JONATHAN RAYSON
Very shortly thereafter, he moved to Minneapolis, Minnesota, where he spent several years working with such Twin Cities' theatrical companies as the Ordway Center for Performing Arts, Park Square Theatre, Chanhassen Dinner Theatres, Illusion Theater, North Star Opera, Theater Latté Da and Minnesota Festival Theater.
Jonathan's solo cabaret career then began in 1998 when friend, Paul Herb, proposed that he put a half-hour show together for an intimate dinner party. Finding a new freedom and excitement in this new-to-him musical art form, he subsequently mounted a very successful first solo show in Minneapolis called AN EVENING OF MAGICAL SONG. After that, Jonathan was featured on Dan Chouinard's "The Singer's Voice," an autobiographical music series which was broadcast live on Twin Cities' jazz radio station KBEM-FM.
In 1999, Jonathan was selected from nationwide auditions to be one of 23 students to attend the Cabaret Symposium at the Eugene O'Neill Theatre Center, a nine-day intensive foray into the art of cabaret performance. After his triumpant "graduation" show, he was invited by Michael Kerker of The American Society of Composers, Authors and Publishers (ASCAP) to perform for his first New York audience at the New York Cabaret Convention in ASCAP PRESENTS: STANDARDS FOR A NEW GENERATION, an evening celebrating contemporary composers and featuring such well-known singers as Andrea Marcovicci, Liz Callaway, Donna Murphy and Karen Morrow. In January of 2000, he mounted his critically acclaimed solo show, ALCHEMY OF THE HEART (directed by Broadway veteran Sally Mayes) at the Firebird Cafe in the heart of the Manhattan theatre district. After that, Jonathan was asked by Ms. Marcovicci to be her special guest performer in the historic Oak Room at the Algonquin Hotel.
At that point, Jonathan had his mind set on larger goals, and one of his last jobs in Minneapolis afforded him the opportunity to pursue them. While understudying all three men's roles in the The Children's Theatre Company's new theatrical development A YEAR WITH FROG AND TOAD, he learned that the show would be moving to the Great White Way. Jonathan excitedly made the big move to New York City to understudy the show on Broadway. On May 16, 2003, when fellow actor Jay Goede's appendix unfortunately and unexpectedly burst, Jonathan made his Broadway debut as Frog (opposite Mark Linn-Baker's Toad) at the Cort Theater and performed the role for two weeks.
After three-time Tony Award nominated FROG AND TOAD's surprisingly brief run, Jonathan landed his second Broadway role as the understudy for Seymour Krelbourn and Orin the sadistic dentist in the first-ever Broadway production of LITTLE SHOP OF HORRORS. He went on several times in his dream role of Seymour, and when the show closed in August of 2004 and plans were being made for a national tour, Jonathan was cast in the leading role and toured for most of 2005.
Jonathan is currently appearing onstage in ADRIFT IN MACAO at the Primary Stages. The show is set to run through March 4, 2007.
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photo credit: Ann Marsden
photo credit: Bruce Glikas
photo credit: Chia Messina
JULIE REIBER
The following is used with permission from Julie Reiber and www.juliereiber.com (added February 3, 2007)
Julie starts rehearsals for WICKED LOS ANGELES in New York City on January 15, 2007. She will be standing by for Elphaba, The Wicked Witch of the West, in the new L.A. company. WICKED opens in L.A. February 10, 2007 .
Julie has appeared on Broadway in ALL SHOOK UP (Natalie u/s, Violet) and BKLYN The Musical (Brooklyn, Faith u/s). She appeared Off-Broadway in MINISTRY OF PROGRESS (Sylvia, Drone 1). Regional credits include: GODSPELL (Turn Back O Man), AIDA (Amneris - for which she won the 2006 Henry Award for Best Supporting Actress), FOOTLOOSE (Ariel), RAGTIME (Mother, Evelyn u/s), CAROUSEL (Ensemble), and SWEENEY TODD (Johanna). Tours include RENT (Maureen u/s, Swing, Dance Captain), BKLYN The Musical (Faith), and ANNIE (Lily u/s, Star to Be u/s, NBC page), as well as the Korean Concert Tour of JEKYLL & HYDE (Emma).
DANIEL REICHARD
The following is credited to www.myspace.com/danielreichard
Daniel Reichard, a Cleveland native, made his NYC stage debut in FORBIDDEN BROADWAY: 20th ANNIVERSARY CELEBRATION (original cast). He then starred as artist Keith Haring in RADIANT BABY at the Public Theater (directed by George C. Wolfe). He then appeared in a dozen roles in THE THING ABOUT MEN (cast album). Currently he plays Bob Gaudio in the smash-hit JERSEY BOYS (cast album). In addition to his stage work as an actor, Daniel also is a concert performer. His new website is being built right now. www.danielreichard.com. It will be available soon.
