Under the glow of Broadway’s lights, few performers command the stage with the precision, versatility, and emotional depth of Karli Dinardo. Born and trained in Melbourne, she has forged a remarkable path from the studios of Patrick School of the Arts to some of the world’s most prestigious stages. Moving fluidly between continents, mediums, and disciplines, Karli exemplifies what happens when rigorous craft meets unwavering drive.
In this conversation, Dinardo reflects on the experiences that shaped her artistry, the mentors who influenced her, and the moments that defined her career, offering an intimate glimpse into a life led with intention, integrity, and – as she puts it – “low stress, high vibes.”
Born in Melbourne, can you walk us through your journey, from your first encounter with dance and performance to where you are today?
“Funnily enough, dance came into my life because I never slept as a two-year-old child, and my incredible parents put me into swimming, gymnastics, and dance all on the same day to try to make me tired.
It backfired because I loved it so much and quickly began increasing the number of classes I was taking, which meant more days of the week and extra commitments. At that time, I was dancing at Thelma Williams School of Dance (now Trilogy), training in many disciplines, doing troupes in competitions, and putting myself into solos to continue growing and enjoying any performance opportunity I could. I worked in television and film as a kid, too – loved every second on set – and always felt so at home and inspired by the people around me.
Soon after I turned 13, I began training at Todd Patrick’s Patrick Studios Australia (now Patrick School of the Arts), which was the perfect change I had been seeking. Expanding the disciplines I trained in, focusing even more on my vocal training, and being around full-timers who were all older than me provided inspiration and gave me permission to continue really focusing on my craft. I was a very academic child and thankfully went to schools that let me balance my love for dance and acting alongside my studies.
I walked through the campuses of the American Musical and Dramatic Academy while in LA and NYC on a dance scholarship I had won, and discovered they happened to be auditioning in Melbourne for the first time at the end of that year. So, I graduated high school, auditioned in December, and ended up moving to New York City at 17 to start college the first week of February – a month and a bit later! Crazy, I know.
Navigating homesickness and plenty of culture shock didn’t stop me from throwing myself into the entire experience, trying to be a sponge and soak up everything I could. I graduated from the conservatory program a year-and-a-half later and stepped into the audition hustle in the Big Apple – which I could write an entire novel on in itself. In summary, these audition seasons are character-building and teach you a lot about yourself. Sometimes I’d be able to get to four auditions in a day and then go take a dance class, and other days you could have been in line since 5am and not get seen for anything.
There were many more rules at that time around what you were allowed to do on specific visas, etc. But to make a long story shorter: I went from an OPT (post-course completion visa) to an O-1 visa (artist visa), and after three years on that applied for and received my green card. These years truly were foundational for who I am as a person and artist today.
I did many shows along the way – Flashdance The Musical, The Music Man, West Side Story, 42nd Street (to name just a few) – then later, post–green card, the first national tour of Hamilton, West Side Story (Handa Opera in Sydney), original Broadway company (OBC) of Moulin Rouge, OBC of Bob Fosse’s Dancin’, Hamilton on Broadway. I’m still very much an Aussie at heart – it feels strange listing some of my credits like that. If people want to know more, I’m sure it’s all somewhere online.”
You trained at Patrick School of the Arts and later at the American Musical and Dramatic Academy in New York. How have these two chapters of your training influenced your foundations as a performer?
“They have both had major influences on me. PSA was where I first learned skills for picking up choreography quickly, being given notes and immediately applying them, learning how different choreographers work, and being able to adapt to best do the job at hand – and knowing when it’s time to stand out versus dancing as part of a group. I learned that talent alone is not enough; you must have an excellent work ethic too, and that being a good person matters.
Both chapters taught me how to deal with big, different, contrasting personalities and how to communicate in a way that keeps the focus on the work. My favourite class at AMDA was Acting – I really found my voice in each of those classes. I learned the importance of specificity in storytelling, how to prepare for auditions and rehearsal processes, how to analyse scripts, songs, and scenes, and that it’s not only okay, but necessary, to let acquaintances, friendships, and work relationships be exactly what they are.
The lessons I learned in both places helped me know myself better, trust myself and my skills walking into any room, and continue to form the foundation of so much that I still use today.”
Can you describe your experience when you performed in one of the production numbers in Jennifer Lopez’s Kiss of the Spider Woman? What was the energy like onstage?
“My experience on KOTSW was truly incredible. We had rehearsals scattered over the course of a few weeks, but our number was filmed in one day! Our van pick-up call was at 4am, straight into hair and makeup when we arrived, then last looks where my entire outfit changed. We got to wear these stunning vintage dresses with accessories to match.
The set for the ballroom where our number took place was really cool – extras sitting at tables surrounding the dance floor, a band playing instruments up onstage. You could feel the electricity buzzing in the air. We began reviewing spacing for the first setup, and then JLo walked onto set and the room (silently) gasped – she looked so gorgeous, it was breathtaking.
