Meet the

Composers and Lyricists

MASI ASARE (she/her) is a composer, lyricist, and playwright. Shows include: THE FAMILY RESEMBLANCE (book/music/lyrics; developed at Live and In Color/ Bingham Camp and Eugene O’Neill Center); the new musical adaptation of Mira Nair’s film MONSOON WEDDING (lyrics), to open at Leeds Playhouse and London’s The Roundhouse in summer 2021; spy musical SYMPATHY JONES (music/lyrics/concept; NYMF; Playscripts); and a one-act play about teen super hero Ms. Marvel, MIRROR OF MOST VALUE (Marvel/Samuel French). Commissions: Theatre Royal Stratford East, Babara Whitman/Grove Entertainment, Victory Gardens/ Toulmin Foundation. A past Dramatists Guild Fellow, Masi won the Billie Burke Ziegfeld Award for a woman composer of musicals, awards for composition and lyrics from the O’Neill, a Theater Hall of Fame Emerging Artist Grant, and the Stacey Mindich “Go Write A Musical” Lilly Award. An advisory board member for MAESTRA, she holds degrees from Harvard and NYU Tisch and is on the Theatre department faculty at Northwestern University.

 

JOSHUA OMAR BETANCOURT is a NYC based creative writer and performer. Inspired by his love for story telling and acting at a young age Joshua began performing in theatre having studied acting/voice at Hochstein School of Music and completing his studies at The American Musical & Dramatic Academy in NYC. Joshua jump started his professional acting career in multiple professional productions, new musical readings/developments and the National/International tour with Nickelodeon.

Joshua began writing and developing short stories, graphic novels and comics at a young age and is mostly known for his most recent work creating and developing a full length musical adaptation titled, The Imaginary® - Musical (www.theimaginarymusical.com) based on the UK acclaimed novel sharing the same title. His recent original work Within Elsewhere® (www.withinelesewhere.com) is currently in development this year.

 
 

An recognized artist who crosses disciplines, NANCY CHESER’s projects span from her abstract photographs found in the collections of four museums including the Fogg Museum at Harvard University, silk-screened political posters included in the libraries of both scholarly university archives and the Library at the Museum of Modern Art in New York, to essays published in national magazines and local newspapers.  Her most recent endeavor is the musical Present Perfect.

Ms. Cheser attended the University of Chicago, Rhode Island School of Design, and Massachusetts College of Art, and now is an educator as well as a practicing artist.  As a professor at Hodges University, Naples, FL, her creativity informs her teaching, and the teaching influences her artwork.  Present Perfect grew from her experiences with a multicultural class of immigrants learning English.  As with her photography, she uses her art to tell a story that she feels needs to be told.

 

MAGGIE-KATE COLEMAN is a bookwriter, lyricist and the Artistic Director of the Polyphone Festival at UArts in Philadelphia. Works include POP! (world premiere Yale Rep, City Theatre starring Anthony Rapp as Andy Warhol, Studio Theatre, etc.); The Gift of the Magi with bookwriter Jeffrey Hatcher and composer Andrew Cooke (commissioned by Arkansas Rep). She is a 2015 MacDowell Fellow and a graduate of NYU.

Emmy-nominated and Grammy-nominated DAVID DABBON is a New York City-based composer, arranger, and orchestrator. He earned his Emmy nomination for writing the music to “Eat Shit, Bob!” which was on HBO’s award-winning “Last Week Tonight with John Oliver.” On Broadway, David’s work has been heard as the dance arranger for BEETLEJUICE and DISASTER! and he provided additional orchestrations for SONDHEIM ON SONDHEIM (Grammy nomination, OBCR) He conceived and composed the score for a new immersive game show musical called “GAME ON,” which premiered at Pittsburgh Civic Light Opera. For HBO, he created new arrangements and orchestrations for the Peabody Award-winning documentary, SIX BY SONDHEIM. He has also composed the score for the full-length feature “ALL GOD’S CREATURES” and the short film “DORI THE DONOR.” David has an ongoing collaboration with six-time Tony Award winner Audra McDonald, regularly providing orchestrations for her albums. His work can be heard on both “AUDRA McDONALD LIVE WITH THE NEW YORK PHILHARMONIC: SING HAPPY” and “AUDRA McDONALD: GO BACK HOME.” David earned his master’s degree in Choral Conducting from Carnegie Mellon University and his bachelor’s from The Hartt School. www.daviddabbon.com