Photo credited to www.theatermania.com
photo credited to www.myspace.com/danielreichard
ARBENDER ROBINSON
The following is used with permission from Arbender Robinson, www.arbender.com and www.myspace.com/arbender (added February 13, 2007)
Arbender is currently appearing on Broadway in Hairspray.
Musical credits include Mareb in Aida (The Barn Theatre), NoMoe in 5 Guys Named Moe (Heritage Repertory), Ronny in Hair (The Barn Theatre), Judas in Jesus Christ Superstar (Circle Theatre), Ken/Dance Captain and Victor in Smokey Joe's Cafe (Seaside Music Theatre and Heritage Repertory), NoMax in 5 Guys Named Moe (Seaside Music Theatre), Andre in Ain't Misbehavin' (Heritage Repertory), Jinx in Forever Plaid (St. Croix Valley), Wrangler/Indian in Will Rogers Follies (Dutch Apple Dinner), Courier in 1776 (Cumberland County), Asher/Calypso in Joseph (Cumberland County), Jack in Into The Woods (Summer Music Theatre), Louis in Patent Leather Shoes (Summer Music Theatre), Emcee in Cabaret (UWL - Summerstage), and Fitch/Ensemble in Three Penny Opera (Viterbo College).
Arbender holds a BA in Theatre Performance from Viterbo College. Special skills include choreography, stage management, directing, and improvisation.
JAMES ROMICK
The following is used with permission from www.thejamesromickfanclub.com (added March 6, 2007)
James was born in Warren, Ohio on June 6. When he was young, he wanted to be a policeman. While attending Youngstown State University (on a voice scholarship) he was bitten by the acting bug, performing in the college productions and at the Youngstown Playhouse.
James is currently appearing on Broadway in The Phantom of the Opera (understudies all roles except Piangi - he covers the male ensemble as well). His Regional credits include Oklahoma! (Curley, Will Parker and Judd Fry), 1776 (Edward Rutledge and Thomas Jefferson), Camelot (Lancelot), South Pacific (Lt. Cable), Fiddler on the Roof (Perchick), and The Fantasticks (El Gallo).
James has been married since 1986 to Liz, a physical therapist. They met when they performed together in a production of Oklahoma! in Florida. They have three Cairn terriers named Sam, Churchill and Zibby.
BRIAN CHARLES ROONEY
The following is used with permission from Brian Charles Rooney and www.briancharlesrooney.com (updated August 16, 2007)
Brian is currently working on 2 projects being developed and presented as part of the 2007 Cabaret/Performance Conference at the Eugene O'Neill Memorial Theatre Center in Waterford, Connecticut. He will be playing a young Tennessee Williams in Becoming Tennessee, a new musical which romantically chronicles Williams' first encounter with the city of New Orleans very early in his career. He will also be playing supporting roles in American Duet.
Born and raised in New Jersey, Rooney's mother was a Ford model. His first visit to Broadway was as a guest of his grandparents. They took him to see the musical MERLIN which starred illusionist Doug Henning and Chita Rivera. It also featured Nathan Lane in a supporting role. "I remember bits of the show, especially Chita's performance. She was so powerful and commanding. However, the Mark Hellinger Theater was the real star to me. Just the whole experience of being there, in a Broadway theater, was amazing."
Still, the youngster didn't get to the theater again for quite some time. "When you're growing up in New Jersey, the city is so close and yet so far away! Suburban families, for the most part, see New York City as a far away, and sometimes dangerous place. The next show I saw was PHANTOM OF THE OPERA, when I was in high school. I loved it and I still do; the overture gave me chills. I know a lot of people hate PHANTOM, but ironically that show fueled the excitement and love I had for live theater." Actually Rooney really wanted to be a doctor. "I went to Duke University and knew that I would either double major in Psychology and Drama, or just minor in Drama. I didn't think I would actually be able to pursue theater arts as a career. I had been pressured to be a doctor my whole life. I also didn't have any training. I had done a few plays in high school, but I never sang in a choir or in a musical. When I got to Duke, I discovered that the program was holding auditions for Sondheim's MERRILY WE ROLL ALONG. I'd always sung along with the radio and CDs in the privacy of my bedroom; but I had never sung a song with
piano accompaniment before, least of all a Sondheim song. I decided to audition for the show and was cast as Charlie. Playing that role was a 'baptism by fire.' I didn't read music, and one of that character's songs, 'Franklin Shepard, Inc.,' is probably one of the most difficult in the musical theatre canon. I learned it and was determined to perform it better than anyone expected me to. That determination grew quite heartily throughout college. I kept auditioning for shows, and fell more and more in love with performing; but I also grew more ambitious."
