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Chambers Performing Arts - Setting the Standards of Excellence in Performing Arts Since 1980
All professional performing arts schools have:
Read on to find out what sets us apart from most schools in the United States:
A 41-year proven success record of alumni who achieved their dreams of appearing on Broadway, with the Radio City Rockettes, performing with regional and national companies, received college scholarships in dance and musical theatre, and opened their own schools.
Why is this important? Our alumni who are working in the industry are just one facet, but an important one, of how to measure the success of any school. How do you know that your training will pay off financially and meet the needs of your student? Due to our diverse curriculum, students are exceptionally trained in all forms of performing arts, and those who want a career in the industry will have many choices and options. You can find our Alumni: On Broadway (in shows such as “Billy Elliot,” “Cats”, “The Producers”, “42nd Street”, “A Chorus Line”, “Crazy For You” and others), National Tours (in shows such as “Billy Elliot,” “Copacabana,” “Cats,” and “The Producers”); We have trained (4) Four Radio City Rockettes; Full and Partial College Scholarships in dance and performing arts (to national schools such as Columbia University, North Carolina School of the Arts, Carnegie Mellon University, Point Park University, University of Pennsylvania, and regional schools such as Coker College, University of Alabama, University of Georgia); National and regional company members (with companies such as the Atlanta Ballet, Charleston Ballet, Dissonance Dance Theatre (DC); as studio owners (such as The Right Combination in Orlando, Florida). Please visit our ALUMNI page to read about a few of the above mentioned successful alums. Remember to look at the top levels of students at any program you are considering, because that is where your student may be able to progress to in the future. We provide all students, no matter their goals, this same professional standard of learning and performing.
The most diverse curriculum in the Southeast.
We are not a only dance studio — we are a full service performing arts school, since 1980. Why is this important? We are proud to offer the most diverse curriculum possible to succeed in performing arts. Just as there are no jobs in life that only require one skill, it is prevalent in performing arts to be extremely diverse and well-rounded. What if your dream is to become a professional performer? Only training in one area will not produce a performer that will stay employed for long in the industry. What if your dream is to go to college on a scholarship? There is not one college in the country where you will only study one form of dance. What if your likes change over time and are not sure what forms of performing arts you enjoy? Realizing that you have only studied one form of dance or performing arts is a tough realization to come to when you are in your late teens-but want a professional career in performing arts. We provide early training and exposure to all forms of performing arts and have alum who have appeared on Broadway, with the Radio City Rockettes, opened their own dance studios, perform with regional and national and theatre companies, and receive college scholarships of their choice. Make sure your student is well-versed so that they have options in whatever path in performing arts that they choose.
Non-Profit Performing Arts Company-The Susan Chambers Dance Company
Why is this important? Most local companies are competition companies that are for profit and have that goal in mind-e.g. making a profit and accumulating trophies. The Susan Chambers Dance Company (SCDC) is a 501 (c)(3) not-for-profit organization and was founded by Susan Chambers in 1980. Non-profit organizations must fulfill a social purpose and benefit the community—in this case, by providing opportunities for all in the arts. SCDC is governed by a Board of Directors and has a very active membership at large, producing successful golf and tennis tournaments, which are two of our biggest fundraisers of the season.
The company is proud to perform "The Trial of Mother Goose" every year at the Infinite Energy Center to thousands of metro Atlanta school children, which buses in excited students every year. Susan Chambers wrote this fantastic tale that explores your favorite nursery rhyme characters along with meeting AKS educational requirements for the state of Georgia. Many Title I students are given free admission, along with senior citizens groups in metro Atlanta. SCDC is also active with foster children groups and local orphanages where members collect toys for the holidays and provide entertainment for their events. Performers in SCDC also perform in each year's "Dancin' and Singin' the Night Away", which is one of the country's most diverse and rigorous concerts featuring all forms of performing arts at the Infinite Energy Center at the highest level for a pre-professional performing arts company. SCDC also performs "A Christmas Carol, The Musical" at the Infinite Energy Center in November, with a full, live orchestra. When choosing a performing arts company, non-profit companies have the best interest your student and those of the community, at their helm.
