Live Arts: Scott Ebersold On The 5 Things You Need To Create A Highly Successful Career in Broadway, Theater or Live Performance Art
An Interview With Savio Clemente
I think the world could use a bit more kindness — not just passive kindness, but active kindness. Making an effort to recognize that we are all human and deserve to be treated with compassion and care. And, of course, more funding for the arts!
As a part of our series about creating a successful career in theatre, I had the distinct pleasure of interviewing Scott Ebersold.
Scott Ebersold is a theatre director who enjoys working collaboratively to develop new plays and musicals, and to reinvent classics. He is known for creating work that celebrates marginalized voices through rich visual landscapes and close attention to text, taking the audience on unexpected journeys. This past winter he was The Granada Artist in Residence at UC Davis where he directed The Laramie Project by Moises Kaufman. Scott developed and directed the Off-Broadway premiere of Max Vernon’s musical The View UpStairs that was nominated for three Drama Desk Awards, two Lucille Lortell Awards, and for which he was nominated for an Audelco Award for Best Director. Other musicals include: Dan Marshall, Julian and Becca Blackmore’s The Peculiar Tale of the Price of Bohemia and the Society of Desperate Victorians (Goodspeed Opera House), Bobby Cronin and Crystal Skillman’s Concrete Jungle (DDM Productions), Andrew Lippa’s Wild Party (Post Theatre Company), The Gifts of the Magi (Tilles Center for the Performing Arts), and NYMF’s Explorers concert at the Signature Center Griffin Theatre. Other plays include: Briandaniel Oglesby’s Small Steps (Portland Center Stage), Charles L. Mee’s trilogy Imperial Dreams (Classic Stage Company), Shakespeare’s The Comedy of Errors (Boomerang Theatre Company), Dan Marshall’s A Murder of Crows (Boomerang), Jordan Seavey’s Children at Play (Collaboration Town, The Advocate’s “Top 10 Gay Plays of 2009”), Adam Szymkowicz’s Rare Birds (Red Fern), Anne Carson’s Orestes (Columbia Stages), August Strindberg’s Miss Julie (Smith Street Stage) Joshua Conkel’s America, You Kill Me, Jeffrey James Keyes’s The End of Days, and Ken Urban’s Edgar and Patrick. As artistic director of Packawallop Productions Scott directed many of Alejandro Morales’s plays including: the silent concerto (Outstanding Director Award Winner, FringeNYC), the october crisis, marea (HERE), and expat/inferno (Best Overall Production Award Winner, FringeNYC). He also directed the premieres of Kari Bentley-Quinn’s Paper Cranes and Adam Szymkowicz’s Nerve. At Columbia University Scott directed an updated version of Tony Kushner’s A Bright Room Called Day that he developed with Lauren Whitehead (Columbia Stages/Connelly Theater). He also directed Chekov’s Three Sisters and Brecht’s Baal. He co-conceived, developed, and directed a workshop of Lauren Whitehead’s The Play Which Raises the Question of What Happened in Low Income Communities between 1974–2004 And Hints at Why Mass Incarceration is Perhaps a Man Made Disease And Highlights the Government’s General Lack of Empathy for Poor People of Color And Dispels the Notion that Our Condition is Our Fault And Helps Make Visible Why We Riot When We Mourn And also Tells the Story of Anita Freeman & her Kids (Catwalk Arts Residency, Judson Memorial Church). He assisted Tina Landau at the Steppenwolf Theatre in Chicago and John Doyle on the first major NYC revival of Roger and Hammerstein’s Allegro at Classic Stage Company, as well as Mr. Doyle’s City Center Stage’s revival of Irma La Deuce. Scott was Artistic Associate at Classic Stage Company, Literary Associate at Tectonic Theatre, and founder of Packawallop Productions. MFA Columbia University.
Thank you so much for joining us in this interview series! Can you tell us the story of how you grew up?
I grew up in a rural town in Western New York called Le Roy, the birthplace of Jell-O brand gelatin! There was one public school and a smaller Catholic school. I attended the public school — there were about 100 kids in my class, and we stayed together from kindergarten through senior year.
Although my last name is Swiss-German, my upbringing was thoroughly Italian-American. My mother’s side is Italian, and we lived closer to her family. I was an only child, but my extended family was large, and I had many cousins. As the youngest grandchild, I always felt that was significant. Being around older family members made me feel at ease in an adult world. I was even the youngest in my class, having turned five just days before starting school.
My memories of childhood before school are idyllic — summers at the lake and playing with neighborhood friends. After starting school, however, things became a bit more challenging. I didn’t always fit in and was called names I didn’t understand until much later. But I believe this adversity helped me form strong bonds with the close friends I did have and sharpened my observational skills about people and their interactions — skills I still draw on today as a director.
Can you share a story with us about what brought you to this specific career path?
