When “Dear Evan Hansen” reopened on Broadway on Dec. 11, it was a big night in New York, but it may have been an even bigger night in Birmingham.
Because “Dear Evan Hansen” returned with Jordan Fisher in the title role, and “The Lion King,” which had reopened in September, boasted Brandon McCall in the title role. Two young actors, both from Birmingham, both products of training at Red Mountain Theatre.
“I try and go see as many of our alumni in performances as possible, and I sat watching those performances crying my eyes out from the moment they hit the stage,” says Red Mountain Theatre Executive Director Keith Cromwell. “I am sure the people next to me were like, ‘What is wrong with this dude?,’ until intermission when my proud Papa came out and I shared their story and how they arrived at this moment in their lives. These are powerful experiences that I will treasure for a lifetime.”
Cromwell has been at the helm of the theater for nearly two decades, and he’s seen his share of nationally successful alumni over the years – Morgan Smith, who did Wendy’s commercials for several years; Lexie Dorsett, star of several national tours; Alex Jones, a Disney TV star; Ben Hope, who starred in “Once” on Broadway.
But 2022 is already at another level. In addition to Fisher and McCall, Audrey Cardwell is in “The Music Man” on Broadway, Abigail Barlow snagged a Grammy Award nomination for “The Unofficial Bridgerton Musical,” her sister Anna Grace Barlow is starring in Fox’s “The Big Leap,” Thad Wilson is on tour with “The Prom” and DeMarius Copes starred in the “Dear Evan Hansen” movie and is now on tour with “Hamilton.”
Ask these actors and singers, and most all of them will point to their experience at Red Mountain Theatre as a turning point.
“I spent so much time with RMT and learned a lot during my time with them,” says Fisher, who worked with RMT for about six years before going on to TV, film and stage work. “I learned work ethic, time management, leadership skills, craft, along with opportunities to teach and be challenged often. There were so many things that I got out of it. I learned everything from RMT.”
McCall, who performed in several RMT productions and worked at the theater as community engagement coordinator, says the theater “gives artists a chance to find themselves and a place to hone their craft. RMT also taught me the importance of community.”
That’s music to the ears of Cromwell, who is now seeing his “kids,” the young people who have been part of his theater, having children of their own.
“I have had some really touching and unexpected conversations with this group of now 30-somethings, who all say what an influence being in the program had on their lives,” he says. “It is amazing to see some of our young artists launch into success in the industry, but it is equally awesome to see them succeed in other career paths. There is a valuable element of confidence, self-discipline, teamwork and perseverance in the theater. These skills are important to success no matter what path is taken.”
Cardwell, who is making her Broadway debut in “The Music Man,” says RMT “provides invaluable experiences and opportunities for young artists as well as a strong sense of community and connection, which is vital for growth.”
“RMT gave me an artistic home where I was free to be myself entirely,” she says. “I was safe to make mistakes, grow and learn and start to figure out who I was as a human and an artist. There was always space for individuality and growth. I think that’s what’s so powerful about RMT – it has given so many young artists the space to figure out who they are and where their own power lies.”
Katie Holmes, who was a music director at RMT before leaving in 2019 to play keyboards on the national tour of “Jersey Boys,” points to Cromwell as the catalyst for the success stories coming out of the theater.
“You’ll never find someone who believes in your ability to succeed more than Keith Cromwell does,” she says. “Make no mistake, he’ll push you beyond your comfort zone, but he’ll be your biggest cheerleader while he’s doing it. There’s a high level of expectation for anyone doing shows there, and the team is full of dedicated professionals who are absolutely always looking to improve. No one is ever content to settle for ‘good enough.’”
That goes for Cromwell, too, who has seen his theater, along with supporters Kathryn and Raymond Harbert, be part of the producing teams that won two Tony Awards – one for Best Revival of a Musical (“Once on This Island”) and most recently for Best Musical (“Moulin Rouge”).
And there’s more to come, Cromwell promises.
“We will continue to nurture those Broadway relationships to stay current, to stay connected,” he says. “It is through those connections that we can offer opportunities to our local artists – ‘getting them in the door,’ so to speak.”
(Courtesy of Alabama NewsCenter)
