Dan Kamin - Comedy in Motion
Dan Kamin - Comedy in Motion  
About Dan Kamin
The Programs
News and Reviews
Performance Clips
Hollywood Connection
Publicity Photos
Calendar of Events
Contact Dan Kamin

Theatre Programs
Corporate Programs
College Programs

Symphony Programs


Dan Kamin's Comedy Concertos transform traditional concerts into exciting theatrical events. They have become popular with symphonies around the world, including Singapore, Shanghai, Malaysia, Winnipeg, Cleveland, Philadelphia, Atlanta, and Dallas. Clever scripts, solid musical selections, and Dan's amazing movement skills combine to provide an enticing gateway into the joys of classical music.

Comedy Concertos include pops, family, and schooltime programs. You can read descriptions below, and click on the links to see reviews, repertoire, and video clips.

Charlie Chaplin at the Symphony (Pops)

A full evening of comedy and music that's been drawing record crowds! First a classical concert goes horribly wrong when Dan shows up as The Classical Clown and wreaks havoc. In the second half Dan introduces two timeless Chaplin comedies, Easy Street and The Immigrant, accompanied by terrific new symphonic scores by Grant Cooper, music director of the West Virginia Symphony. This program brings both classic comedy and classical music into the 21st century. Running time: 2 hours. See the repertoire.

The Lost Elephant (Family)

Elmer the Elephant has escaped from the zoo, but the zookeeper is determined to track him down! Dan creates a jungle full of animals out of a few simple props and actions choreographed precisely to the music. This program is guaranteed to captivate even the youngest children, introducing them to classics like "Flight of the Bumblebee" and "William Tell Overture," along with great short pieces by Stravinsky, Shostakovich, Handel and others. Originally commissioned by the Baltimore Symphony, The Lost Elephant has become one of Dan's most popular programs. Read a complete review. Running time: 50 minutes. See the repertoire.

The Classical Clown (Family or Pops)

Watch the sparks fly as The Classical Clown battles the maestro for control of the orchestra! It's a symphonic showdown set to the usually serious sounds of Beethoven, Grieg, Britten and Stravinsky. By the time this merry Comedy Concerto is over the clown has conducted, the conductor has become a clown, and even the audience has gotten into the act. Read two complete reviews. Running time: 60 minutes. See the repertoire.

The Haunted Orchestra/
The Magic Orchestra (Family)

A concert morphs into a horror movie! Nerdy Mr. Kirby, from the National Institute for Children's Entertainment (N.I.C.E.), doesn't believe in the magical power of music. But when the conductor waves his magic baton, strange things begin to happen. Kirby's clothes fall apart! He is transformed into a marionette to accompany the famous Alfred Hitchcock theme music! Kids and adults alike will be delighted by Dans antics as he is "haunted" by the timeless music of Grieg, Leroy Anderson, Strauss and others. The music and Dan's uncanny movements are the only special effects needed to make this a magical concert for kids. Running time: 50 minutes. See the repertoire.

Stop the Music! (Family)

A policeman threatens to arrest the orchestra because they're making too much noise! Can the conductor convince him that they have the right not to remain silent? They can, because every time they play the cop is involuntarily drawn into the music, and acts out its themes with precisely choreographed comic action. There's crime and punishment and even a Keystone Kops chase, as the orchestra proves decisively that music is not noise. Running time: 50 minutes. See the repertoire.

The Horrible History Of Music (Pops)

This hysterical history of horror music through the ages showcases your orchestra playing scores from famous film chillers, then joining with famous "horrologist" Dr. Daniel Kaminski for an uproarious exhumation of the musical remains of Beethoven, Paganini, Handel and others. Running time: 2 hours. See the repertoire.


Musical Structure and the Curious Stagehand (Educational)

Presented by the Pittsburgh Symphony for over 30,000 school children, this program features Dan as a surly stagehand who disrupts the concert. He's preparing the lighting for a rock concert that evening, and he doesn't hide his contempt for classical music. The conductor, however, draws him into the concert by explaining classical music structure, which the stagehand reinforces with lighting effects and magical illusions. For the climax the stagehand accompanies "Pictures at an Exhibition" with a light show. Running time: 60 minutes. See the repertoire.

March 21, 2001
The Capital, Annapolis, Maryland

By James Avis

Dan Kamin is a very talented mime, a quality that shines through the slapstick and gentle humor of his "Comedy Concerto" titled "The Lost Elephant," this weekend's Family Concert presentation by the Annapolis Symphony Orchestra. In the role of a zookeeper looking for a lost elephant, he wanders into a symphony concert and is enlisted to help personify musical selections on the general theme of animals

A narrator, Susan Chapek, thinks he might help stimulate the imaginations of her young audience, and he finally agrees to help. The results are a series of short, choreographed episodes to musical selections that demonstrate the exceptional range of Mr. Kamin's comedic talents.

Avoiding the hard-driving slapstick that many children's performers employ, each of Mr. Kamin's personifications has an element of classic mime, beginning, for his stage entrance, with a series of revelations timed to Shostakovich's "Age of Gold" polka.

In fact, his comedy concertos are really action scores, using actual musical moments in their short entirety to first suggest and then accompany his carefully timed moves. Instead of trying to personify the music, he lets the music personify him.

It was all great fun for the young audience, and they were soon aping his moves, swaying with him and Ms. Chapek as waltzing cats (to the music of Leroy Anderson) or sharing his can't-sit-still impatience by horseback-riding with him through the "William Tell Overture."

Ms. Chapek had all the moves down as well, alternately coy and flirtatious as the other waltzing cat or equally propelled by the Rossini overture. She is an effective foil for Mr. Kamin's bumbling zookeeper, both keeping him in line and urging him on to even more participation.

