Like many professional dancers, vivacious redhead Karen Ziemba began taking tap, jazz and ballet lessons at a young age. Firmly committed to her art, she nonetheless began to branch out as a high scho...
Played lead in the Encores! staging of "Pajama Game"
Began appearing in locally-produced stage musicals
Had featured role in the dance play "Contact", cast as the long-suffering wife of an abusive husband; production co-conceived, directed and choreographed by Stroman; won Tony Award
Cast in "Encores", an anniversary show performed at Radio City Music Hall
Appeared in Equity Library Theatre productions
Cast in the Broadway musical "Curtains"; earned a Tony nomination
While in college, spent one year as member of the Ohio Ballet; asked to leave company in sophomore year
Starred in the New York City Opera production of "110 in the Shade"
Played Maggie in a touring production of "A Chorus Line"; later joined the Broadway cast at the Shubert Theater; as a swing, understudied and played various roles including Diana Morales and Cassie
Played Maria in a high school production of "West Side Story"
Hired to replace Jodi Benson in the leading role of Polly in the Tony-winning musical "Crazy for You", choreographed by Stroman; show played the Shubert Theatre; remained with the show for approximately three years
Obtained Equity card after being cast in a summer stock production of "My Fair Lady"
Was solo dancer in Ohio Ballet production "Reflections"
Was featured in "A Grand Night for Singing! The Rodgers and Hammerstein Revue" performed at Rainbow and Stars
Had featured role in the short-lived musical "Teddy and Alice"
Played Nellie Forbush opposite George Hearn's Emile in a one-night benefit performance of "Sout Pacific" at Lincoln Center
Toured as Roxie and later assumed that role on Broadway in the hit revival of "Chicago"
Began taking dance classes at age six (date approximate)
After college, moved to NYC; waited tables and worked as a theater usher
Was featured in the national tour of "Jerome Robbins' Broadway" in Los Angeles
Starred in the Off-Broadway revival of "I Do! I Do!", opposite David Garrison
Cast in the broadway musical "Never Gonna Dance," an adaptation of the 1936 Fred Astaire-Ginger Rogers film "Swing Time"; received a Tony nomination
once again teamed with Scott Ellis to play the featured role in the New York City Opera staging of "The Most Happy Fella"
Raised in St Joseph and Detroit, Michigan
Assumed lead role of Peggy Sawyer in the Broadway musical "42nd Street"; later toured in the part
Breakthrough stage role in the Off-Broadway production of "And the World Goes 'Round", with music by John Kander & Fred Ebb, directed by Scott Ellis and choreographed by Susan Stroman
First starring role on Broadway in "Steel Pier"; score by Kander & Ebb; directed by Ellis and choreographed by Stroman
Like many professional dancers, vivacious redhead Karen Ziemba began taking tap, jazz and ballet lessons at a young age. Firmly committed to her art, she nonetheless began to branch out as a high school student, singing in the chorale and playing piano. In her junior year, Ziemba faced the dilemma of choosing between ballet classes or playing the lead of Maria in the school's production of "West Side Story", eventually opting for the latter. She did not abandon dance, though, enrolling at the University of Akron in part because of the school's affiliation with the Ohio Ballet. In 1977, she was given a solo spot in the Ohio Ballet's performance of "Reflections" followed quickly by three other works. Whether it was too much pressure on the youngster or a combination of other things, the company director asked her not to return. Hurt and unsure of whether to complete her education, Ziemba continued and completed her degree.<p>After graduation, she found work in locally produced musicals, landing roles in dance-heavy shows like "Can-Can" and "Pippin". Ziemba ventured to NYC, did the obligatory stint waiting tables and eventually was hired for a summer stock production of "My Fair Lady" which brought her an Equity card. Work with the Equity Library Theatre followed as well a 1982 revue at Radio City Music Hall. Since then, the triple threat has rarely been unemployed. A stint in the touring company of "A Chorus Line" led to her Broadway debut in the show. Ziemba was then tapped for the leading role of Peggy Sawyer in the award-winning "42nd Street", in which she also toured. After a return stint in "A Chorus Line" and a role in the ill-fated "Teddy and Alice", she was featured in the national tour of "Jerome Robbins' Broadway".