Saturday Special - Working in Theater: An Interview with Benjamin Nissen, Associate Artistic Director

Welcome to another installment of our Working in Theater series. This series in which we interview people working in different theater-related jobs runs periodically on Saturdays.  Today we will be speaking with J2 Spotlight Musical Theater Company's Associate Artistic Director,  Benjamin Nissen (BN)

What is your job title?

BN: Associate Artistic Director

How would you describe what you do?

BN: Assist the Artistic Director in maintaining the highest possible presentation and production standards for the J2 Spotlight Musical Theater Company.

How did you come to be doing the job that you do?

BN: Our Co-Founder and Artistic Director, Robert W. Schneider, and I have a history of producing concert-revivals of musicals at Feinstein's/54 Below. Our Co-Founder and Executive Producer, Jim Jimirro, saw one of the shows, one thing led to another and now we all get to do them together as full productions at Theatre Row! 

Did you have to get any special training for your job?

BN: When it comes to producing and theatre administration, most of my training is through experience and mentorship. However, I did receive my BFA in Musical Theatre from Penn State where I received a very thorough education in performing and making a life in theater. 

What is the best part of your job?

BN: I love being able to be a small part of introducing these stories to new audiences and sharing their rich history. My hope is through either being on stage or in the audience we've introduced someone to their new favorite show.

What is the worst part of your job?

BN: I love watching the casts up on stage having so much fun and sometimes it makes me miss performing. Who knows, maybe one day you'll see me roll-up at the auditions!

What are some of your favorite shows that you have worked on?

BN: I really enjoyed getting to be a part of the team on both Seesaw and No Strings last season! Truthfully, I wasn't familiar with either of the shows until we were exploring options for our season and I ended up really falling in love with the scores and stories of the shows. 

What show if any would you loved to have worked on?

I would have loved to work on the original Broadway production of Cabaret. This is one of my favorite shows of all time and I think it would have been really cool to be involved with it from the beginning. Watching that team work, exploring new songs, so awesome! 

Who are some other people in your field that you admire?

BN: Two people that I really admire deeply are Sue Frost and Randy Adams. My first job on Broadway was working in their office on Come From Away and they taught me to always lead with kindness in this industry. I owe so much of who I am and how I work to them and the entire team at Junkyard Dog Productions.  

What advice would you give to someone who wants to do what you do?

BN: Stay curious! The first time I worked with Rob was as an assistant director at a summer stock theatre in Pennsylvania. I was pursuing a performance degree at the time and wasn't sure if it was the right path for me. I was hungry to learn and excited to take on any new responsibility that he needed help with. Over the past 6 years of working together, I've had the opportunity to work on concerts everywhere from Feinstein's/54 Below to Penn State to the St. James Theatre on Broadway. This all came from me saying to Rob, "Hey, I might be interested in directing... if you have any shows coming up I'd love to sit-in and learn from you."

We thank Benjamin for taking the time to answer our questions.  The first J2 Spotlight Musical Theater Company show of the season, A Class Act will open on Thursday, February 10 and run through Sunday, February 20. That will be followed by A Day in Hollywood/A Night in the Ukraine which will run from  Thursday, February 24 through Sunday, March 6. The final show of the season will be The Baker's Wife which will run from Thursday, March 10 through Sunday, March 20. All shows will take place at Theater Row, 410 W. 42nd St., New York, NY. For more information about J2 Spotlight Musical Theater Company or to purchase tickets to any or all of their shows, visit www.j2spotlightnyc.com. We will also provide further updates as they become available in our weekly Sunday Scoop posts.

Tune in tomorrow for this week's Sunday Scoop post.

Saturday Special - Working in Theater: An Interview with Rebecca Crigler, Company Manager

Welcome to another installment of our Working in Theater series. This series in which we interview people working in different theater-related jobs runs periodically on Saturdays.  Today we will be speaking with company manager Rebecca Crigler (RC).  

What is your job title?

 

RC: Company Manager

 

How would you describe what you do?

 

RC: This question is harder to answer than you would imagine. Company managers function as HR reps, bookkeepers, travel agents, event planners, and social workers. The general manager dictates budgets and contracts, and the company manager uses those directives to run the day-to-day during rehearsals and performances. My scope of work has deviated on every project I’ve worked based on the capacity of the venue, the types of union contracts, the location of the theatre, and/or the size of the management office that hires me. 

 

However, broadly, I deal with money, tickets, people, and paperwork. I am the person “in the field” from the management office. I pay the bills, run the payroll, book travel and internal ticket requests, and I listen to the pulse of the company to anticipate any issues that may cause riffs. I’ve sat in emergency rooms with injured or sick crew members; I’ve held creatives’ hands while they’ve cried; I’ve played decoy to the paparazzi and over-enthusiastic fans when celebrity employees needed to get from one place to another without interruption; and I’ve spent six figures on bills in an afternoon. No two days are the same.