We do not use Assistant Teachers to teach classes - Only Professionals
Why is this important? We hire professional teachers with professional performing credits, bachelor’s degrees, and/or master’s degrees to teach your students. Our teachers have performed with the Kiev Ballet and other professional ballet companies, are former Radio City Rockettes, have been on Broadway, and perform with regionally and nationally known companies. There is no governing body, set of regulations, or requirements to open a performing arts school-therefore anyone can open a studio and say that they offer professional teachers and training. Only in cases of extreme emergency will a class be taught by an assistant teacher who has been trained by our professional staff for at least ten years.
Proper and safe duration of classes for all ages 7 and older.
Why is this important? Basically, we are baffled why classes for ages 7 and older at most local studios would only be 45 minutes at the same cost (or more) as our one hour classes, and want you to realize that you are not getting what you pay for in this instance. Students not in combination classes, ages 7 and older should have at least a one hour class: due to their attention spans and maturity levels, for protection of their bodies, and to get the most out of their class. A proper warm-up should take 15-20 minutes, technique and progressions across the floor should take 20-25 minutes, and a combination of technique and style in the center floor should also take about 15-20 minutes. This is standard practice from the most reputable schools in the world, such as Steps (NYC), the Joffrey Ballet Academy (NYC), and at Chambers Performing Arts.
All students at Chambers Performing Arts are of equal status-no matter their division.
Why is this important? Many schools in the area are focused on their competition students and separate them in classes from other students, which for some reason they term “recreational”. At Chambers Performing Arts, if you are at the same level as some of our company dancers, you will be in class with them-no matter if you are part of our company or not. We would also never call students who enjoy the performing arts “recreational”, as this separates students due to commitment level and does not build a family of performers. All students in the entire school are eligible for all classes, workshops, and events at Chambers Performing Arts, as long as their level coincides with that class or event. We are one big family and hope that all students inspire each other in class.
We are a professional training studio with elite programs.
Why is this important? Just as at all elite training institutions, the focus at Chambers Performing Arts is on training and performance, and not on competitions. Although our non-profit pre-professional company, SCDC, does attend one convention/workshop per season, it benefits our students by exposure to the country's top choreographers and styles, having nothing to do with trophies. Why?
No elite training school in the country (Joffrey Ballet School (NYC), School of American Ballet (NYC), The Juilliard School (NYC), attends multi-genre performing arts competitions and neither does Chambers Performing Arts. Here are just a few reasons why:
1. Multi-genre performing arts competitions that pit ballet, tap, jazz, musical theatre, vocals, acting, contemporary, and hip hop against each other give awards that are impossible to quantify. Try to take two masterpieces, a Monet and a Manet, both which display incredible line, tone, display, texture, and scale and decide which is "better" or which would win a competition--impossible! This analogy is similar to the world of multi-genre performing arts competitions that pit ballet, tap, jazz, musical theatre, hip hop, contemporary, acting, and vocals against each other. You cannot compare a fabulous tap piece to an incredible contemporary piece or a dynamic and sharp hip hop piece to an athletic contemporary piece--or even a dramatic monologue to a comedic monologue if all are incredible in their respective forms. But multi-genre performing arts competitions do just that. Of course there are elements of technique in each genre of performing arts, but to cross-compare is impossible and only subjective. Only top ballet competitions (or competitions with only one genre adjudicated) adjudicate ballet against other ballet pieces--which is both logical and possible. Youth America Grand Prix is one of the most respected ballet competitions in the world, and Chambers Alum Noa was a finalist in a regional event.
2. It is unfortunate that multi-genre performing arts competitions today have an "everyone wins" mentality, which developed over the past 15 years-because competitions learned that if they did not recognize everyone who spent thousands of dollars attending, the studios would not return to their competition. When Chambers first began in 1980, competitions were lesson-learning: all genres of performing arts would compete against each other and there was one winner and one runner-up--out of the total amount of entries. How do competitions today justify giving out multiple platinums (and other ridiculous award names like titaniums-no 1st or 2nd places anymore)--in some cases giving out 50 or 100 at one event? Because they want that studio to return so they can make a profit. Also, everyone who wins platinum can attend their national competition in which studios compete the same exact numbers again (but pay thousands of dollars again for the second time) in a larger city. Some competitions allow professional instructors to compete with and against their students, which is unprofessional. This type of mentality does not set up anyone for success in the tough industry that is performing arts, in college or the professional world--or any field (even unrelated to performing arts) that your student will enter. Unfortunately the world of competitions today has morphed into a a non-reality.