In a performance that Entertainment Weekly said "ignited the stage," Rooney made his Broadway debut as the legendary 'Lucy Brown' in the Roundabout Theatre Company's 2006 revival of Kurt Weill and Bertolt Brecht's "The Threepenny Opera," directed by Scott Elliott, with a new translation by celebrated actor and playwright, Wallace Shawn. His performance was universally applauded, by critics and audiences alike, as one of the most interesting and risky on Broadway. With regard to Rooney's portrayal of the scorned 'Lucy,'Terrence McNally said, "It's one of the most exciting performances I have seen on Broadway in years." The role required a male soprano. Brian is a Sopranist, a Tenor (or in some cases a baritone) who also sings in the soprano range, usually to an A6... in Rooney's case, the range reaches an E6. He also sings as a tenor, with tenor tonality, with his range reaching a D5 comfortably in full voice. Within styles of music less strict than classical, his tenor range climbs to a G6.
Rooney discovered his incredible range when he was in college. "I would fool around when we were rehearsing a show and sing along with the sopranos. A friend of mine suggested that I was a Countertenor, but I didn't know what that was. He directed me to the wife of a professor of mine, who is a Baroque opera singer. She had me vocalize and taught me a short aria from Handel's opera, SUSANNAH. It was a piece that is normally lowered for Countertenors because it was written for the Castrati. Countertenors can't sing it because it's too high. She told me I had the tone and ease the castrati would have had without my being a castrato."
Later, he learned of the term "Sopranista" or "Sopranist." The Sopranist was very popular during the Baroque and Classical era, when Castrati sang in the opera in whole Europe. The "primo uomo" was the hero on the stage and his excellent technique was frequently much more important than the synopsis of the opera. There is a large body of music for male soprano written when it was common to use a Castrato - a voice type which, for all intents and purposes, no longer exists. Sopranists are very rare, since most Countertenors are Altos. Technically, a Sopranist is NOT a falsettist, though that label is applied repeatedly. Falsetto technique is different than the more full-voiced technique of the Sopranist. "I learned to sing from mimicking other singers," continues Rooney, "lots of high-singing men, lots of female belters and lots of sopranos. I was attracted
to those voices, I think, because of my potential to sound like them. I didn't necessarily know what I was capable of though. I was attracted to the sounds and the vibrations those kind of voices create. I'm a firm believer that the frequency of a person's voice is what affects the listener. For example, I'll get onstage and sing something and people will kindly say, 'That was so moving!' or 'I cried' I can't express how moving it is to hear things like that, BUT, I don't understand what the difference is between when I do it and when someone after me does it, other than I know that I lay my heart bare when I sing for an audience. But, some singers don't have that effect on some listeners. There are some pop singers, I think, who might benefit from this too... they might not have the greatest voices but they're super-successful and people like to listen to them. I think there's something about the frequency of a singer's vibrato, or even the frequency of a speaking voice, that affects people physically and I think it's just kind of hit-or-miss. It's just a strange theory of mine."
Rooney is also a song-writer and recording artist, in talks with a label about how to launch that part of his career, and with which image. "I fancy myself a chameleon. I use that to great advantage as an actor, and moreso now as a singer. I think as a recording artist, my varied abilities will serve me well."
JONATHAN ROOT
The following is used with permission from Jonathan Root (added April 26, 2007)
Jonathan is currently appearing on Broadway in Avenue Q.
For as long as he can remember, Jonathan has been a performer. As the son of a preacher, he was no stranger to being up in front of crowds. Growing up in Fairfax, Virginia, his "acting debut" came as Wee Willie Winkie in a kindergarten review of nursery rhymes. In his humble opinion, his performance as the titular nightgown-wearer kicked ass. His next "turn" came in a Broadway review (at his church) in Ft.Worth, Texas, as Winthrop performing "The Wells Fargo Wagon" from The Music Man. From there, it was a succession of productions under the direction of
Melodee Halbach, his high school drama teacher and overall theatrical mentor.
Jonathan then went to college where he earned his BA in Theatre, but the best part of college was meeting his wife, Holly. For two years following college, Jonathan worked in Nashville, Tennessee, at several local professional theatres and earning his Equity card, spending his
final year there working exclusively at the Nashville Childrens' Theatre, the oldest childrens' theatre in the nation.
Upon moving to New York, Jonathan began the incredibly long audition process for Avenue Q. Eight months later (!), he was cast as Princeton/Rod in the Las Vegas production, then joined the Broadway cast after the Vegas production closed. Since returning to New York, Jonathan performed in an early developmental reading of the new musical Ever After and later recorded a track for that show's composers, Marcy Heisler and Zina Goldrich, for their showcase CD "Love Has Strings".
When not busy playing with puppets in Avenue Q, Jonathan also works as a voiceover artist. His work can be heard on commercials for Odwalla, Volkswagen and many others.
See what else he's got going on at http://www.jonathan-root.com or check out his blog at http://rantroot.blogspot.com
STEVE ROSEN
The following is used with permission from http://members.aol.com/starlightdreamer/ and www.myspace.com/sweetrosen
Steven Rosen (AKA “Stevie”, “Rosie” and, shockingly enough, “Steve”) made his first stage appearance at age seven in a summer camp production of The King and I. As he grew older he carefully considered the careers of stand-up comic, lawyer, and professional pirate before opting to study the craft of acting in New York City at NYU's Tisch School of the Arts, CAP21, and the Stella Adler Studio. His success in Monty Python's Spamalot comes after appearances in stage shows as diverse as The Foreigner, The Golem, Abie's Island Rose, and The A**hole Monologues, which he co-produced as a benefit for the Crohn's and Colitis Foundation. Steve has been seen on film in the rather intense movie Storytelling (2001) and on television as “Customer #2” in an episode of “Ed”, a show which has since been cancelled (presumably not because of Steve). Between acting jobs, Steve has worked as a waiter, an office temp, and as a script reader—On a particularly good day at the latter job, his employers recognized his genius and cast him in Spamalot, where he delighted audiences eight times a week in his three roles as Sir Bedevere, Concorde, and Dennis's Mother. His brilliant performances and remarkably amiable stage door manners are slowly but surely winning this rising star an international following.
Steve is also currently producing and starring in the monthly comedy benefit "Don't Quit Your Night Job" at Joe's Pub. More information can be found at http://www.myspace.com/dontquit
SOARA-JOYE ROSS
The following is used with permission from Soara-Joye Ross and www.myspace.com/soarajoye (added February 2, 2007)
Soara-Joye Ross is currently in Les Misérables on Broadway at the Broadhurst Theatre.
Other credits include: Dance of the Vampires on Broadway. Off-Broadway: Dessa Rose, Single Black Female & Langston in Harlem. National/European Tours: Smokey Joe’s Café w/Gladys Knight & Ain’t Misbehavin’. Regional: Aida (Aida), Tick Tick…Boom! (Susan), Ragtime (Sarah), Once on this Island (Asaka) & Ain't Misbehavin' (Armelia & Charlaine). Film: Garden State w/ Zach Braff and Natalie Portman.
MICHAEL RUPERT
The following is used with permission from www.jrockingr.com and http://www.myspace.com/michaelrupert (updated January 28, 2007)
Michael Rupert won both a Tony Award and Drama Desk Award for his work in the 1986 Bob Fosse directed revival of Sweet Charity. He created the role of Marvin in March of the Falsettos and Falsettoland. Other Broadway appearances have been in The Happy Time, Pippin, and City of Angels. Regionally he has played in Damn Yankees, Troupers, Working, and Leonard Bernstein's Mass.
He has made his debut as a composer with 3 Guys Naked from the Waist Down (Drama Desk nomination), Strange Vacation and the upcoming Streets of America. He wrote the score and starred in the musical Mail at the Pasadena Playhouse, the Kennedy Center, and on Broadway.
Michael made his Off-Broadway directing debut with The Lunch Anxieties. Off-Off-Broadway he directed City for The Filling Station and two one-acts for The Threshold Theatre Company's Caught In The Act at HERE. He recently directed the musical Thrill Me: The Leopold & Loeb Story at the York Theatre and will be directing Ragtime at Point Park University in the Fall of 2006.
Off-Broadway he has performed in: Elegies: A Song Cycle, Putting It Together, Falsettoland, March of the Falsettos, Ancient History, Festival, and Fragile: Handle With Care.