I’ve always been creative. I can’t remember a time when I wasn’t drawing, mostly “Wonder Woman” (I was obsessed with her!). I even took special art classes as a kid. At some point, I transitioned from visual art to performing art, though one could argue that directing is a form of painting on stage — but that’s another story…
There was a music teacher in my high school named Miss Lambein. She was (and probably still is) a true theater lover, directing our school musicals with a level of spectacle you wouldn’t expect in such a small town. When I was quite young, my cousin took me to see one of her productions, The Wiz. I had always loved The Wizard of Oz, so seeing a live version — even one with a twist — was a dream. I still remember how the production used glitter instead of water to “melt” the witch, and I was dazzled. I couldn’t wait to be old enough to be in one of those shows, and eventually, I was!
I was cast in Joseph and the Amazing Technicolor Dream Coat, Oklahoma!, and later in Cabaret. I fell in love with the sense of community — the way this group of people came together, combining their efforts to put on a show. Looking back, it was an incredible theater education, getting to perform in works by some of musical theater’s greatest writers: Andrew Lloyd Webber, Rodgers and Hammerstein, and Kander and Ebb.
I’d been bitten by the theater bug so strongly that I even convinced the faculty to let me direct them in a play! I suppose that was my first experience as a director, come to think of it.
None of us are able to achieve success without some help along the way. Is there a particular person who you are grateful towards who helped get you to where you are? Can you share a story about that?
Anne Bogart, my professor from Columbia University, has been incredibly influential to me as both a teacher and mentor. She has this unique gift of helping you discover the kind of director you already are, rather than simply teaching you directing.
You probably have a lot of fascinating experiences. Can you tell us the most interesting story that happened to you since you began your career?
Once, early in my career, I had recently founded my own theater company while also needing to make ends meet. So, I took a job at the Broadway producer’s office of Robert Whitehead, Lewis Allen, and Stuart Thompson. They were producing Master Class, starring Robert Whitehead’s wife, Zoe Caldwell, as Maria Callas. When Zoe was ready to step down, they hired Patti LuPone to take over the role.
Patti decided to invite the cast, crew, and production office staff to her home for a BBQ. I was thrilled — I’d never been to a celebrity’s home before and felt honored to be included. A few of us assistants rented a car and drove out of the city together. I was surprised to see that her home was like a large log cabin. When we pulled into the driveway, there was Patti, sitting on the front porch, barefoot in shorts, with a margarita in hand! She jumped up to greet us, immediately pointing out where to find the margarita machine.
Later, she took us on a tour of her home, including a room filled with the costumes she’d worn on Broadway, which was incredible to see. One of my strongest memories from that day is of Patti doing cannonballs into the pool and laughing — an unforgettable, joyful image.
It has been said that our mistakes can be our greatest teachers. Can you share a story about the funniest mistake you made when you were first starting? Can you tell us what lesson you learned from that?
I’m not sure this qualifies as a funny mistake, but early in my career, I was assisting Tripp Cullman. He was directing two shows at once, and after one opened, he asked me to attend previews and give notes to the actors. I was honored that he trusted me with this responsibility and, of course, approached it with full earnestness.
I remember giving one actor a note, saying, “That was perfect!” To my surprise, I was admonished — not by Tripp, but by the actor! They explained that you should never tell an actor they were “perfect,” as it can create pressure to replicate that exact moment every time. Since then, I’ve never told an actor they were perfect! Instead, I say things like, “Well done,” “This is the right direction,” or “I really felt what you were giving.” But “perfect” is off the table!
What are some of the most interesting or exciting projects you are working on now?
Of course, the most interesting project is always the one I’m working on right now! I’m directing the premiere production of Mercutio Loves Romeo Loves Juliet Loves, written by Gina Femia and produced by Boomerang Theater. It’s set in an all-girls Catholic high school in 2005, and I think of it as a love letter to theater kids everywhere — especially queer theater kids.
The story focus on three teens — Ellie, Britt, and Amber — whom the world, and particularly their parents, see as girls, though not all of them are comfortable with that label. Their school’s drama club is putting on a production of Romeo & Juliet, and Ellie and Britt are, of course, going to be cast. But then Amber, a popular cheerleader, breaks her leg. Needing an after-school project to keep her scholarship, she ends up cast as Juliet. Obviously, this causes problems and everyone starts falling in love with the “wrong” person. It’s a queer “kinda” adaptation of Romeo and Juliet.
The themes of the play are incredibly relevant to this moment, centering the experiences of LGBTQIA+ teens and exploring questions of sexuality and gender among young people navigating them for the first time. And it does so with joy. While the play has moments that might break your heart, joy is never out of reach.
It runs at The Jeffrey and Paula Gural Theatre at ART/New York for a strictly limited engagement from November 8 through November 24.