 

How did you come to be doing the job that you do?

 

RC: I was an out-of-work actor who thought an internship in theatrical administration could get me a leg up on my acting career. That plan didn’t work quite as well as I had dreamed, but it did gain me valuable insight on the “business” side of “show business.” 

 

I interned at a theatrical foundation that was in preproduction for an awards show. The foundation also managed a few theatres, so I found myself filling in for some of their front of house staff to make a little extra money after work in the office. Once my internship ended, with the experience I had acquired from filling in at the theatre, I became a house manager. Whenever there weren’t any shows in the venue, I would fill in for the box office at other theatres that had shows running. While I was bouncing around theatres, I met a producer that made producing look like a lot of fun, and I did everything I could to make myself seem valuable enough to be incorporated into his producing team. After a year of building a relationship with that producer and producing small-scale projects independently, he offered me a position as associate producer on one of his shows. Because the scope of work in that position is so broad, I was acquiring skills that were transferable to theatrical management positions. Once a show would close, I would look religiously at different job postings that fit my skillset on Playbill.com, but I tend to get most of my work (including the company management position on A Sherlock Carol) based on recommendations from the connections I’ve made over the years.

 

Did you have to get any special training for your job?

 

RC: A BA in Theatre does not impress too many people on a resume. Most of my training has been hands-on via work experience. While special training for this job is not usually required, in order to make myself a competitor in the industry, I regularly take classes and seminars on topics that range from accounting to fire safety to sexual harassment prevention.

 

What is the best part of your job?

 

RC: Making connections. Company managers deal with everyone that touches the theatre: producers, creatives, audience members, venue staff, catering companies, carpentry shops, etc. Being able to connect with such a variety of people and doing my part to make their connection with a show run as smoothly (and as fun!) as possible is quite fulfilling.

 

What is the worst part of your job?

 

RC: There is never a time when I feel like I am “off-the-clock.” The day off for the actors may not be the same day off for the other departments, so finding a work/life balance in this position is challenging.

 

What is your favorite part of your current show and why should people want to see it?

 

RC: The people! Everyone working on A Sherlock Carol is amazing. Because the producers and the director have put together a team of professional, talented, and good people, that “vibe” translates onstage. The content is fun and thrilling, the design elements are beautiful, and the performances are top-notch. It’s a show for the whole family without feeling like it is geared toward children. The adult iteration of Tiny Tim brings a case surrounding a mystery involving Ebenezer Scrooge to Sherlock Holmes. Who wouldn’t be intrigued?!

 

What are some of your other favorite shows that you have worked on?

 

RC: There are so many! The first ones that come to mind are Mike Birbiglia’s The New One, Chris Gethard: Career Suicide, Neal Brennan: 3 Mics, and Jerry Springer—The Opera. I guess I like to work on shows with people’s names in the titles.

 

What shows if any would you love to have worked on?

 

RC: That’s a tough question, too, because some of the shows that I’ve loved would have been a lot of work for me as a company manager (huge casts, a million moving parts, etc.), but, if I had to choose a favorite play that I would have loved to have been a part of, I’d say August: Osage County.

 

Who are some other people in your field that you admire?

 

RC: As far as those that I admire in the theatrical management field, I can honestly say that I admire the people I’m working with now: Nathan Gehan, CEO of ShowTown Theatricals, and everyone in the ShowTown offices. They are so knowledgeable and well-equipped to take on any show that comes across their desks. Even though there are a lot of things going on at all times, they have a way of creating a workplace environment that makes me enjoy coming to work every day.  

 

What advice would you give to someone who wants to do what you do?

 

RC: Be adaptable and resilient. Be true to yourself, check your ego at the door, and make people want to work with you. Entertainment is a hard field to succeed in, and the people who get the most work are the ones that make life easier for everyone else. The job of a company manager can be exceedingly stressful (you’re managing eight live events per week!), but you get to see your work realized eight times a week, as well. This position can touch so many peoples’ lives.

 

We thank Rebecca for taking the time to answer our questions.  A Sherlock Carol is currently playing at New World Stages located at 340 W. 50th S., New York, NY. It will run through Sunday, January 2, 2022. For more information or to purchase tickets, visit asherlockcarol.com.

Tune in tomorrow for this week's Sunday Scoop.

Photo credit: A Sherlock Carol production photo by Matthew Murphy

Saturday Special - Working in Theater: An Interview with Hannah Delmore, Production Stage Manager

Welcome to another installment of our Working in Theater series. This series in which we interview people working in different theater related jobs runs periodically on Saturdays.  Today we will be speaking with production stage manager Hannah Delmore (HD). 