3. Multi-genre performing arts competitions are very costly (thousands of dollars to attend just one!) and that excludes students who are on limited funds-just in the end winning a trophy which cannot be quantified. Competitions have regional events and national events charge thousands of dollars to attend each one. An average group number of 20 people will cost: $35 per person entry fee, choreography fees $50 per person, costume fee $150 per person (without travel and hotel) totaling $235 for a 3 minute number per person, but the entire number costs a whopping $4700! You could train at Chambers, or the School of American Ballet (NYC) for an entire season for the cost of this one number and have money left over to go on a nice vacation. If you perform in multiple numbers--you have spent $1000 for a weekend just for one student. Some studios do this over and over at several competitions per season at an unimaginable cost without a return on investment.
4. There is not one professional performing arts job in the country, or college, that will care that you won any award at “DanceStar” (fictional name of multi-performing arts genre competition). Professionals will not know what that is, let alone care. Any audition in the professional world that you ever attend will be based on technique, skill, look, ability, etc—not on how many trophies you won as a student. But take note, if you won the Youth America Grand Prix — the olympics of ballet which you would compete against ballet students all over the world — then that is a different story and you would have the top ballet companies in the world wanting to hire you.
5. It is a waste of time and money to perfect competition routines. During the time spent rehearsing and cleaning numbers for competition technique and style is missed since you are "drilling" and "cleaning" the same choreography over and over. You will not develop skills to learn choreography quickly, a much needed skill in performing arts and any field.
6. Multi-genre performing arts competitions are not regulated by any governing body, and have one mission only: to make a profit. The judging is extremely subjective (see number one above), and in some cases judges do not have any professional performing credits or training in a specific field to judge.
Originally written, produced, and directed Annual Concerts at a Professional Theatre which include all students of all levels and ages.
Why is this important? Our shows have always included acting, singing, and all forms of dance. They also include all ages and levels of performers. An important facet of training includes developing your skills onstage. We never hold our Annual Concerts in a High School theater or at a theater built on site at a studio-only the best theatre in the area-which is nicer than most Broadway theatres. The theater is a $91.5 million dollar theatre that we are glad to perform at. It is Broadway-caliber, with the best lighting, tech, and facility anywhere to be found. Come be a part of the professional difference.
Parents of registered students can take any class for 50% off and Siblings enjoy a 5% discount
Why is this important? We know that your time is limited, so why not take a class at the same time as your child? And for those of your with two or more performers, we also offer a Sibling Discount of 5%! There is no excuse for the whole family not to take classes.
Unlimited Make Up Classes
Why is this important? We understand that you have good reasons to miss one of our great classes: school functions, illness, or other unexpected happenings that arise. But our main goal is for you to progress in your training. No problem—you can make up in ANY form of performing arts in your appropriate level. Your make up classes never expire throughout the current season. We are one of the few performing arts schools in the country who allow for unlimited make up classes at no charge.
Earn up to $250 OFF per season
Why is this important? Simply put, so you can save money. With our Ongoing Referral Program, you can earn $25 off tuition for every new student you refer who registers-up to 10 Students per season with a maximum of$250 off. We are very appreciative of your referrals and want you to enjoy a credit. Ask the front desk for details.
FREE Trial Classes In Each Form of Performing Arts
Why is this important? Sometimes you are not sure what class that you want to take, so you can try them all-for FREE for one week (until September 1 of each new season). Just register online as a TRIAL student to begin. You can take a class in every form of performing arts until you find your perfect fit. We know that choosing a performing arts school can be daunting, but we are very proud of our programs--so come in to one of our locations today to experience the professional difference yourself.
All pictures of Students and Alumni performers throughout this entire web site are actual prior or current Chambers Performing Arts students and Alumni.