE 10. SOMEONE
Duet + Vocalist
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Ala Cole’s romantic duet for Marge and Gower Champion to 'Someone to Watch Over Me' from Three for the Show.
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After hours at the club. It is late and moody, the romantic limbo that exists only in the dead of night in New York City. A woman finds herself in the club, having wandered in from the street. She is torn between leaving and returning to her life, and moving forward. A stranger, COLE, coaxes her to stay, offering her support and the promise of new possibilities. They gradually connect and the dance builds to a passionate climax.
​SCENE 11. THE CLUB ACT
The NEW Jack Cole Dancers​
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The company dances to the iconic Benny Goodman song 'Sing Sing Sing,' a celebration of this legacy and Jack Cole’s nightclub acts. Our Felines energetically heat up the space before our Peacocks, along with EVY, creep in and titillate the felines. The group comes together in a frenetic jitterbug that builds to a rapturous finish with a blackout.
​SCENE 12. VOCALIST SET 3
Vocalist​
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Our VOCALIST thanks everyone for joining and performs an earnest, hopeful rendition of 'Happy Days Are Here Again’ that finishes tender and quiet as the lights fade to black. We feel this could be the end.
​SCENE 13. THE JAM
The NEW Jack Cole Dancers​
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New possibilities. A groovy ensemble piece featuring the company engaging in a rhythmic, celebratory, humorous jam. ​
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1. THE JAUNT
A light piano melody brings the space back to life. The lighting is moody and hushed. The company, appearing as a group of seemingly strangers, are out for a jaunt. They connect and with the music, build to a joyous finish.​
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2. THE HULLA
The group breaks out into a celebratory hullabaloo, flying and strutting through the space, relishing in one another and the new possibilities ahead. An ecstatic finish. Blackout, leaving us with a fresh feeling of joy and freedom.
PRODUCTION DETAILS:
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Run Time: 1 hr 30 min (no intermission)
Company: 8-10 Dancers (2-3 Swings)
Band: 5 musicians + 1-2 Vocalists
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Weekly Running Costs:
Approximately $34,300/ week
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Accounts for creative and artistic personnel (Dancers, Band, Lead Vocalist, Resident Choreographer, Music Director, PSM) + Royalties based on West End standards.
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Does NOT include in-house production/ crew/ staffing costs, marketing, insurance.
PROJECTED TIMELINE
JAN-FEB 2026
CUNY Residency NYC
(Confirmed/ in process)
2 weeks of funded development in New York City at the Laguardia Performing Arts Center through the CUNY Dance Initiative, with a presentation of the work on February 7th.
MAY 2026
Premiere of the CLUB ACT n New York City. 1 week of rehearsal/ tech, followed by a run of 3-4 performances at Theater at St. Jean.
NYC Premiere
(Confirmed)
SEPT/ OCT 2026
London Training Program
​(Expected)
A 3 week training program followed by a 1 week paid D&R workshop, held at Sadlers Wells' studios.
OCTOBER 2026
India Production
​(Expected)
A limited run of CLUB ACT in Mumbai, presented by Indian promoters who will license the show and bring the company over to perform. In conjunction with a cultural trade wherein COLE JAZZ trains local Indian dancers in the Cole technique.
NOV/ DEC 2026
London Process/ Premiere
(Expected)
3 week rehearsal process for CLUB ACT, with an official premiere and run at Sadlers Wells' East, or a venue such as SOHO Boulevard.
SPRING 2027
West End Transfer
(Expected)
West End transfer to Here at Outernet. An initial 2 week run with a potential extension.
FUTURE 2027
US/ West Coast Tour & Beyond
(Potential)
A touring production of CLUB ACT that runs down the West Coast, presented at venues and Universities. The show will return to NYC and journey to major cities in the US and Europe.