What is your job title?

HD: I am a Production Stage Manager in New York City. I have been doing it for 6 years now, and currently I am the PSM for Paddington Get in a Jam at the DR2 in Union Square. 

How would you describe what you do?

HD: The role of PSM is a lot to explain so I’ll just touch the surface of what I do for Paddington. It is my job to call the light and sound cues for the show, call places for the cast, check that all props are pre set correctly, give the cast their call times for shows and rehearsals, give out all the notes for all the departments on the show, do daily show reports to keep the whole company up to speed on how the project is doing, disinfect the inside of the Paddington Puppets, reset special effects used in the show, and my personal favorite be the Paddington “Cake Fluffer” There is moment with a cake getting smashed in a face and I have to reapply the shaving cream after each show and my General Manager called me the “cake fluffer”.

How did you come to be doing the job that you do?

HD: I went to a performing arts high school in Las Vegas, The Las Vegas Academy of Performing and Visual Arts, and it was there I learned that even though I love what happens on stage I was drawn much more the behind the scene world. Specifically the production side of things. 

Did you have to get any special training for your job?

HD: For this current show, no I did not need any special  training. However for other projects I have to get my fire certification or complete other kinds of certifications to be allowed work with that company.

What is the best part of your job?

HD: I would say the best part of my job currently, is seeing the reaction kids have to one of their favorite story book character has come to life just to play with them.  

What is the worst part of your job?

HD: I can’t really pick one bad part of my job. I would say, just like every job, the worst part is just when we have a rough show day or rough rehearsal. We deal with it and just have a better day after that. 

 What are some of your favorite shows that you have worked on?

HD: I am having a lot of fun working on Paddington right, there are so many moving parts to it that you never find yourself bored or getting too comfortable in routine. I have also work on the Very Hungry Caterpillar Show with Rockefeller Productions as well and that is definitely one of my favorite projects ever. That little caterpillar has a special place in my heart.

What show if any would you loved to have worked on?

HD: If there was any show I could stage manage it would either be A Chorus Line or Cabaret, I grew up listening to them both and became two of my favorite shows. 

Who are some other people in your field that you admire?

HD: I have had the pleasure to work with a lot of strong women in my field. Currently, two of the main people I answer to are women (Krista Robbins and Jill Bowman) they are two people I admire. Not to mention, the puppet supervisor for Paddington is also a woman (Jessica Lawrence) All three of these women started doing small freelance work like myself and now I am lucky enough to have the chance work and learn from them. 

What advice would you give to someone who wants to do what you do?

HD: Be hungry for it, be open to trying new things, listen and be a sponge, don't burn bridges (Gossip can wait for the bar or your home, keep it pleasant in the workplace this industry is small), and have fun. 

We thank Hannah for taking the time to answer our questions.  Paddington Gets in a Jam is currently playing at DR2 Theatre located at 103 E. 15th St., New York, NY through Sunday, January 2, 2021. For more information or to purchase tickets, visit 

Saturday Special - Working in Theater An Interview with Seth Bisen-Hersh, Composer and Lyricist

Welcome to another installment of our Working in Theater series. This series in which we interview people working in different theater related jobs runs periodically on Saturdays.  Today we will be speaking with composer/lyricist Seth Bisen Hersh (SBH). 

What is your job title?

SBH: I’m the composer/lyricist of the musical Love Quirks, which means I’ve written all the music and the lyrics to the show, AKA the songs. The show started by taking some of my popular cabaret songs with quirky love themes in 2010, and was eventually turned into a full-fleshed out story with four three-dimensional characters and is now a traditional musical. All of the events in the show are based on actual things that have happened to me, my collaborators or our friends throughout the years, so the show is authentic with a universal appeal.

How would you describe what you do?

SBH: I wrote the songs for the show, and as we’ve worked to perfect the musical, I have rewritten the lyrics many times to wed them with the characters. In addition, we have cut songs and I’ve written multiple new songs only to rewrite those or replace them over the long process fine-tuning the story we tell. I’m happy to say we have finally got the show where we want it to be just in time for its Off-Broadway debut on February 28th.

How did you come to be doing the job that you do?

SBH: I first learned where Middle C was on the piano from my grandfather when I was 3 years old. He taught me how to read music, and my grandmother taught me how to fiddle around and play by ear. I took piano lessons starting at the age of 8, and started doing high-end community theatre at age 11. The first song I wrote was for my mom when I was 13. It was a song for her birthday, and that’s when I learned I could write people songs instead of having to spend money on gifts, which is something I still do to this day! I started writing songs more actively, and partnered with a high school friend to write my first musical when I was in college.