You have been blessed with success in a career path that can be challenging. Do you have any words of advice for others who may want to embark on this career path, but seem daunted by the prospect of rejection, lack of support, or failure?
I believe it’s essential to embrace the fact that rejection, lack of support, and even failure are part of the journey. Take every opportunity to practice your craft when they come — whether it’s approaching an audition as a small performance opportunity or being fully present when reading a new play aloud with close collaborators.
Which tips would you recommend to your colleagues in the live performance industry to help them to thrive and not “burn out”?
It’s important to follow your passions and pursue the things you truly love.
Thank you for all that. This is the main question of our interview. What are your “5 Things You Need To Create A Highly Successful Career in Broadway, Theater or Live Performances” and why?
Integrity: I try to lead with integrity in all my creative work by fostering a collaborative and respectful environment where everyone feels valued and heard. It’s essential to stay true to the story we’re telling, making sure it aligns authentically with the characters, themes, and emotional arcs. I want actors and crew to feel they can bring their full selves to the table and experiment without judgment.
Stamina: Stamina is crucial for two reasons. First, each artist’s journey is unique, and the journey can be long before reaching what you define as success. Second, devoting yourself entirely to creating a work of art can be physically and emotionally draining, so you need to stay focused to complete the tasks in front of you.
Curiosity: Maintaining a sense of curiosity is vital. The desire to learn, grow, and see things in new ways allows us to share fresh perspectives with others. Our job as theater-makers is to hold up a mirror to the world so we can see ourselves better — and we can’t do that if we’re not constantly expanding our own understanding.
Sense of Humor: Embracing humor in life and in work is essential. This art form is collaborative, which is one of the reasons I love it, and collaboration by its very definition means working with others. Being able to laugh, laugh at yourself, and find joy in the work makes the process of putting on a play a pleasure.
Humility: From the outside looking in, one might think there are a lot of egos at play in this industry. But I actually find that the people who are most grounded, connected to their sense of self, and display humility, graciousness, and respect are the ones I am most drawn to working with.
For the benefit of our readers, could you describe how the skill-sets you need in a theater performance are different than the skill-sets you need for TV or Film?
In theater, I think you’re responsible for telling the whole story, not just one aspect of it. The director, designers, and actors collaborate closely to weave together the fabric of the story so it can be recreated night after night — live. In film and TV, however, the story really comes together in the editing room. An actor might give multiple takes or options for a director to choose from, but those performances are then selected and pieced together long after the actor has performed them.
You are a person of enormous influence. If you could inspire a movement that would bring the most amount of good to the most amount of people, what would that be? You never know what your idea can trigger. :-)
I think the world could use a bit more kindness — not just passive kindness, but active kindness. Making an effort to recognize that we are all human and deserve to be treated with compassion and care. And, of course, more funding for the arts!
Can you please give us your favorite “Life Lesson Quote”? Can you share how that was relevant to you in your life?
Life isn’t a rehearsal. The meaning is pretty clear: we only have one opportunity to live our lives. Sometimes, it’s easier to think of it all as a dress rehearsal for when “real life” begins, but this is real life, and it’s important to make the most of it!
We are very blessed that some very prominent names in Business, VC funding, Sports, and Entertainment read this column. Is there a person in the world, or in the US with whom you would love to have a private breakfast or lunch, and why? He or she might just see this if we tag them.
Well, keeping with a theme and my lifelong love of Wonder Woman, I’d have to say Lynda Carter! I would never turn down that opportunity! Plus, she’s such an advocate for women’s rights and LGBTQIA+ rights. Love her!
And if I may, there’s another person who comes to mind: the author Douglas Stuart. I have been deeply moved by his novels Shuggie Bain and Young Mungo. Young Mungo, in particular, has stuck with me and woven itself into the fabric of my subconscious. I think I’d be nervous, but I’d love to have tea with him!
How can our readers continue to follow your work online?
You can follow me on Instagram at @scottebersold or visit my website at scottebersold.com, which I’m currently in the process of redoing.
This was very meaningful, thank you so much! We wish you continued success!
About The Interviewer: Savio P. Clemente, TEDx speaker and Stage 3 cancer survivor, infuses transformative insights into every article. His journey battling cancer fuels a mission to empower survivors and industry leaders towards living a truly healthy, wealthy, and wise lifestyle. As a Board-Certified Wellness Coach (NBC-HWC, ACC), Savio guides readers to embrace self-discovery and rewrite narratives by loving their inner stranger, as outlined in his acclaimed TEDx talk: “7 Minutes to Wellness: How to Love Your Inner Stranger.” From his best-selling book to his impactful work as a media journalist covering resilience and wellness trends with notable celebrities and TV personalities, Savio’s words touch countless lives. His philosophy, “to know thyself is to heal thyself,” resonates in every piece.