Mr. Rupert's regional credits include: Splitting Infinity (Geva Theatre), Charles Strouse's Real Men (Coconut Grove Playhouse), Baby (20th Anniversay Cast at Paper Mill Playhouse), Life (x) 3, Adrift In Macao (Philadelphia Theatre Company), Breaking and Entering, Merchant of Venice, In the Blue Room, Avow, Relativity, Brecht: Sacred and Profane, and Play With Fire.
Recent workshops/readings include Terrence McNally's new play Some Men and a new musical by Robert L. Freeman & Steven Lutvak entitled Campaign Of The Century.
On television he has had roles in: Law & Order, New York Undercover, All My Children, Big Brother Jake, Cheers, Outrage (Movie of the Week), No Place to Hide (Movie of the Week), Short Walk to Daylight (Movie of the Week), Alice, The Walton's, and One Life to Live.
He lives with his partner, Will Chafin in New York City.
Michael will be joining Laura Bell Bundy, Christian Borle, Orfeh, Richard H. Blake, Kate Shindle and Nikki Snelson in the new Broadway musical LEGALLY BLONDE. Performances start on Broadway on April 3, 2007 with an opening set for April 29, 2007. Prior to Broadway, the musical will play at San Francisco's Golden Gate Theatre from January 23, 2007 through February 24, 2007.
He is also with working with producer & engineer David Timmons on a solo release. For more info on Michael please visit his website www.jrockingr.com.
JESSICA RUSH
The following is used with permission from Jessica Rush (added March 25, 2008)
Jessica Rush is currently appearing on Broadway in Gypsy.
Jessica's first stage appearance came at the age of 10 weeks when she appeared opposite her father in Fiddler on the Roof - she was Motel and
Tzeitel's child. She has been enamored of the lights ever since. Her adolescent years were spent in Orlando where she performed as Belle in
Beauty and the Beast (4 shows a day!) and also performing on the cruise line circuit for Disney. She was soon recruited to join the road company of Cinderella (replacing Debbie Gibson) opposite Eartha Kitt. She followed up with the national tour of Mamma Mia! Her other theatre credits include Catherine in The Last Five Years, Jennifer in Paint Your Wagon, Eliza Doolittle in Pygmalion, Esther in Meet Me In St. Louis, and Little Red in Into the Woods.
Jessica recently originated the role of Lucie Manette in the world premiere of A Tale Of Two Cities and can be heard on the albums NEW
GUY IN TOWN and STAGES/TOGETHER AGAIN.
Visit Jessica at www.jessicarush.com.
WILLIAM RYALL
The following is used with permission from William Ryall and www.williamryall.com (added February 7, 2007)
William appeared most recently on Broadway in How the Grinch Stole Christmas at the Hilton Theatre.
A graduate of The American Academy Of Dramatic Arts, as a performer Mr. Ryall has worked with George Abbott, Hal Prince, Sir Peter Hall, Mike Ockrent, Susan Stroman, Des McAnuff, Herbert Ross, Wayne Cilento, Rob Marshall, Kent Thompson, Dan Siretta and extensively with Tommy Tune. He was Mr. Tune's understudy in My One and Only and was involved with Grand Hotel from its inception, remaining with the Broadway Company for a year before becoming the Dance Captain for the International Touring Company.
He received rave reviews across the country for his portrayal of Spats in the 2002 - 2003 National Touring Company of Some Like It Hot, starring Tony Curtis, and was nominated for Best Supporting Actor in a Musical of 2002 by the Dallas Theater League. Mr. Ryall also received the distinction of being voted one of the Top Ten Cabaret Performers in NYC of 2002 by Theatermania.com.
William's Broadway credits include The Most Happy Fella (NYC Opera), Chitty Chitty Bang Bang, Seussical, Amadeus, High Society, How To Succeed..., Whorehouse Goes Public, Grand Hotel, and Me and My Girl. He can be heard on all the cast recordings (with the exception of The Most Happy Fella, Chitty Chitty Bang Bang and Amadeus, of course). Off-Broadway and Regional credits include Guys and Dolls, On Your Toes, Call Me Madam, Roadside, Great Expectations, Jane Eyre, The Goodbye Girl, Elizabeth and Essex, Canterbury Tales, The Seagull, Tartuffe, Little Kit, My One and Only, Jesus Christ Superstar, Is There Life After High School?, Wonderful Town, Kiss Me Kate, and The Sound of Music. National and International tours include Phantom of the Opera, Grand Hotel, My One and Only, South Pacific, On Your Toes, Evita, and Best Little Whorehouse...
He has appeared on three Tony Awards broadcasts and has made numerous television and film appearances.