 
 

TIA DESHAZOR is an actor, lyricist and librettist. On stage she plays barrier breaking leading ladies, and these women are reflected in her work. She is in the Advanced BMI Lehman-Engel Musical Theatre Workshop where she began writing an original work called The Pact. Her short Musicals “The Rocket Thrower” and “The Slow Movement” were featured in Prospect Musical Theatre Labs. She has also written for “Girlhood, the Musical” and is currently adapting the children’s book Hula Hoopin Queen for New York City Children’s Theatre.  She is Co-Founder of BOLD, an organization that supports Black Women in the Performing Arts and an active member of Actor’s Equity Association’s Equal Employment Opportunity Committee.

 

TIMOTHY HUANG is a New York City based composer/lyricist/librettist. I write musicals by myself. I enjoy writing with other people, but when I do it is anywhere between 33%-50% less fun because I really nerd out over marrying music to lyrics, to theme and character and conflict etc.

I am the son of Peter and Jeanne, the husband of Laura, the brother of Tom, the uncle of Cole and Maya, the godfather of Jordan and as of February 2020, the father of Haven Tuesday Brandel Huang.  Born a week before the coronavirus pandemic, she turned my world upside down before the world turned itself upside down.  For that I am grateful.  

I spent a lot of my twenties auditioning to be the third dancing potato from the left in Any City USA.  But in the 90s, you couldn't do that if you looked like me.  (Sorry if that threatens your frailty. Actually, screw you if that threatens your frailty.)  You could only do Miss Saigon or the King and I.  Or be labelled an amateur.  So this amateur got his MFA and started writing shows that employed people who looked like me.  It was a pigeon hole I was not only happy to be crammed in to, but one I was more than happy to make larger.

Fun Fact: The back of my business card reads "Never. Stop. Writing." I'm curious to know what key dramatic factors will change that, if it ever does change.

Among the shows I have written that people still talk about are American Morning, a show about two Asians in a cab, the one-person musical The View From Here, which wasn't about Asians at all, (but secretly was about me, an Asian), Peter and the Wave, which is about an historical Asian, the one-act Koi Story, which is about a half Asian and her non-Asian mother, and the short musicals A Relative Relationship (which features an Asian) and Missing Karma, which is about burying a dog.  If you were around in the early aughts, I was also the guy who wrote So Far, So Good and And the Earth Moved.  But the less said about them the better.

Apparently I have always been a teaching artist? I recently led a songwriting workshop at Harvard (my parents were so proud) and it was suggested to me I be a little more open about my experience as a teacher.  I’ve lectured and taught workshops on writing and representation for such institutions as Brown, MIT, NYU, Columbia since the early 2000s as well as for the Dramatists Guild National Conference.

Someone is peering over my shoulder and saying I should mention the Lehman Engel Musical Theater Workshop at BMI, (awesome) the Dramatists Guild Fellows program, (also awesome) that I recently served on the Dramatists Guild Council (also also awesome) and that I am a 2019 NYSCA/NYFA Fellowship Grant recipient for Playwriting. Now they're saying it's too long.  I really can't win some days.  Which is fine, because historically, I win a lot.