As usual on set, plans change because of time restraints, and we had to re-block a lot of what we had rehearsed. That may stress some people out, but I actually love it – everyone locks in even more and becomes incredibly present. Changing things and then filming immediately after. The difference on set is that the only thing that matters is what the camera can see, rather than onstage where everything can be seen.
We wrapped around 8pm, I think. It was a wonderful group of people, I got to dance with one of my good friends, and we could tell we were making movie magic, which was really special.”
You played Cassie in A Chorus Line at the Goodspeed Theatre, were featured in the revival of Bob Fosse’s Dancin’, and made your Broadway debut in Moulin Rouge! The Musical as Dance Captain, Swing, and understudy for Nini — also assisting with mounting the Australian production, the North American tour, and the Broadway remount. How have these experiences shaped your perspective on performing and leadership?
“This is a really cool question. No matter what hat you’re wearing or what job you’re doing, I believe communication is the single most important thing in a workplace – on every level, between everyone. Each of these shows (and a couple of others) have played a huge part in developing the artist and communicator I am today.
I try to always listen and learn about the people I’m working with so I can understand how best to communicate with them. Everyone learns differently, expresses themselves differently, and retains information differently, so if I can be open and adapt where possible, it makes people feel understood and set up for success, which is so important.
I’ve been very lucky to work with some excellent communicators in my career, and if you’re always willing to be a student, you’re always open to learning something new. Leadership and performing are exactly the same: you’ll never have all the answers nor be perfect, because that doesn’t exist. But you can always learn and communicate with the people around you to reach the common goal together, with collaboration and respect.”
I’m curious to learn more about the workshops you’ve been involved in. Can you tell us what’s involved in these – for instance, Black Swan?
“Workshops are a very cool part of the creation process. Every show you’ve seen in performance likely had a series of workshops – whether focused solely on the book and music, or incorporating all elements in a larger-scale process. Then typically the show does an “out of town” run and ideally transfers to Broadway or the West End. This isn’t the only path; there are a million versions of what can happen.
I’m very grateful to have been part of a few new shows from the work shop stage, and I certainly hope the world will get to see them soon. Black Swan is a new musical based on the film of the same name, directed and choreographed by Sonya Tayeh, and will be making its premiere at A.R.T this summer in Cambridge, MA.”
Your CV includes an impressive range of special skills – from tumbling and dialects to aerial silks, multiple sports, musical instruments, and even sword swallowing. How have these diverse abilities influenced the roles you take on or the way you approach your work as a performer? What is one out-of-the-ordinary skill that has won you a role?
“This made me giggle. A couple of the skills listed I learned while doing different shows; some are things I’ve been doing since I was a child (like tumbling and instruments). Being able to plunk out notes when I’m given a harmony or a new song to learn is super helpful.
I also think special skills can often come from hobbies, which as an artist is so important to have outside of work. To be honest, I don’t think there is one skill that has won me a role – yet! You never know, though, I may have to keep you posted on this one.”
Reflecting on the above, what has been a standout moment in your career?
“Oh wow. I feel very grateful that this is a difficult question to answer. Having Chita Rivera watch our production of West Side Story and getting to meet her afterwards was such a big deal for me. Years later, I performed on the Tony Awards in her tribute piece wearing one of her costumes – that was a massive, full-circle moment.
Learning Music and the Mirror from Donna McKechnie and then having her come and watch me play Cassie was another huge standout; I still get giddy thinking about it. Making my Broadway debut in Moulin Rouge, and later when we won all the Tonys; the night of our invited dress rehearsal for Bob Fosse’s Dancin’ on Broadway, walking out onto the stage alone to start the show and taking in the roar of our peers, friends, and family; singing at the reopening of David Geffen Hall with the Hamilton Suite; performing on the Tony Awards – they all stand out for different reasons and mean so much more because of everything that happened before and after.”
Can you describe the classes you teach at Steps on Broadway and what people can expect when they attend?
“Whenever I teach, I always love to start with a breathing exercise to get us all present in the room and in our bodies. A 15–20-minute warm-up is followed by some across-the-floor, and then we put our shoes on and get into a combination. If the class is two hours – which I personally love – you really get good time in each part of the class to dig your teeth into. In terms of style, I like to pick music that I’m inspired by. Sometimes, that’s musical theatre, sometimes jazz, other times more commercial jazz or contemporary, but the through-line is that there’s always a story we’re telling. I love a good vibe. I’ve joked about making merch that says ‘low stress, high vibes.’ I like class to feel like class: a place where you can try new things, fall, make a mistake, get back up and try again. You’re pushed, inspired, and get to sweat in a room with other dancers who love it as much as you do.”
Finally, where to from here for 2026?
“Well, I’m not quite sure – but I actually love that. I know I’ll be training and continuing to work on all of my crafts. There are a couple of things lined up, but I can’t wait to see what unfolds. There are endless possibilities in the unknown.”
You can follow Karli Dinardo on Instagram: @karlidinardo.
By Renata Ogayar of Dance Informa.
Share this:
