From Hong Kong to CCM
Brian Cheung Dances His Way to Center Stage
I remember sitting in the theatre at Cincinnati Playhouse in the Park watching a show called "label-less," my mouth dropped open. Brian Cheung had just finished a dance duet with Aubrey Jones. This is what I wrote in my review:
"The dance ensemble was stunning, but the duet between Aubrey Jones and Brian Cheung overtop Colby Miller's rendition of 'Hate' was one of the most emotional movement-based pieces I've ever seen."
Ever since, I've been intrigued by this quiet, mesmerizing performer.
Cheung was first introduced to musical theatre at age 15, but formal training wasn't readily available in his community. Instead, he became a self-directed student, consuming YouTube videos on everything from "how to extend range for male singers" to "10 tips on how to become a better actor." After a year of virtual learning, he took his first concrete step - joining a hip hop class.
Before finding musical theatre, Cheung was an exceptional athlete. He competed in nine different sports - from volleyball and track & field to taekwondo and touch rugby. A coach taught him that "If it looks aesthetically right, it is functionally efficient." This foundational principle has been invaluable in his artistic journey, teaching him to observe and analyze movement with remarkable precision. The intensity he brought to sports matches has transformed into his signature performance energy - that same "locked in" focus becoming what I would describe as a "raw performer" quality.
As CCM's first international student from China in the musical theatre program, Cheung brings a uniquely global perspective to his work. Raised in Suzhou after being born in Canada to Hong Kong parents, he embodies what it means to be a third culture individual. "I didn't really have a sense of belonging and culture to anchor me," he reflects. "But now I see it as more of a strength than a weakness." His international school education combined with his multicultural background has given him what he calls a "true worldview perspective" - one that allows him to deeply connect with diverse characters across the theatrical canon. The cultural adjustment to America brought its own challenges. "People here are very outspoken about their thoughts," Brian notes. "Growing up, I was more shy and reserved." But he turned that difference into an asset, developing what he calls a "praying panther" approach – carefully observing before striking with precision.
When it came time to plan his educational future, he applied to several musical theatre programs but had a backup plan to study biology in Australia if the dream didn't come true. Due to the time difference between Cincinnati and China, he auditioned over Zoom at 11:30 PM his time, singing "Some Enchanted Evening" while trying not to wake his family who were sleeping nearby. That bold choice paid off, landing him a spot in one of America's top musical theatre programs.
His methodical nature serves him well as both performer and now as a choreographer. His approach to movement is deeply intellectual: "I think in terms of rhythm and sounds when I listen to music," he explains. "The rhythm that exists in the basement of a musical piece is like the ambiance that creates the quality of the world." He believes choreographing to melody and lyrics is a trap. "An audience member is trained to listen to the melody and lyric during a musical number - it's what helps them understand the story. So what's the point of the movement if it's based on the obvious and the seen? I'm more interested in creating complex colors that lie beneath what the character is singing about. That way the world becomes more layered and nuanced."
Currently, he's putting this philosophy to work choreographing "Ride the Cyclone," a student-led production by CCM Mosaic where he's crafting distinct movement languages for each character. Using breath as a tangible tool to dissect story, he creates movement that serves the narrative while maintaining his distinctive style. (“Ride the Cyclone”) runs February 22 and 23rd at Liberty Exhibition Hall and tickets can be purchased here.
His performing credits not only include his standout role in "label-less," but roles in "Spring Awakening," "Sweet Charity," "Little Women," “The Rocky Horror Show,” and "Wonderful Town." His performances are electrifying – combining technical precision with raw, unfettered emotional intensity that leaves audiences breathless. Yet despite his talent, Brian remains remarkably grounded. "What makes me unique as an artist is probably my work ethic and my hunger to get better," he reflects.
Professor Diane Lala validates this assessment: "Brian is a dream student. He has worked tirelessly to improve and it has paid off and then some. He is talented, dedicated and a joy to work with."
"When I go on stage, there's like a switch." This switch transforms his naturally centered personality into something electric on stage, combining technical precision with emotional authenticity in a way that makes him particularly valuable in an industry increasingly seeking versatile performers who can bring diverse perspectives to traditional musical theatre.
Beyond performing and choreographing, Cheung has also become a peer-teacher in the CCM community. Initially drawn to teaching to improve his communication skills, he's developed a unique approach that challenges conventional musical theatre movement. His classes introduce unexpected vocabulary and innovative ways of approaching music, teaching combinations through scatting and breaths rather than traditional counts. "It's definitely different and my way is definitely not the 'better' way," he says modestly, "but I think it's important to be able to learn through different forms of communication."
Looking ahead, Brian's possibilities seem limitless. With his triple-threat capabilities, choreographic vision, and unique cultural perspective, he's poised to make waves whether performing, choreographing, or both.
"I'm trying to make a difference," he says simply. With his talent, work ethic, and ability to bridge cultural perspectives, Brian Cheung isn't just trying – he's already excelling.
Follow Brian’s Instagram here.