<p>The 1990s proved to be Ziemba's decade. In 1991, she was tapped to perform in the ensemble of a revue saluting the songwriting team of John Kander and Fred Ebb. Critics praised "And the World Goes 'Round", directed by Scott Ellis and choreographed by Susan Stroman, with many singling out Ziemba for her powerful singing and expert dancing. Ellis tapped her for the featured role of Cleo in a New York City Opera staging of "The Most Happy Fella" in 1991 and the following year bestowed on her the lead of Lizzie in "110 in the Shade". Ziemba then got to dance Stroman choreography again as the lead in the hit "Crazy for You", a loose reworking of "Girl Crazy" that featured a lilting Gershwin score. For the performer, it was a perfect blend of her talents, making full use of her soprano and her terpsichorean gifts and she remained with the show for close to three years.<p>Ziemba continued to impress critics with her capabilities as the lead in an Off-Broadway revival of "I Do! I Do!" in 1996 and then got to headline an original musical as the lead of John Kander-Fred Ebb's "Steel Pier" (1997), staged by Ellis and choreographed by Stroman. Playing a 1930s dance marathon contestant, Ziemba anchored the show and earned her first Tony Award nomination as Actress in a Musical. The production, however, was overshadowed by the acclaimed revival of Kander and Ebb's "Chicago" and failed to impress critics or audiences, causing it to close rather quickly. (Ironically, Ziemba would step into the leading role of Roxie Hart in "Chicago" a year later.) In 1999, she was approached by Susan Stroman to take part in a workshop of a production that eventually grew into "Contact", a three-part "dance play" with recorded music. In the second section, Ziemba essayed the timid, abused wife of a 1950s gangster who finds fulfillment in a fantasy world of dance. Once again, reviewers fell over themselves to find the appropriate adjectives to describe Ziemba's heartbreaking performance. The Tony voters also recognized her, bestowing her with the Featured Actress in a Musical award. The versatile talent has eschewed developing a singular persona that might have smoothed the transition to sitcoms or other acting gigs about which Broadway audiences undoubtedly rejoice. For the foreseeable future, Ziemba planned to continue to grace the Great White Way.
was mezzo-soprano with New York City Opera
married in 1984
University of Akron
"Karen Ziemba is now giving a breathtaking performance, one of the finest currently to be seen on a New York stage. . . . Ziemba's dancing is wonderful, but her performance is equally fine in repose: The mixture of joy and anguish on her face as the lights fade is indescribably moving -- a real and rare acting miracle." --From Charles Isherwood's review of "Contact" in Variety, April 9, 2000.
"There are so many variables. Hindsight is the most important thing to have. I will say that with Steel Pier, that season we were competing with one of the best shows Kander and Ebb ever wrote--Chicago-- which didn't help. Everyone said, "Well it's not Chicago." Well, of course not. It was about a totally different thing. It had a different flavor. Comparisons are always tough. That happened this year with the two Wild Parties; the "not as good as" thing. You need to see a piece for what it is. It was also a year when a lot of new shows weren't doing very well critically but had good things about them, like The Life and Titanic. Fortunately, we got a beautiful CD out of it; the score to Steel Pier was lovely.
"In hindsight, I don't feel that anything that is an original musical, something that you are writing from scratch--unless it's absolutely failsafe--should be done in a workshop and then put right on Broadway. You need to do a show in front of an audience on the road in front of people and work things out. You need time to ask, "Do we write more songs or take songs away?" In Steel Pier we were changing things three days before we opened. The advantage of taking a show out of town is to see if it plays and if people get the story and care about the characters. I felt we needed more time, more of a gestation period." --Karen Ziemba to Playbill On-Line, May 23, 2000
"I have this restaurant of people just joining me in my glee and my joy. It's so much fun." She doesn't miss the vocalizing, and neither, it seems, does the audience. "I feel that so much can be conveyed through movement and through expression. Each person has the ability to move in such a way that it enhances the story that's being told," she explains. "It's very strange how it's working so well. You think, well, you have to say something, you have to sing something, but it's really being told without that. People come away saying, 'My God, it's so clear what's going on.'" --From "Karen Ziemba Makes Broadway Contact" by Marc Miller at TheaterMania.com, March 13, 2000