As in all such presentations, the orchestra and music director Leslie Dunner are part of the act, conjuring the right music and occasionally the right props to abet the moment. The music they were called upon to play was familiar, funny stuff: "Flight of the Bumblebee," a couple of Camille Saint-Saens' acts from "Carnival of the Animals" and the like, as well as a few unlikely but quite fitting moments from Igor Stravinsky's Suite No. 2. All were rendered with appropriate zest and exaggeration to help make the comedic points.

It did not go unnoticed that the wide span of Mr. Kamin's characterizations allowed some unlikely accompaniment, such as Handel's "Entrance of the Queen of Sheba" from the oratorio "Solomon," to introduce the mime's lion. It was an elegant bit of the baroque to accompany Mr. Kamin's dexterous and precise handling of his cage bars, as well as exposure to something the youngsters won't be hearing on Rok Klassics 104.

And that, of course, is the point of the exercise-- to expose young people at a formative moment to something beyond the brain-dead pop music that otherwise monopolizes their musical attention. Serious (as opposed to frivolous) music can be a nourishment to a child's emotional good health, just as vitamins can fortify and help overcome the inadequacies of a marginal diet.

A good example could be Saint-Saens' "The Swan" (beautifully played by acting principal cello Kerena Moeller), a work that needs no exposure to enhance its popularity. As the musical setting for a life-sized "Swan Queen" puppet in the arms of a clever and inventive dancing mime, it can imprint itself on a young mind with lasting clarity.

If the musical selections managed to include a moment or two of special concert music substance, so did Mr. Kamin's miming. His short balloon dance to the waltz from Stravinsky's Suite No. 2 was pure Marcel Marceau, an exceptional bit of illusion from a master illusionist, and the young folks around me watched in amazement as the imaginary balloon threatened to carry him away.

It is perhaps a bit much to tout such family concert performances as an antidote for society's banalities. Some may once have regarded these works as the banalities of their own era -- such is the imprecision of judgment. What these performances offer (as well as the ASO's equally valuable and necessary corollary activities in the schools that accompany them) is a vital window of exposure to something that is increasingly harder to see and hear in our thoroughly merchandised culture.

Through its support of these performances, the ASO has recognized that there is nothing more important to the survival of this musical heritage than exposing our children early and often to its sustenance, its nourishment and its everlasting delight.

March 16-22, 2008
El Paso Inc., El Paso, Texas

By Betty Ligon

Dan Kamin tours the country mixing comedy with classical music. In "The Classical Clown" he played the part of a goofy janitor who wandered onstage as Maestro Benjamin Loeb was conducting the first of a classical menu that included pieces by Stravinsky, Grieg, Strauss and others. When Kamin began hammering on the floor, Loeb could stand no more. He stopped the music and scolded the intruder.

From there the concert went to pieces, literally. Kamin divested himself of his overalls and a realistic flesh-colored mask, revealing himself to be the Classical Clown himself--a musical mime intent on capturing Loeb's baton and conducting the orchestra.

The fun immediately became physical, as Loeb and the mime wrestled over control of the baton. Between Loeb's frustrated attempts to regain control over the concert, he exchanged heated conversation with the mime--and did it perfectly. Loeb told me later that he had to learn 138 lines of script for the show.

Although the action seemed impromptu, the entire show was written by Kamin. He proved to be a fantastic mime and had the audience laughing all the way. He even performed the Michael Jackson moonwalk.

There were all sorts of clever antics, including hypnotizing each other and the mime dancing to a Strauss waltz with a realistic rag doll.

The El Paso Symphony musicians got into the act as well, occasionally rising on cue to shout their lines.

Light effects added to the show's magic, even going dark at one time, requiring musicians to play by the light on their music stands.

After the show Kamin broke his silence for a lively question and answer session with the audience, revealing himself to be a handsome young man with a great talent at showing children that classical music is fun to hear, even without the histrionics.

February 6, 2003
West Essex Tribune, Livingston, New Jersey


The Livingston Symphony Orchestra is an unsung gem. Under the leadership of Istvan Jaray, Sunday's Young People's Concert was as professional an event as anything you would see in New York, and far less expensive. It was thoroughly enjoyable for all ages, not just children. Comedian Dan Kamin is a marvelous mime--as skilled as the silent screen stars Buster Keaton and Charlie Chaplin, on whose work Kamin bases his routines. And the chemistry between Kamin and the usually serious Istvan Jaray was wonderful. It certainly seemed as though Jaray was thoroughly enjoying himself. Even though his lines were scripted, he delivered them with just the right lilt to allow the audience to believe he was being spontaneous.

Kamin's timing was perfect and even a crying child in the audience didn't fluster him. He worked it right into his routine without missing a beat. He involved the audience and they seemed to love it. But even more importantly, his fluid movements all reflected the rhythm and liquid beauty of the music being played behind him. The audience never forgot that this was a concert by superbly talented musicians--not just a comedy routine. But while they were watching the comedian, the youngsters were also being exposed to music by Stravinsky, Prokofiev, Grieg, Rossini, Beethoven and Strauss, among others.

One young man proudly pointed out to his mother each instrument in the orchestra and the rapture on his face as the music floated out to the audience at Livingston High School was indescribable. He was entranced, amazed, and fascinated.

Livingston is fortunate to have this gem of an orchestra, a gift that we must not take for granted. Only days after this marvelous concert, NJ governor James McGreevey announced major cutbacks to the arts. We hope that the Livingston Symphony Orchestra finds a way to continue bringing beautiful music to our ears and to our children.