Did you have to get any special training for your job?

SBH: Yes, I went to MIT where I got a practical degree in Computer Science and Engineering, but since it’s so costly to go to school, I figured I should get two majors for the price of one! The second major was Music Composition, and even though people don’t realize it, MIT has one of the best music programs in the world, and I studied with a Pulitzer Prize winning composer, as well as one who used to tour with Paul Simon. (Incidentally, when Paul Simon was at MIT, my professor declined to bring him to class worried we would’ve fawned over him too much. This is completely not true, for I totally kept my composure when I did see Paul in real life. Granted, we were at the urinals during intermission for the show Once on Broadway, so it wasn’t really an ideal time for a selfie.) MIT was a great environment for doing things yourself, and I produced the first musical that I had written the score to there spring of my Senior year.

After MIT, I ended up getting a Masters in Music Technology at NYU, which was supposed to combine my majors, but really ended up in me focusing on musical theatre more actively. I took a wonderful class called “Composing for Musical Theatre” taught in the BMI method my first year, and my second took private lessons to hone my craft. I also joined the NYU Songwriter’s Club, where I worked on my lyric skills and learned to eschew cliche rhymes.

What is the best part of your job?

SBH: I absolutely love writing. I consider it a puzzle getting the music and lyrics to work together. (I also write crossword puzzles, and have been published by the LA Times.) In particular, a song in a musical has to accomplish so many things: firstly, it needs to work for the character and either tell us something new about them or forward the plot. Secondly, the lyrics have to scan properly so that there aren’t any syllables that are mis-emphasized, which make it both harder to learn and harder to hear. Thirdly, lyrics in theatre should have perfect rhymes, although there is much debate about that. Personally, I follow Sondheim’s ethos to a tee, and would refer you to his books on why. Regardless, writing music is much easier than writing lyrics, and I think the key to a successful song (in my style and my opinion) is having a catchy tune caged in some interesting and complex harmony. I do enjoy writing earworms like one of my other idols, Jerry Herman, so that the audience leaves humming the score.

What is the worst part of your job?

SBH: I firmly believe that only through collaboration can work transcend itself. My collaborators and I all have the same goal of perfecting the show, and I trust them implicitly. That said, I find rewriting challenging - I think most writers would agree with me - but there’s always a deeper level to reach or a way to improve a piece. I wish we could get things right the first time—that’s because I pride myself on being super efficient— but art is fluid and requires we keep going. Oftentimes my bookwriter Mark and I will think it works, and my director Brian will say “That doesn’t work because…” and we go back to the drawing board, and always we make something better than the first time.

What are some of your favorite shows that you have worked on?

SBH: I had a really cute kid’s musical Stanley’s Party at Manhattan Children’s Theatre in 2010. It was based on the books Stanley’s Party and Stanley’s Wild Ride by Linda Bailey. I would love to bring that back at some point. I also wrote the score to a musical adaptation of F. Scott Fitzgerald’s The Diamond as Big as the Ritz, which we hope to get produced at a regional theatre in the near future. It is a satirical story about the perversion of the American Dream, which is still relevant a decade after it was written. Besides musicals, I also have a sitcom based on my life as a pianist/cabaret producer called Every Day a Little Seth we hope to get on a network or streaming platform in the near future, and my popular podcast: Millennials are Ruining the World! an Xennial perspective: bridging the gap between Generations X & Y, which has the catchphrase: “I’m not woke, but I’m awake!” Not to mention my Instagram story series “Songs with Seth!” (@sethbhdotcom)

What show if any would you loved to have worked on?

SBH: I would have loved to be a part of any Stephen Sondheim or Jerry Herman original Broadway production. They are my two favorite composer/lyricists, and I think I somehow meld their styles to create my own.

Who are some other people in your field that you admire?

SBH: Besides Steve and Jerry, the established composers I admire the most are Kander/Ebb, Cole Porter, Cy Coleman, Maltby/Shire, Bock/Harnick, Ahrens/Flaherty, Marvin Hamlisch, Maury Yeston and Alan Menken.

In terms of more modern writers, William Finn is one of my favorites. I love his quirkiness, and his penchant for using perfect rhymes but surprising the listener with when they come out. Also, Lisa Kron and Jeanine Tesori are wonderful. Additionally, David Yazbek has some of the best comedy songs as his lyric writing skill is very strong. I also really like Larry O’Keefe, and the star of Love Quirks was actually in Heathers the Musical, so we have similar taste in casting.

What advice would you give to someone who wants to do what you do?

