The Last Five Years — Jamie Wellerstein

It is easy to pin Jamie for his wrong-doings; I think there is more risk in—not absolving him but— playing him self-aware. As I’ve been removed from the project, I felt like I couldn’t get the crux of what I brought to the story. I think I achieved my goal of showing the character as more dimensional; I wanted to show a person who darker needs. What I feel like I missed in the experience was feeling new in the experience.

This show was one of the first that stole my heart; the musical that taught me how stories could get personal. I jumped at the opportunity to audition for the show because of the sentiment; however, it became a really complicated story to tell given where I was in my life. I dedicate the piece to my ex partners. If we’re honest, our lovers don’t get less special as time goes by. As I was auditioning, I had found myself in a cycle of being addicted to falling in love to escape from confronting myself. I was shown that love is not taking care of another, but taking care of yourself for another. This is not a story of winners and losers— protagonist versus antagonist.

An elderly woman with white hair and glasses and a young man with dark hair are sitting on a stage, looking at a photo album together. The woman leans over to point at something in the album. There are family photos on a table behind them, and the st

Group of six young adults taking a selfie in a room, with a mix of casual and semi-formal clothing. They are smiling and posing for the camera.

A group of eleven people pose together on a stage in a theater with empty seats in the background, under purple and blue stage lighting.

A man in a light-colored suit holding a bouquet of flowers stands alone on a dimly lit stage. Overhead signs including a 'Wrong Way' sign, a 'Stop' sign, and a heart symbol are hanging in the dark space.

Two young actors perform on stage with a dark background. One sits on a bench, looking thoughtful, while the other stands and gestures as if speaking. Stage props include a bench and rows of chairs. Above them, there is a large heart symbol, a 'Wrong

Two young men sitting on a bench on stage during a theatrical performance. One is looking at the other, who is gazing upward thoughtfully. The background is dark with empty chairs.

The image shows a theatrical stage resembling a city street scene with various signs hanging from above, including 'STOP,' 'NEW YORK,' 'WORK AHEAD,' 'LOVERS LANE,' and 'DEAD END.' There are five people on the stage, with two sitting on benches and th

Man on stage holding two green and white sneakers to his ears, looking surprised, with a table and stacked books nearby.

Two young people in a romantic moment, with the woman holding a large bouquet of white roses, as three others look on happily in the background.

Four women and one man on stage. The woman in the center is standing with arms outstretched, holding a bouquet of pink roses, wearing a white dress and a floral crown. The other women are seated, one with a pink sash, and the man is standing behind h

Two young men sitting on benches on stage, engaging in a conversation or performance, with an audience in the background.

Significant Other — Jordan Berman

Playing the role of Jordan was such a special experience. Mostly because the writing was so special and personal. When I first read Harmon’s words, I felt like he knew all of my secrets. It made me really reflect on the meaning of life. Jordan says that “the goal is simple, find someone to go through it with…” I going into the show fully agreed and have gotten the opportunity to meet some great partners along the way— like Jordan; however, I did this show as a tribute to my friends. That still fits into the point that Jordan didn’t know he was making. In parallel to Jordan, I tend to get caught up in so much insecurity that I feel like I need a man to rescue me from myself. It is my friends that pick me up. I was constantly yearning for this “marriage of true minds” (Sonnet 116).

One of the most eye opening moments in my personal life was doing table work for the show. A friend of the director had met with us; he felt that the arc wasn’t Jordan losing his goal of improving finding his Bashert but painfully winning the goal of finding enough peace with himself to not let his relationship status define him. In truth, I immediately rejected this mere idea because it revealed an ugly truth about myself that I continue to shed. Now just a year later, I have gone through more life— failed and succeeded in many types of relationships, and I realize that I didn’t learn love through romance or sex. Although those moments in life are so very special, I learned love through singing with my mother and laughing with my best friends. Love that lasts is through action and not just feeling.

An elderly woman with white hair and glasses leaning over a young man with dark hair, who is sitting on the floor, looking at a photo album. There are framed photographs on a table behind them, and the scene appears to be set on a stage with dark cur

Group of six young adults posing for a mirror selfie in a room with beige walls and ceiling, casual attire, some making playful faces, and a table with a camera and a purse in the foreground.

Group of ten people smiling and posing on a stage in a theater or performance space with dark curtains, empty seats, and pink and purple lighting.

A person dressed in a white suit stands alone on a dark stage, holding a bouquet of flowers. There are street signs hanging from the ceiling, including a blue stop sign, a one-way sign that reads "WRONG WAY," and a stop sign. The stage is mostly dark

Two actors on a stage in a theater scene, with one sitting on a bench looking thoughtful and the other standing and gesturing. The background has seats, a red heart symbol, and a sign that says 'WRONG WAY' hanging from the ceiling.

Two young men sitting on a bench on stage during a theatrical performance, with empty theater seats in the background, illuminated by colored stage lighting.

People practicing a play about road signs and traffic rules on a stage with traffic signs background.

A young man stands on a stage holding two sneakers on his head, looking distressed. He is wearing a light-colored shirt, a tie, and pants. There are books and a jar of peanut butter on a table in front of him, and the background features dark curtain

Theater scene with six young actors, one holding a bouquet of white roses, during a wedding scene.

Four women and one man performing a play on stage, with one woman in a white lace dress holding a bouquet of pink roses taking a bow, and the others sitting or standing nearby, all smiling or attentive.

Two young men sitting on benches on a stage, engaged in a conversation, with an audience in the background. One is holding a drink with a straw.

42 Street— Julian Marsh

In starting the process I was very intimidated by the role of Julian Marsh. Ultimately, the character is built for older men and people with a commanding presence. At a solid 5’8”, I felt like I was fighting an uphill battle. So…I got creative with the text. Early in my theatre journey, I was given a lot of character roles and found great success with them. I, also, originally saw 42nd Street as a character piece, and I didn’t want Julian to stand apart from characters like Anytime Annie. I find that giving some strong physical choices helps me add personality to straight characters like Julian. I found many takes on him lack dimension.

On a large scale, I was excited to tell a story about our community, and the last speech he says to Peggy was the basis for how I wanted to connect to your text. “Give it all your strength, your talent, your youth… but try, if you can, not to give it all your heart… because it’s a very loving heart and I’d hate to see it broken.” I won’t bore you with the inferences I made about his past, but I will bore you with how I thought about “What I Did for Love”. I love what I do more than anything, but I love what I do more than anything. I don’t see my family a whole lot. Making art is always scary.

Two men in plaid suits performing on a stage, with one speaking on a telephone and the other holding a paper, against a backdrop featuring a large red door labeled 'Loading Door' and various signs. The stage has decorative shell-shaped lights at the

The stage production of 'On the Town' with performers dressed in 1940s attire, gathered around a performer standing on crates, on a set with brick walls, a staircase, and theater signage.

A young man with dark hair wearing a white short-sleeve shirt and dark pants standing on a stage with a black background and a red staircase railing.

A man standing and gesturing while talking to a woman seated on a luggage case on a stage with black curtains in the background.

A stage performance of a musical with numerous actors in colorful 1940s-style costumes, performing with arms raised in front of a backdrop illustrating a train station sign reading "Broad Street Station" and a clock.

Four actors in vintage costumes posing on stage in front of a set resembling a bridge or trestle.

Three actors performing on stage with a red 'Loading Door' sign in the background; one woman in plaid skirt and dark blouse gesturing, a woman in a suit jacket and plaid skirt with a notebook, and a man in a plaid suit smiling and posing.