 

TRENT JEFFORDS is a performer, singer, and songwriter based in NYC. Regional performances include Kiss Me, Kate! (Bill Calhoun), Hello, Dolly! (Barnaby), “How to Succeed in Business Without Really Trying” (J. Pierrepont Finch). As a vocalist he has performed with Holland America and Carnival Cruise lines as well as with the band New Fashioned. Trent’s show, “WikiMusical” (Music), appeared at the Pearl Theatre in NYC during the 2014 NYMF festival. Other shows include The Imaginary (Music and Lyrics) and How to Repair a Mechanical Heart (Music). His most recent show, Within Elsewhere (Music and Lyrics), was workshop by the International College of Musical Theatre through their New Works Development Lab and was the 2020 finalist for Live and In Color’s Development Retreat. His single Just Let It Go is available on all platforms.

KIM JINHYOUNG is a storyteller who has co-written book, music, and lyrics for TWO NIGHTS AND THREE DAYS (O’Neill NMTC, 2020), REFRESH (Without Walls Festival, 2019), which was produced as part of HALL PASS by Blindspot Collective in collaboration with La Jolla Playhouse, and THE EGYPTIAN BABOON (NYU Developmental Reading, 2018); written music for the musicals WHERE IS JESUS’ DICK? (Seoul Foundation for Arts and Culture residency) and SHEMAN (Seoul Youth Art Institute residency), each of which premiered in Seoul, South Korea in 2017; and written music for the play WONDERHUMAN, which also premiered in Seoul in 2017. Kim is also currently writing music and lyrics for a song cycle entitled WAIT…ING. Kim’s work has been performed in such venues as Feinstein’s/54 Below, Joe’s Pub at The Public Theater, Two River Theater, and Lincoln Center, among others. Kim is a graduate of the Graduate Musical Theatre Writing Program at NYU’s Tisch School of the Arts.

 

Born and raised in Athens, Greece, ERATO A. KREMMYDA works across genres and countries. Recent work includes: Riot Antigone (La Mama, Ars Nova), RED WEDNESDAY (Mabou Mines, BRIC Arts Center/Built for Collapse); IO (International Filippi Festival, Greece); YOUNG LEAR (Teatro Duo, Rome) etc. Ηer work has also been heard at places like Megaron Music Hall (Athens), New York City Center, The Tank, The Bushwick Starr, HERE, Kimmel Center (Philadelphia) etc. She is a Fulbright scholar and an Anna Sosenko Grant recipient.
 
Together Coleman and Kremmyda are the recipients of the 2017 Jonathan Larson Grant and have collaborated on many musicals, cabarets, songs for theater and other intersections of music and text. Their work has been developed through The American Music Theatre Project at Northwestern, the Civilians R&D Group, NYMF, and residencies at The Orchard Project, Rhinebeck Writers Retreat, Space on Ryder Farm, Ars Nova Writers Retreat, Catwalk Arts Residency, and the Polyphone Festival of New and Emerging Musicals.  They are members of the Orchard Project Greenhouse. Current work includes MARIE IN TOMORROW LAND (created in collaboration with director/choreographer Sam Pinkleton) and WE WILL NOT BE SILENT (Rhinebeck 2020).

 

YAN LI is a composer, lyricist, music director, pianist, arranger, and teacher. His work has been featured at 59E59, Barrington Stage, West End Theatre, Symphony Space, Signature Theatre, Irondale Center, 54 Below, Musical Theatre Factory, Goodspeed, Speyer Hall, the Puerto Rican Traveling Theater, the Duplex, the Flea, Pearl Theatre, Portsmouth University, the New York Musical Theatre Festival (NYMF), the Chautauqua Institute, and the Toronto Fringe Festival. As composer, his works include Sweet Nothings (Eugene O’Neill Center National Music Theatre Conference Finalist), Enjoy the Ride, or The Whale, The Puzzling Disappearance of Yinxing Villa (all with Jason Purdy), -Blind., The Ghost Says Boo (both with Julia Gytri), and Misprint: First Issue (with Lauren Toffan; 2011 Toronto Fringe Festival “Pick of the Fringe”). On his own, he has written Bethune: The Musical, Left, and contributed songs to Made In China (NY Times Critics Pick) and The Great NYC Treasure Hunt. As sound designer and arranger, he has also worked on Anna Karenina: a riff, Baryon, Interrupted, and several Shakespeare plays.

As a music director and pianist, Yan has worked across North America and as far abroad as Nigeria and South Korea. Recent shows include Promenade (NYU), Marguerite (Astoria Performing Arts Center), The Fantasticks (Weston Playhouse), Age of Innocence (pianist; McCarter Theatre and Hartford Stage), From Here to Eternity (asst MD; Ogunquit Playhouse), Side Show (Trinity Rep; BroadwayWorld Rhode Island Best Music Direction), Oh What a Lovely War (Marymount College), The Mystery of Edwin Drood (Mimes and Mummers), Interstate (Musical Theatre Factory), and Sunfish (Daegu International Musical Festival- “Top Jury Honor” winner). He is actively sought as a pianist/music director for cabarets, showcases, and readings of new works. Yan is also active in the opera and art song world. As a pianist, percussionist, and occasional accordionist/harmonica-ist, he has played with symphonies, gigged with rock bands, and toured with an Edith Piaf impersonator. His work with educational institutions include NYU, Fordham, Marymount College, AMDA, New York Conservatory for the Dramatic Arts, Brown University, New York Film Academy, Stella Adler Studio, Herbert Berghof Studio, Barrington Stage, Weston Playhouse, Prospect Theater, Walnut Hill School for the Arts, Kaufman Music Center, Bravo Academy for the Performing Arts, Olashore International School, and the National Asian Artists Project.

Yan has a BA in Composition & Theory from the University of Victoria, an MFA from NYU’s Graduate Musical Theatre Writing Program (Tisch Fellowship recipient), and an ARCT diploma in Piano Performance from the Royal Conservatory of Music. He is a Founding Artist of Blue Bridge Repertory Theatre and a proud member of SOCAN (The Society of Composers, Authors, and Music Publishers of Canada), and the Dramatists Guild. www.yanstuff.com

 
 

JAIME LOZANO is a musical theatre composer who has been heralded as the “next big thing” on Broadway by Hamilton’s Lin-Manuel Miranda. A native of Monterrey, Mexico, Jaime earned his BFA in Music and Composition from the School of Music at the Universidad Autónoma de Nuevo León and was the recipient of a full scholarship to New York University’s Tisch School of the Arts, where he has the distinction of being the first Mexican to be accepted to and earn an MFA from the Graduate Musical Theatre Writing Program. Jaime is one of the five artists selected for the 2020 Joe’s Pub Working Group residency.