SBH: An artistic career is not for everyone. It takes non-stop hard work and perseverance. I have been working in the theatre professionally for a very long time, and Love Quirks itself took almost a full decade of development to get where it is today. But it is worth it. If this is what you want to do, then do it, and do whatever it takes to keep afloat. Work on honing the craft, and most importantly get your work seen by audiences. Listen to audiences and collaborators to figure out what works and to hone your personal style. Don’t try to sound like anyone else. Find the authentic you. And don’t wait around for someone else to produce your work. Only you will believe in yourself the most. And also, don’t compare yourself to others, as that is going to just make you bitter and jaded. You have your own path, and don’t fret if it seems like it’s going nowhere at the moment. Everything is connected, and eventually we all get to where we are meant to be. Trying to force it or being married to plans (and this is coming from a ridiculous planner) is again just going to lead to frustration. Remember that art is all subjective, and don’t take the rejection personally. Everyone has their own agendas, and the key is to find people who share yours. And if something isn’t meant to be, then it’s not meant to be. We took a few years off from this show, and last summer I had a dream that we were opening off-Broadway in 2020. I took that as a sign that I should put up another reading, and this time everything actually fell in place. And it’s a miracle that I am grateful for every day. So, I hope that this gives hope to those out there whose time has yet to come. It might not happen for you when you want it to, but keep persisting and some day it will.


We thank Seth for taking the time to answer our questions. Love Quirks will begin previews on February 28th at St. Luke's Theatre located at 308 W. 46th St., New York, NY. Opening night is set for March 16th. Performances will run four (4) times a week Friday - Monday. For more information or to purchase tickets, visit https://lovequirks.com. For more about Seth Bisen-Hersh and his work, visit www.sethbh.com.

Tune in tomorrow for this week's Sunday Scoop.

Saturday Special - Working in Theater: An Interview With Cody Renard Richard, Production Stage Manager

Welcome to another installment of our Working in Theater series. This series in which we interview people working in different theater related jobs runs periodically on Saturdays.  Today we will be speaking with Cody Renard Richard (CRR). Cody is a Production Stage Manager.

What is your job title?

CRR: Currently, Production Stage Manager of Freestyle Love Supreme on Broadway.

How would you describe what you do?

CRR: This is always a tricky question to answer, because as a Stage Manager we have our hands in so many different aspects of the show. But ultimately, I'm the main source of communication for the show. I work with each department to make sure that the show runs successfully, that includes the technical and creative aspects of the production. Here's a brief description that I found that elaborates on that a little more:  "Like a spider sitting in the middle of its web, the stage manager should sit at the heart of the production. A stage manager is responsible for the overall organization of a theatrical production. The job requires keeping actors and technicians on task, managing meetings and rehearsals, and remaining calm and level-headed throughout a process that tends to be emotionally and physically draining. Although a difficult task, the job can be highly rewarding when the result is a successful production." 

How did you come to be doing the job that you do?

CRR: I've assisted on Broadway for years, gaining experience and working alongside various Production Stage Managers. Watching how they work and working with them helped prepare me to assume the role for my current gig. I think it's very important to learn by doing and see how different people work, so you can see what works best for you. 

Did you have to get any special training for your job?

CRR: I did! I received a BFA in Stage Management from Webster Conservatory in St. Louis, Missouri. From there, I moved to NYC and started working. As a stage manager, you never really stop learning or training. Each show and experience brings a new challenge for us to grow through.

What is the best part of your job?

CRR: Getting to work with every department - we have a connection with the cast, designers, crew, creative team, producers and likely any other department working on the show. I love that. I love that the job calls for us to be involved with almost every aspect of the production and that we get to communicate and facilitate with everyone. 

What is the worst part of your job?

CRR: Sometimes the schedule can be a little tiresome. 8 shows a week, coupled with the occasional rehearsal during the week is a bit time consuming.

What are some of your favorite shows that you have worked on?

CRR: I've been fortunate to work on a lot of amazing productions, but my favorites have to be Jesus Christ Superstar Live, Hamilton, Freestyle Love Supreme and After Midnight on Broadway. 

What show if any would you loved to have worked on?

CRR: If and when Dreamgirls ever comes back to Broadway, I WANT IN ON THE FUN!! 

Who are some other people in your field that you admire?

CRR: My college dean, Peter Sargent has been the person that inspires me the most. He taught me early on how to lead with grace and positivity - that's something that I have always cherished. And also, I admire my friends SO much, they constantly push me to work harder and to keep going. 

What advice would you give to someone who wants to do what you do?

CRR: Be nice, ask questions, do the work and stay positive. I know that's all a little vague, but trust it will take you FAR! Also, trust your journey. Know that things happen when they’re supposed to happen for you. In this age of social media and instant gratification, we all want it to happen tomorrow. We see everyone’s successes happening around us. So, we either compare what we’re doing to what they’re doing, or we say, “Why is that not happening for me?” Trust that the work you’re doing will pay off. That the opportunities and experiences will come to you when the time is right. Keep at it!