The image shows a group of performers on stage, with some holding hands and others raising their arms. The main focus is on a man and a woman holding hands at the front, dancing or striking a pose, with the woman dressed in a gray coat and the man in

Beauty and the Beast — Lumière

Unlike the rest of the world, I didn’t have much of a relationship to “the tale as old as time”. I wanted to pay tribute to the Disney film, but of course give it my own flair. My director had wanted me to play into the Pepé Le Pew of it all— that I did. I originally went into the project thinking about line before adding the heart of the character. I thought about line and shape and especially movement. I wanted the line to be long and physically expressive. I wanted to play less into his metal, but more in his name sake: light. Flames movement is fluid and changes size and shape based on mood. It was from this concept that I found his heart. Fire is nothing but passion and freedom. To light a fire under someone is to create urgency, and that’s how he treats Beast; he and Babette had a spark between them— one could say. The real magic didn’t start for me until we got an audience— much like when I did Forever Plaid. The energy put forth was sacrificial to all the little girls in yellow dresses. More importantly to me, I wanted to be the character that kids felt a connection to when princes and princesses don’t quite meet the mark. Lumière was seeking love for sure, but more importantly he was seeking his humanity— something I try to seek.

A group of actors in elaborate costumes performing on stage, celebrating a scene with smiles, raised hands, and joyful expressions, with a wooden backdrop resembling a castle or grand hall.

Actor in a regal, vintage costume with a powdered wig and gold coat, holding a hat, on stage during a theatrical performance with dancers in period costumes in the background.

Actors in a theatrical performance dressed in elaborate 18th-century costumes on stage, with one actor kneeling in front holding candles and others in the background expressing dramatic emotions.

People in colorful costumes performing on stage, with a man in the center wearing a gold 18th-century costume with a wig, holding candles, in a theatrical production.

Theatrical performance with actor in 18th-century costume holding two paper torches, standing on stage with dark curtains in background.

Two performers dressed as characters from Beauty and the Beast, wearing elaborate costumes, with one holding candles on his hands and the other with a feathered headdress, on stage during a musical.

Person dressed as a historical figure in a costume, holding a plate with a cake resembling a wig and a bow tie, in a theatrical setting.

Person in elaborate 18th-century costume and wig, makeup, and pose in what appears to be a backstage or dressing room area.

Group of performers dressed in ornate costumes, some wearing crowns and headpieces, posing backstage before a performance.

Next To Normal — Henry

In approaching this show, I wanted to honor the text. I trusted the story and the text; thank you Tom Kitt. I got the opportunity to play opposite the always wonderful Morgi Miller. Given that I also trusted Morgi and Henry’s role in the show isn’t the most integral part of the show, I decided to really play off of Morgi. My individual character background wasn’t overly complex. I think a huge trap of playing Henry is to lean too far into the idea of “the stoner”. If you’ve met any real stoners, they treat their usage more like an activity than a lifestyle. So he uses weed like I use fried chicken— a coping mechanism. His ultimate concern isn’t about getting high or suppressing his emotions, but trying his best to help Natalie through her own ignored mental health issues. Nobody is really equipped to fix another, but we all sure do try.

I guess my website is as good as any place to note that I am bipolar (type II). I wasn’t really aware of my situation until years after the production, but definitely understand why I connected with the story as a whole so much and modeled Henry after the people who have taken care of me when I’m swinging. Bipolar affects my everyday life. It may be sick, but sometimes it’s the only reason I feel like a successful artist. In the same breath, treatment was the best decision I have made for myself. You take a look back, and realize that you’ve Godzilla-ed your way through life; you feel like you’re a monster ruining your loved one’s lives. I hope I get to tell this story again— wether that be as Henry or Gabe or (eventually) Dan or as apart of the creative team. I hope to keep this story relevant because people should know that it is very difficult for the diagnosed, but also extremely difficult for the people who love them. Thank you to those who love me: you shouldn’t have to base your life playing off of my illness.

Two young actors confront each other on stage, one with a beanie, backpack, and casual clothes, the other with a pink plaid shirt, jeans, and a backpack, engaged in a tense conversation during a theatrical performance.

Group of five young people at a roller skating rink, laughing and enjoying themselves, with colorful decor and arcade machines in the background.

Two young women on stage during a theatrical performance. One is sitting on a chair wearing a plaid shirt and jeans, speaking or singing with expressive hand gestures. The other stands in the background, observing the scene, dressed in a hoodie, jack

Six performers on stage during a theatrical production, with three in the front and three in the back, illuminated by stage lighting in purple and white.