A prolific composer, Jaime’s works have been produced at venues such as the Minskoff Theatre (Broadway), Lucille Lortel Theatre (Off-Broadway), The Pearl Theatre (Off-Broadway), The Players Theatre (Off-Broadway), Puerto Rican Traveling Theatre (Off Broadway), Goodspeed Opera House, The Juilliard School of Music, The Triad Theatre, Theatre for the New City, Baruch Performing Arts Center, Merkin Concert Hall, New York City Center, St. George Theatre, Soho Playhouse, Metropolitan Room, Théâtre du Châtelet and Comédie Nation (Paris, France), Theater 11 (Zurich, Suiza), Deutsches Theater (Munich, Germany), Admiralspalast (Berlin, Germany), Sadler’s Wells (London, UK), Teatro Benito Juárez (Mexico City), and Aula Magna (Monterrey, Mexico). Jaime’s works include The Yellow Brick Road (music and lyrics with Tommy Newman, book by Mando Alvarado), which premiered Off-Broadway premiere in 2011 to critical acclaim highlighting “its accessible melodies and robust harmonies” (New York Times). That production was followed by a successful national tour. Jaime’s musical Children of Salt; A New Latin Musical (book and lyrics by Lauren Epsenhart) made its New York City debut as part of the New York Musical Festival 2016 (NYMF), where it won the “Best of Fest” Production Award. Jaime also co-wrote the one-act musical Lightning Strikes Twice (book and lyrics by Noemi de la Puente), which premiered Off-Broadway at the Puerto Rican Traveling Theatre in 2010. Lightning Strikes Twice was translated into Spanish in 2015 and continued on to have a very successful run in Venezuela, which led to its return to New York City as part of the inaugural season of Teatro SEA MicroTheater. The Yehuatl (book and lyrics by Sara Cooper) recieved readings at NYU's Graduate Musical Theatre Writing Program and at the Dramatists Guild before receiving a production at the Lee Strasberg Institute in 2009. The Yehuatl later became the first act of the musical tryptich מיתוסים . Mitos . Kamanalis / Myths (book and lyrics by Sara Cooper, additional lyrics in Spanish by Jorge Castilla), which had its World Premiere in 2012 in Monterrey, Mexico. Jaime is the composer and librettist of the musical Tlatelolco, which premiered in 2001 in Monterrey, Mexico, and was revived in 2002, 2004, and 2013. He was also the composer, music director, and arranger of the play Pedro Páramo based on Juan Rulfo’s novel of the same name, which was featured in the 2004 Nuevo León Theatre Festival. Recently, Jaime’s song cycle A Never-Ending Line, a collaboration with 9 female lyricists, had its World Premiere in Paris, France as part of the concert series of “Broadway au Carré” at the Comédie Nation Theatre and its Spanish language World Premiere in Mexico followed by an Off-Broadway run at The Players Theatre. Con Amor…Isa Colibrí, written in collaboration with Reynolds Robledo and Florencia Cuenca, premiered in Mexico in 2018 in the prestigious Festival Alfonsino; Jaime’s musical Estocolmo premiered as part of that same festival in 2019. Also in 2019, Savage, written in collaboration with Tommy Newman, premiered in Birmingham, Alabama as a commission by the University of Alabama. Jaime’s musical Present Perfect - A musical in broken English (book and lyrics by Nancy Cheser) has been developed by Salgado Productions and Live and in Color and will have its World Premiere at Theatre Zone in Florida in June 2020. Jaime has also dabbled in film scoring, most notably having written the score for the short film Os by Jesús Alarcón. In 2015, Jaime and his wife, Mexican actress and singer Florencia Cuenca, created a jazz project called The New Standards. The New Standards recorded an album of contemporary musical theatre songs accompanied by jazz arrangements written by Lozano and Jesus Altamira and has been performed at prominent venues in New York City, Mexico, and across Latin America.

 

MARCUS PERKINS is a storyteller who has co-written book, music, and lyrics for TWO NIGHTS AND THREE DAYS (O’Neill NMTC, 2020) and REFRESH (Without Walls Festival, 2019), which was produced as part of HALL PASS by Blindspot Collective in collaboration with La Jolla Playhouse; co-written book and written lyrics for COMING HOME (NYU Developmental Reading, 2018); and contributed lyrics to the annual STANFORD LAW SCHOOL MUSICAL in both 2011 and 2012, which was produced in Stanford, California. Marcus’s work has been performed in such venues as Joe’s Pub at The Public Theater, Two River Theater, and Lincoln Center, among others. A graduate of the Graduate Musical Theatre Writing Program at NYU’s Tisch School of the Arts, he also has degrees from Princeton University and Stanford Law School.