We thank Cody for taking the time to answer our questions.

Tune in tomorrow for this week's Sunday Scoop.

Saturday Special -Working in Theater: An Interview with James Morgan, Producing Artistic Director at the York Theater Company and Scenic Designer

Welcome to another installment of our Working in Theater series. This series in which we interview people working in different theater related jobs runs periodically on Saturdays.  Today we will be speaking with James Morgan(JM). James is an Producing Artistic Director of the York Theater Company as well as a Scenic Designer for the York and other theater companies.

What is your job title?

JM: Producing Artistic Director at the York Theatre Company, “Where Musicals Come to Life.”   Also Scenic Designer there and at other theaters.

How would you describe what you do? 

JM: I oversee the artistic end of things at the York, from choosing shows, to directors, designers, choreographers, actors, musicians, etc.  Of course, all these decisions are made in conjunction with other members of the staff.  Shows are chosen with an overall view of the season in mind, and, always with our audiences interests.

How did you come to be doing the job that you do? 

JM: I got involved at York right out of college (University of Florida) in 1974, where I majored in scenic design.  Became set and graphic designer and over the years got more involved in running the company, so that when the founder, Janet Hayes Walker, passed away, she had asked me to take over for her and I did.  Never had any plans to run a theater, but I had a sense of what York could grow into and I built on what she created.  The “all musical” concept  was my creation; we had done many musicals before that began in 1996, but I thought that focusing on them gave us a niche in the marketplace.

Did you have to get any special training for your job? 

JM: BFA in Theatre from University of Florida (scenic Design).  Years of listening to, and reading, and watching musical theater and how it is put together.

What is the best part of your job?  

JM: Working with theater artists of all kinds, especially those who create musical theater.

What is the worst part of your job? 

JM: Raising the money to make what we do happen.

What are some of your favorite shows that you have worked on? 

JM: Enter Laughing, Desperate Measures, The Musical of Musicals, Pacific Overtures, Finian’s Rainbow, Ionescopade, Storyville, The Show Goes On, Jolson & Company, etc etc

We thank James for taking the time to answer our questions. For more about the York Theater Company, visit https://yorktheatre.org.

Tune in tomorrow for this week's Sunday Scoop.

Saturday Special - Working in Theater - An Interview with Travis Moser, Associate Director, Print and Special Projects at SpotCo,

Welcome to another installment of our Working in Theater series. This series in which we interview people working in different theater related jobs runs perodically on Saturdays.  Today we will be speaking with Travis Moser (TM). Travis is an Associate Director at SpotCo, an entertainment advertising and marketing agency. He is also a performer and his cabaret homage to Linda Ronstadt, Just One Look, will be presented at The Green Room 42 this Thursday June 20, 2019 at 7:00 PM.                                                                                 

What is your job title? 

TM: Associate Director, Print and Special Projects at SpotCo, which is a full service advertising agency/marketing company specializing in entertainment, specifically Broadway. The designers at SpotCo have created iconic brands, such as the original productions of Rent and Hamilton. SpotCo can help you with every aspect of advertising/marketing for your show and they're the best in the business! If you don't believe me, check out the book On Broadway: From Rent to Revolution by our founder, Drew Hodges. It chronicles 20 years of SpotCo's work on Broadway! 

How would you describe what you do? 

TM: Not unlike Dolly Levi in Hello, Dolly!, I have my hand in a little bit of everything! One part of my job is project managing every aspect of everything that is physically printed. That includes billboards in Times Square, show flyers, Playbill inserts, direct mail pieces, souvenir programs, bus sides, taxi tops and everything else you can think of. I'm in charge of everything, including getting estimates, liaising with vendors, working with our production artists on the design, getting approval from clients and everything in between! The other part of my job consists of me being the account director for all the national tours and special projects, which includes any show that isn't a sit-down musical or play. An example of this would be a I Am Harvey Milk with Kristin Chenoweth, BC/EFA's annual Broadway Bares, etc. I am the main point of contact for our clients, which typically consist of the show's producers. My role is pretty unorthodox here at SpotCo, but I love it because it allows me to work with nearly every department in the agency on a consistent basis. 

How did you come to be doing the job that you do? 

