Cabaret Latino – L-R Kennedy Kinsler, Kennedy Kinsler, Yarelys Gonzalez, Charlie Lindeman, Dusrtin Klein, Tom Alvarez, Giimon Scholz, Logan Byrd, Tyler Leach & Elizabeth Stevensen. – Courtesy of Phil Taylor. Used with permission.
Cythia Pratt – Courtesy of Cythnia Pratt. Used with permission.
Magic Thread Cabaret’s Cabaret Latino: Songs of the Americas brought a surge of music, movement and cultural connection to Hendricks Live! in Plainfield on Oct. 3, 2026. Presented by Ammeen & Associates, LLC, the bilingual revue celebrated Hispanic Heritage Month through bolero, mariachi, salsa, cumbia, tango, samba and contemporary crossover hits.
I conceived, wrote and directed the production, which was produced by Klein & Alvarez Productions, LLC. Magic Thread Cabaret artistic director and co-producer Dustin Klein played piano, while Jacob Smith served as music director, arranger and conductor. Vocalists Alexis Faviel and Eva Luna Espay led the program, and WTHR-TV reporter Ella Rhoades served as emcee.
Yet dance gave the evening its pulse. A partnership with Butler University’s Department of Dance brought eight performers—Logan Bird, Yarelys Gonzalez, Kennedy Kinsler, Tyler Leach, Charlie Lindeman, Giimon Scholz, Elizabeth Stevenson and Ben Wheeless—to the stage under the direction of choreographer Cynthia Pratt.
Pratt, a professor of dance at Butler, holds an MFA in dance from Temple University and is a Certified Movement Analyst through the Laban/Bartenieff Institute of Movement Studies. Before moving to Indianapolis in 1994, she performed, taught and choreographed in New York City and Europe. Her connection to Latin dance is lived as well as academic. An avid salsera since her New York years, she traveled to Santiago de Cuba in 1995 to investigate salsa’s roots in son cubano and studied with the folkloric dance company Cutumba. That background gave her choreography cultural grounding rather than a superficial imitation of recognizable steps.
Cabaret Latino – L-R Elizabeth Stevensen 8 Tyler Leach – Courtesy of Phil Taylor. Used with permission.
Her knowledge was evident in the way each of the five featured numbers grew from its music. In Gloria Estefan’s “Conga,” the dancers answered the percussion with grounded hips, quick directional changes and the communal energy of salsa. “Mambo No. 5” favored crisp accents and a playful attack, while “Libertango” featuring Stevensen and Leach, tightened the space between partners, using control and tension to match the music’s dramatic pull. “Brazil” expanded into the buoyant sweep of samba, and Bad Bunny’s “Después de la playa” linked contemporary Latin pop to the fiery salsa beneath it.
Pratt’s effectiveness also came from knowing that Latin dance is a conversation—between partners, musicians, rhythm and community. She framed the singers without reducing the dancers to decoration, then opened the stage for full-ensemble celebration. Changes in posture, partnering and weight distinguished salsa, mambo, tango and samba instead of blending them into a generic “Latin” style. The dancing combined the polished partnering and competitive sparkle of Dancing with the Stars, the character-driven storytelling of Broadway and the high-energy spectacle of Las Vegas. That blend made each number theatrical without sacrificing the cultural character of its movement. More than an enhancement, the dancing was what transformed the concert into a full theatrical spectacle.
Cabaret Latino – Courtesy of Phil Taylor. Used with permission.
The students’ youth, diversity and easy chemistry were integral to the show’s joyful tone. Their varied appearances and individual movement qualities reflected the breadth of the Americas celebrated in the program, while their youthful energy made every entrance feel spontaneous and alive. Smiles passed between partners, formations opened to welcome singers into the movement, and solos quickly returned to the group. That dynamic turned technical choreography into a shared celebration. Rather than presenting Latin culture as a museum piece, the dancers made it feel current, social and inclusive—a living tradition carried forward by a new generation.
As the show’s director, I also valued the opportunity to work with a dance professional of Pratt’s caliber. Her expertise, cultural insight and collaborative spirit strengthened the production from rehearsal through performance. I came away with enormous affection and admiration for Bird, Gonzalez, Kinsler, Leach, Lindeman, Scholz, Stevenson and Wheeless. Each displayed individual talent, artistry and disciplined technique while contributing generously to the ensemble. They were expressive without upstaging one another, precise without sacrificing warmth, and fearless in moving among salsa, mambo, tango and samba. Their professionalism in rehearsal and radiance in performance enriched the production at every turn. Together, Pratt and the dancers represented Butler University’s Department of Dance exceptionally well. Their preparation, versatility, respect for the material and commitment to one another reflected the department’s high artistic and educational standards. They are not merely promising students; they are compelling young artists whose work points toward meaningful professional careers. It was a privilege to watch them bring Pratt’s choreography—and the show’s joyful spirit—to life.
Cabaret Latino – Courtesy of Phil Taylor. Used with permission.
The collaboration also reinforced Magic Thread Cabaret’s long-standing mission. Since its 2017 debut, the company has sought to connect songs to the soul while providing paid opportunities and visibility for artists. Its productions have ranged from sold-out engagements at The Cat in Carmel to virtual programming during the pandemic, with mentorship and diversity running through its exploration of the American Songbook.
I described Cabaret Latino as “a celebration of community” that invited audiences to experience the rhythms, cultures and shared stories shaping generations across the Americas. In Plainfield, that idea became tangible. The songs carried memory, the arrangements offered freshness, and Pratt’s dancers made the celebration visible. By the final number, movement had become the thread tying the evening together—and the part audiences were most likely to carry into the lobby.
