Stephanie Forshee

Artist Information

Biography

Stephanie was born and raised in Germantown, TN so she has quite a mix of her country roots combined with a diva pop sound. She gives all credit to her sister, Andrea Nyberg, and Whitney Houston for being the best voice teachers anyone could ask for. She went to school for musical theatre, but has since started writing her own music. You can take a girl out of the south, but you can NEVER take the South out of this girl. Her music is sometimes edgy, but will never lose its moral based themes. It's down to earth, thought provoking, and a pleasure to listen to. Stephanie just wants to entertain, evoke emotion, and make people think about why they do things and how they can better themselves. Stephanie currently resides in Los Angeles.

Instrumentation

Discography

What Did I Do (To Deserve Him)
I Wanna
Walk of Shame
Don't Let Go

Audio

• What Did I Do
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• Sinking
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• Walk of Shame
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• Same Story
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• I Wanna
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• House of Love
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• Still Not Good Enough
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• Don't Let Go
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• Right Back Here Again
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• Soulmate
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Lyrics

• What Did I Do
• Don't Let Go

Video

Photo Gallery

Press

• Green Eggs and Ham Sizzle on the Stage of the Poplar Pike Playhouse [+ Show ]
  

  Weaving a classic love story between the Cat’s moments of mayhem are seniors Jake DeFur and Stephani...Weaving a classic love story between the Cat’s moments of mayhem are seniors Jake DeFur and Stephanie Forshee, the actors responsible for bringing Horton the Elephant and Gertrude McFuzz to life. The two handle some of the show’s most poignant musical numbers, such as “Alone in the Universe” and “Notice Me, Horton”. DeFur’s baritone voice paired with Forshee’s steep vocal range create a moving parable of a love-struck bird trying to catch the eye of a charming, but unnoticing elephant.
  
  

• 'Frog & Toad' Get a Jump on Stage Roles [+ Show ]
  

  No less important is the amazing trio who fill in as various other woodland creatures. When Frog and...No less important is the amazing trio who fill in as various other woodland creatures. When Frog and Toad are about to veer into bathos, Corey Cochran, Stephanie C. Forshee and Amber Snyder fly onstage, ramping up the discourse and energy level considerably. These three emerging talents have got the voices and the moves to go far, and what fun it is to see them in action.
  
  http://www.commercialappeal.com/news/2007/nov/09/review-frog-and-toad-get-a-jump-on-stage-roles/

• Civil War Ends Barn Season [+ Show ]
  

  ‘The Civil War’ ends Barn season Aug 26th, 2009 by admin. Leave A Comment - No comments yet A...
  
  ‘The Civil War’ ends Barn season
  Aug 26th, 2009 by admin. Leave A Comment - No comments yet
  AUGUSTA, Mich, — The Barn Theatre has elected to end its 2009 season with a bang — literally.
  
  Opening Tuesday evening and playing for one week only is “The Civil War” by Frank Wildhorn whose creative resume includes theatrical melodramas “Jekyll and Hyde” (still popular with regional and civic groups) and “The Scarlet Pimpernel” (better than “J&H” but never as popular), both based on fictional novels.
  
  No single work of fiction was needed for “The Civil War.” What it needed originally (it only ran for two months on Broadway) and still needs are cohesive story lines and, here at least, a lot more action.
  
  
  Confederate soldiers prepare to fight in "The Civil War," on stage at The Barn Theatre through Sunday.
  If that sounds like an oxymoron when referring to a mini-opera about the bloodiest time in the history of the United States, it is unfortunately a fact. It is difficult to grasp a thread of the stories of a family from the north and one from the south and the slaves they owned and freed, especially here where director Brendan Ragotzy has opted to have each of several major roles sung by two or three company members. Lisa Ann Morabito, Penelope Alex and especially Brooke Evans have solid soprano voices but having them all sing the character of Sarah is confusing and makes one wonder if there is some hidden meaning to the role other than just letting three of this year’s leading ladies have a crack at it. Except for the role of Bessie, a slave, also given dual personas by Lindsey Aeriel Grimble and the powerfully voiced Alexis J. Rogers, there are only two other solo spots for the ladies. These are handled well by Jenna Petardi as the mother of ”Five Boys” who died for the North, and Stephanie C. Forshee who, with Evans and Grimble, sings of “A Candle in the Window” of the White House.
  
  Actually, in spite of all the rousing military-themed male solos and chorus numbers, Wildhorn designs his best and most moving melodies for the ladies. All are in good hands — and voices — here.
  
  The excellent Aaron Velthouse is taxed with two major roles, Lochran and Bill (happily both northerners), which he delivers with as much separation of character as possible and a lot of excellent vocal work. Barn favorite Eric Parker is Pierce, a Virginian colonel and Lochran’s Confederate counterpart. It is a pleasure to listen to both, singly and in duets. Two other Northern solo spots are delivered strongly and smoothly by Alex Kip and Kevin White.
  
  
  Slaves (from left Stanley White, Todd M. Kryge and Lindsey Aeriel Grimble) long for freedom in The Barn Theatre production of Frank Wildhorn's "The Civil War."
  Byron Glenn Willis is Frederick Douglas, the voice of the slaves, and the quintet of black singers who play all the roles from the slave block to eventual freedom, sing powerfully if sometimes unintelligibly. It would help to understand the lyrics, but possibly this is a sound problem that will be solved quickly. ”Star” Fee Waybill is a Confederate soldier with one country-rock number and two ensemble appearances. The designation should go to Parker and Velthouse.
  
  There are some lovely melodies in ”The Civil War” which is played out on a stage divided, North being primarily stage right and South, stage left. Appropriate flags hang at each side of the playing area with the back wall reserved for a continuous Civil War slide show ala Ken Burns and PBS. Unfortunately,the action moves at about the same pace, with singers inevitably winding up in a line — up or down stage — with very little action en route.
  
  The orchestra is supportive and not overwhelming with the exception of several of the spoken passages, primarily texts from Lincoln and Douglas. The final words are so over-ridden that the desired dramatic effect unfortunately is compromised.
  
  “The Civil War” plays at 8:30 p.m. through Friday, 6 and 9 p.m. Saturday and 5 p.m. Sunday in the theater on M-96 west of Augusta. Tickets are $29. For reservations and information, call (269) 731-4121
  

Setlist

Basic Requirements

Calendar