TM: I graduated from Point Park University's Conservatory of Performing Arts with a double major in Musical Theater and Communications. I knew I wanted to work on Broadway in SOME respect, but I wanted more stability. I'm also a cabaret, concert and recording artist, so I wanted to make sure my job was flexible enough to allow me to still perform live and record. In fact, I'm performing my brand new show, Just One Look: The Songs of Linda Ronstadtat The Green Room 42 on June 20th at 7pm with special guests Molly Pope, Cathy Cervenka, Daryl Glenn, Jack Bartholet and musical director Drew Wutke! When I moved to New York, I was lucky enough to meet Aaliytha Stevens, who worked at SpotCo and took a chance on me. I owe a lot to Aaliytha. I started as an assistant and worked my way up. I've been at SpotCo for almost 8 years at this point! 

Did you have to get any special training for your job? 

TM: Before coming to SpotCo I worked at a market research company that handled theatrical projects, so I had a vague understanding of the advertising industry from the market research side. I also worked for The Araca Group, which is one of the Broadway producers of Wicked(among many others), as well as a Broadway merchandising company. I'm a firm believe that as long as you go to college for SOMETHING, you'll be fine and probably figure it out later. I met my boyfriend, Michael DeiCas, while we were at Point Park University and he was a double major in Theater Arts and Communication. He's now a Publicity and Communications Manager at Disney Theatrical on Broadway. We didn't know a SOUL in NYC before we got here. You just have to take the plunge, come to NYC and hope for the best! 

What is the best part of your job? 

TM: As a self proclaimed theater nerd, the best part is knowing all the inside information about all of the shows we're working on and will be working on. I also love seeing the process of watching our brilliant designers bring the shows to life with their art, whether it's in print, TV, radio, outdoor or online! Getting free tickets sometimes doesn't hurt either! 

What is the worst part of your job? 

TM: Broadway is a crazy place and it seems like everything is a rush, especially around award season! It can be really scary worrying about getting everything done in time, because if you miss your window of opportunity, you might as well have not even done it in the first place! Every day is just chock-a-block! That makes things exciting, but also stressful! 

What are some of your favorite shows that you have worked on?

TM: It was a THRILL working on Bette Midler in Hello, Dolly!, because that was such a once in a lifetime event and I love that show so much. A Doll's House: Part 2 is another one of my recent favorites and Laurie Metcalf gave one of the best live performances I have ever seen. I also love working on the tours, such as Cats and My Fair Lady, because I first experienced theater on tour in Pittsburgh, PA. It makes me happy to think some other little boy is experiencing the joy of theater for the 1st time because of one of the shows of which I have a small part! 

What show if any would you loved to have worked on?

TM: I can't really think of any non-SpotCo show that I would have wanted to work on! SpotCo has worked on such iconic shows and I'm so incredibly proud to be part of the SpotCo family. I have signed posters of the Broadway revivals of Chicago and Annie Get Your Gun with Bernadette Peters hanging in my childhood bedroom. Those were the first posters I saw when I came for my first interview at SpotCo, because SpotCo designers created the key art for both of those shows. It doesn't get any better than that! 

Who are some other people in your field that you admire? 

TM: I admire Michael DeiCas (Manager, Publicity and Communications at Disney Theatrical) because he has worked in several aspects of the industry and, as I mentioned, didn't know anyone who worked on Broadway or even in New York, for that matter, before we got here. I also admire Aaliytha Stevens, our COO at SpotCo. She took a chance on me and we worked side by side for many years before becoming COO. She is also the first and only African American female COO at a Broadway advertising agency as well as an amazing person and mother! 

What advice would you give to someone who wants to do what you do? 

TM: After you graduate from college (if you go that route), just get to New York City! Whether that means working in a restaurant or in retail, there is never going to be an easy, perfect time to move here. So many people wait around to save money, get experience or find the perfect scenario which they think will bring them to New York. You can only work in Broadway advertising on Broadway, for the most part, and it's a pretty competitive field, so you have to actually be here to potentially have the opportunity. SpotCo also offers a really great (paid) internship program and many of those interns become full time employees! 

We thank Travis for taking the time to answer our questions. Don't miss his cabaret show, Just One Look, the Songs of Linda Ronstadt, this Thursday June 20 at 7:00 PM at The Green Room 42, 570 10th Ave., New York, NY.

Tune in tomorrow for this week's Sunday Scoop.

Saturday Special - Working in Theater - Paul McGill, Choreographer

Welcome to another installment of our Working in Theater series. This series in which we interview people working in different theater related jobs runs perodically on Saturdays.  Today we will be speaking with Choreographer, Paul McGill (PM). Paul started his career as an actor appearing in such shows as the 2004 Revival of La Cage Aux Folles, the revivial of A Chorus Line and in Memphis as well as movies like the documentary Every Little Step, the 2009 version of Fame, and Man on a Wire. He later moved into choreography. He was the associate Choreographer of Hedwig and the Angy Inch on Broadway as well as the Choreograper of several Off Broadway shows among other things.

What is your job title?

