If her friends could see her now, they'd be surprised — because Kristin Ing, largely known as a dancer, choreographer and, more recently, dance teacher, has evolved as a singer.

Tonight she makes her Honolulu debut as a musical performer — dancing, singing and acting — as Charity Hope Valentine in Diamond Head Theatre's revival of "Sweet Charity." This is the feel-good musical about a dance-hall hostess seeking romance, with a score that includes socko hits such as "If My Friends Could See Me Now," "Big Spender," "Where Am I Going?" and "There's Gotta Be Something Better Than This."

"I earlier did some singing roles and speaking parts in New York," said Ing, who has done 17 "Nutcracker" ballet productions with and for her mom, Charlys Ing, over the years.

But she ramped up her ambition and courage, fueled by her 18-year friendship with "Charity" director-choreographer Andrew Sakaguchi, to take voice lessons from Neva Rego and go for it — it being that plum Charity lead.

It's made her stretch as a performer, nurturing her role as a dance teacher at Punahou, 24/VII and The Center, and adding to a resume that includes dance credits in DHT's "Carousel," Hawaii Opera Theatre's "The King and I," Hawaii Ballet Theatre's "Nutcracker" and national professional tours of "Carousel," "West Side Story" and "Peter Pan."

We asked her Five Questions:

Q. Your life has been mainly dance and choreography. In "Charity," you get to dance, but also sing. What brought on this transition?

A. I heard about the show a while back; honestly, I wanted to be in it. I loved the story; Charity was an appealing character. And, of course, as a dancer, the (Bob) Fosse-style choreography was a draw, but I also knew Andrew was directing — that was the main reason I tried out.

Q. How different, or difficult, was it to prepare both vocally and choreographically?

A. I've been studying voice with Neva, and it's been wonderful. And working with Alethea (Train), the musical director. Both are supportive. I'm still working on technique; I want to express Charity's character, and depending on the song, sometimes it's been a little easier.

Q. How does projecting mood and sentiments with vocals compare with expression through dance?

A. As a dancer, I've always worked with expression through movement. But there's a natural connection between the singing and the dancing, and, finally, the acting. Charity's character is so wonderfully layered. She's not your standard ingenue; she's been through the wars, but she's not jaded. And she has a good heart, with vulnerability we can relate to. That's what I think about a lot in every moment. As Andrew said to us in a rehearsal, "There's a little bit of Charity in all of us," and it's true. Because of the role, I've maintained a regimen — eat, sleep, drink a ton of water — to save the energy (for the show).

Q. What's your earliest recollection of dance?

A. Watching my mom, when I was 4, dancing with the Ho-nolulu City Ballet. I think they (her parents) put me on stage when I was maybe 6. I remember dancing with Penny Balfour at McCoy Pavilion; but I didn't start taking dance till I was 7. Looking back, I have done 17 "Nutcrackers" with Mom; the last time was December, when the company celebrated its 26th season. Andrew has been in many, too; I met him when he was my prince when we did "Cinderella" at Punahou. I'm not sure about ("Nutcracker") this year, since I'm getting married this spring.

Q. How fulfilling and satisfying is dance, and being on stage?

A. "I don't know where to begin. I'm so lucky to have this opportunity, this role. I'm at a point where I can relate to the heartbreak, the joyful moments of the character, so I'm having the time of my life. I don't think I could have done this 10 or 15 years ago — this has been stretching me in ways I would never have anticipated. If my friends could see me now, they'd really be surprised."

Reach Wayne Harada at wharada@honoluluadvertiser.com.