Two actors on stage engaged in a conversation during a theatrical performance. The seated actress wears a plaid shirt and jeans, while the standing actor, in a hoodie, leather jacket, jeans, and a beanie, holds script pages and gestures as she speaks

Two young actors performing on stage, sitting on a black platform, with a blue wall behind them. The male actor is speaking and gesturing with his hands; he is wearing a beanie, hoodie, and jeans. The female actor is listening attentively, wearing a

Two actors dressed in period costumes hugging on stage during a theatrical performance.

A group of six people standing together, smiling, in an indoor setting with a row of lockers and a countertop in the background.

Carrie — Billy

Let’s face it Carrie, through the eyes of Billy, is not deep in the slightest. This was the first musical I got to do in college, and my best friend in the whole world played opposite me. We had a great time experimenting, and I felt the urge to make the people around me giggle and react more than the audience. Actors are smart, and if it works in the rehearsal room, it will probably translate to audiences. I was surrounded by a cast that taught me how to lean into archetypal characters to create humor that everyone knows. Which I guess is inherently commedia dell’arte. For example, a very close friend, Payton Seacrist (Brassy, Classy, and Sassy (Beltress)), floored me with her take on goth girl. One day you look around, and there are no more goth people. I miss them, and Payton helped me realize that.

Anyway, If you can get creative with people who already know the punchlines then you are doing something right. If theatre has taught me one thing— it’s fun to be silly and stupid. I could go into the religious trauma and bullying themes that I had some reflection on, but… who cares? I had fun doing this show! This show taught me what a safe environment could be like; the best choices happen when you’re comfortable and trust your collaborators. I can get cerebral about the craft, but this show certainly feels like the last time I was doing the school play (in the nostalgic sense), and not taking it way too seriously. And.. that’ certainly a reminder for “I’m running my business Josh”.

Theatrical stage with actors in colorful costumes performing a scene involving couples embracing and talking.

Group of young people standing around a table on a stage during a performance, with some holding cups and snacks, and a purple backdrop behind them.

Group of young actors performing on stage with purple and pink background, some with expressive faces and gestures.

Stage scene with four actors, one sitting on a sofa, three standing nearby, set with purple lighting and a wooden frame background.

Three young adults in formal attire posing together in a dressing room, with clothing racks and black curtains in the background.

A group of young people dressed in formal and themed attire taking a selfie in a dressing room, smiling and posing for the camera.

Group of young people dancing and celebrating on stage with colorful lighting.

Actors on stage performing in a theatrical production, with one actor standing and others seated, in a darkened theater.

Theater scene with five actors performing on stage, two embracing in center, three expressing surprise or excitement, colorful lighting, sofa and set pieces in background.

Actors perform on stage during a theatrical production, with a woman in a red sweater and ripped jeans and a man in a gray shirt and brown pants in the foreground, set against colorful stage lighting and background furniture.

Forever Plaid — Sparky

Forever Plaid will always be a very special experience first and foremost because it was my first time getting paid to do theatre. Camping out in the very beautiful Michigan City, Indiana helped me grow so much as a person. I was excited to do this show and play Sparky because my music teacher from high school— Tracy Watson— had done this role off and on all the time in the Tulsa Area. I knew that it was fun and silly and barbershop so that’s what I did, but little did I realize how much this simple one-act show would teach me about what theatre can do for people. I had no connecting to this music, but our lovely audiences mainly were comprised of a certain wise age. Older generations always had intimidated me. I had thought people wouldn’t understand me; we wouldn’t speak the same language. I underestimated the language of music and comedy. Watching these people experience songs that unlocked memories of young love or missed family members helped me connect to people that I didn’t know how to before.

I also got to share that experience with the fabulous Jacob Simon, Jay Espańo, Thomas Tong and Graham Weilgos. The Dunes Summer Theatre also put on two cabaret performances that I got to be apart of alongside my best friend Ainsley Alrutz. My favorite memories of the show included holding hands with my fellow plaids during “Love is a Many Splendor Thing”, paying tribute to Perry Como, surprise venue changes and bubbles. I will forever be a plaid.