PM: Choreographer 

How would you describe what you do?

PM: I help a story forward with movement of whichever variety is called for in each specific moment of each specific show.  

How did you come to be doing the job that you do?

PM: I started out as a Broadway dancer and during the show Spider-Man, I decided I wanted to live my life fully in the way I felt I best served the art form.

Did you have to get any special training for your job?

PM: It’s constant life training. It seems to be on-the-job training every single time. I remain curious. I'm actively thinking in the best way I know how: as a choreographer/director.

What is the best part of your job?

PM: Bringing people together and cultivating a collective confidence in their movement to help them better tell our story.

What is the worst part of your job?

PM: The worst part is navigating through any resistance or mistrust from a collaborator.

What are some of your favorite shows that you have worked on?

PM: The Music Man at Asolo Rep, Georgia McBride Off Broadway and
Geffen Playhouse, Hedwig on Broadway (Associate Choreographer)

What show if any would you loved to have worked on?

PM: Moulin Rouge, Newsies, Harry Potter, Movin’ Out, Curious Incident, Once on this Island, Beetlejuice, Wicked, the Beatles’ LOVE Show... to name a few. 

Who are some other people in your field that you admire?

PM: Of course Jerry Robbins, Fosse, and Ron Field, but also today’s Christopher Wheeldon, Justin Peck, and Steven Hogget.

What advice would you give to someone who wants to do what you do?

PM: What Rob Ashford told me: “You want to be a choreographer? Choreograph.”


We thank Paul for taking the time to answer our questions.


Tune in tomorrow for this week's Sunday Scoop.

Saturday Special - Working in Theater : An Interview with Emily McGill, Press Agent and Founder of Public Relations Firm, Press Play

Welcome to another installment of our Working in Theater series. This series in which we interview people working in different theater related jobs runs perodically on Saturdays.  Today we will be speaking with Emily McGill (EM), publicist and founder of the Public Relations firm, Press Play. Emily has a decade of experience working on numerous shows including Memphis, Billy Elliot, A Raisin in the Sun, and more. In August of 2017, she founded Press Play Public Relations.

What is your job title?

EM: I’m the founder of Press Play, a boutique public relations and branding firm serving those in and around the Broadway community.

How would you describe what you do?

EM: Ultimately, my job comes down to telling stories and communicating with the media, audiences, and clients.

How did you come to be doing the job that you do?

EM: I didn’t know that there were other jobs in the theatre when I was growing up, all you see is the people on stage!  But I knew I wanted to be on the business side of the business so after college I moved to New York and started interning at various offices.  I interned under a producer, a general manager, and a company manager, as well as being an assistant to a star and her producer husband.  Eventually I was ready for a full time job, and a Broadway PR office was hiring.  Despite my not having experience in that particular aspect of the business, they took a chance on me and I was hired as the receptionist.  After 6 months, I was promoted to being a publicist and the rest is history!

Did you have to get any special training for your job?

EM: The best training you can get in this industry is to work.  Internships are so valuable as they allow you to soak up information and network to carve out your own space in the industry.

What is the best part of your job?

EM: The best part of my job is getting to work with people that I love and being part of the Broadway community.

What is the worst part of your job?

EM: The worst part of my job is not getting a response from journalists!  I understand that we’re all busy, but a “no” is SO helpful.

What are some of your favorite shows that you have worked on?

EM: MEMPHIS was one of the best experiences in my life.  I was so young, and my brother had been in the show for about a year before I started on the PR team, so I knew the whole company and was already invested in the show.  From there, I got to work with people that have become my family.  MEMPHIS LIVES!

I also had an incredible experience working on A Raisin in the Sun starring Denzel Washington.  That was a challenging and very rewarding show to be part of, and it gave me another opportunity to work with amazing people.

Most recently, I worked over the summer with Disney on Broadway handling Aladdin and The Lion King.  To work on such iconic shows was very rewarding.

What show if any would you loved to have worked on?

EM: Oh gosh, I wasn’t even alive, but I would have LOVED working on shows that Bob Fosse, Michael Bennett, and Jerome Robbins created.  And the original Broadway production of 42^nd Street.

Who are some other people in your field that you admire?

EM: Irene Gandy is the original fabulous Broadway publicist.  She is an icon and has been working in the industry for 50 years!  She’s also the only publicist to have a caricature at Sardi’s.

What advice would you give to someone who wants to do what you do?

EM: Intern, intern, intern!  I can’t stress enough that getting in on the ground floor to meet people, make connections, and learn everything you can makes a HUGE difference.

We thank Emily for taking the time to answer our questions. For more about Press Play Public Relations, visitwww.EmilyMcGillEntertainment.com.

Tune in tomorrow for this week's Sunday Scoop.