Actor Choreographer Director
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BIG FISH AT THE RITZ THEATRE COMPANY
"Lauren Bristow’s solo dancing contained excellent choreography by Devon Sinclair. Mr. Sinclair also coordinated more elaborate routines that included the cast and ensemble; the best comprised the witch’s “I Know What You Want”, “Little Lamb from Alabama” and “Closer to Her.”"
Disney’s Newsies at Broadway Theatre of Pitman
"A notable performance is given by Devon Sinclair, who plays the role of Specs. While the character itself is not heavily written into the show. Sinclair makes sure you remember him. Whether it is rolling from one side of the stage to the other or his flawless fouette turns during the “Seize the Day” dance break, he definitely makes a lasting impression on audience members.”
Limelight’s ANNIE - Delightful
"...It is always great to see fresh approaches to dance and Sinclair does not disappoint. He creates not only fresh moves, but ones that make the children look as good as the experienced adults."
HAIRSPRAY at Candlelight imbues the oneness of us all
"Duane (Devon Sinclair) is also making his Candlelight debut. I am dating myself, but look toward the black Tommy Tune breaking out.
Role: Duane (North Avenue Ensemble)
SHREK Comes To Life at Upper Darby Summer Stage
"One thing you can always count on with this company is a solid production with excellent production values, and SHREK is no exception. Director Dawn Morningstar has assembled a talented cast...Devon Fields (Donkey) also shows great comic depth, and an amazing flexibility dancing in a donkey suit."
MasquerAIDS event benefits community
"In the end, though, the old man really tied into one of the final scenes of the night —a dance choreographed by Fields called “One Step, One Lifetime.” The interpretative dance was inspired by the love story in the Pixar film, “Up.” It followed the main character with his childhood sweetheart, through their heartbreaking journey of life and love together."
‘In the Heights’ takes over Schwab
”Every time the ensemble made its way onto the stage, the audience could guarantee a great dance number was about to happen.Without any hesitation of jumping into each other’s arms, it was clear the ensemble was well rehearsed and knew its dance moves."
”A standout aspect of the show was the intricate and inventive choreography, which was worked into almost all of the phases of the performance...Each dance felt original, whether it was the dummy-like gestures of “We Both Reached Gun,” or the use of chairs in “Velma Takes The Stand.”“The dancing was really great,” Tom Walsh (sophomore-division of undergraduate studies) said. “The ‘Cell Block Tango’ really stood out.”
The road to Chicago: Opening Night