SEVAN is an award-winning London and NYC-based playwright-actor. His work has been seen in London and New York at The Public Theatre, New York Theatre Workshop, The Flea Theatre, The Sheen Center, The Bush Theatre, Theatre Royal Stratford East, Theatre503, Rich Mix, The Old Red Lion, The Space, and Access Theatre. Member of the Bush Theatre inaugural 2015 Emerging Writers Group; The Public Theater 2011 Emerging Writers Group; NYTW Usual Suspect; Rising Circle Theatre Collective 2010 InkTANK Writer's Lab. NYTW 2011/2012 Teaching Artist. 2017 O'Neill National Playwrights Conference Finalist. 2016 Kondazian Playwriting Award for Armenian Stories. 2016 Arch and Bruce Foundation Playwriting Prize. 2014/2015/2016 Princess Grace Award Semi-Finalist. 2014 Papatango Playwriting Prize Shortlist. 2014 Saroyan Social Justice/Human Rights Playwriting Award Finalist. 2010/2012 William Saroyan Playwriting Prize Finalist. As an actor: New York: Dead are my People (NYTW), Mrs. Christie (world premiere), Lortel Award‐Winning Betrayed (Culture Project, LATW, Kennedy Center, PBS), Dead are my People (NYTW/Noor), Bunty Berman Presents, Betty Shamieh’s The Strangest, NYTW’s Aftermath, NYMF’s Les Enfants des Paris, Prospect’s Mapquest, FringeNYC’s hit Perez Hilton Saves the Universe…. TV/Film: The Dictator, "Madame Secretary," “Blue Bloods,” “Damages,” “M.O.N.Y.” London: Scenes from 68* Years, bi, Maroon. Regional includes: world premiere of Language Rooms at the Wilma Theatre, Evita, City of Angels, Into the Woods, Company.  Website: justSEVAN.com

 
 

RONA SIDDIQUI is a composer/lyricist based in NYC. She is a recipient of the Jonathan Larson Grant and Billie Burke Ziegfeld award. She was named one of Broadway Women's Fund's Women to Watch and is currently an MTF Maker. Her show Salaam Medina: Tales of a Halfghan, an autobiographical comedy about growing up bi-ethnic in America, had a reading at Playwrights Horizons (dir. by Raja Feather Kelly). Other musicals include One Good Day, The Tin, and Treasure in NYC. She is the recipient of the ASCAP Foundation Harold Adamson Lyric Award, Mary Rodgers/Lorenz Hart Award and ASCAP Foundation/Max Dreyfus Scholarship. She has written pieces for Wicked's 16th anniversary commemoration Flying Free, 24 Hour Musicals, Prospect Theater Company, The Civilians, NYC Gay Men's Chorus, and 52nd St Project, and has performed concerts of her work at The John F. Kennedy Center for the Performing Arts and Feinstein's/54 Below. Original scores include The Vagina Monologues, Middletown and The Good Person of Szechuan. Rona music directed the Off-Broadway Pulitzer Prize-winning A Strange Loop for which she received an Obie along with the cast and creative team (Playwrights Horizons), Bella: An American Tall Tale (Playwrights Horizons), and Who's Your Baghdaddy: Or How I Started the Iraq War (St. Lukes Theatre). She has orchestrated for Broadway Records, Broadway Backwards, NAMT and Pittsburgh Civic Light Opera. www.ronasiddiqui.com

 

PAULO K TIRÓL is a composer, lyricist and bookwriter from Manila, Philippines. He was in the 2019-20 class of Dramatist Guild Foundation Fellows, and an artist-in-residence at Access Theater with director Noam Shapiro. His projects include music and lyrics for ON THIS SIDE OF THE WORLD (NAMT Festival 2020, Prospect Theater Co.’s IGNITE series, workshop production at Access Theater, all dir. Noam Shapiro); book, music and lyrics for CALLED (DGF Fellows showcase 2020, dir. May Adrales); and orchestrations for Ma-Yi Theater Co.’s FELIX STARRO. His work has been presented at Joe's Pub, Barrington Stage, and more. Training: Ateneo de Manila University, Berklee College of Music, NYU Tisch Graduate Musical Theatre Writing Program (full tuition scholarship), BMI Musical Theatre Workshop. www.paulophonic.com

 

JESSICA WU is an award-winning NYC-based playwright, director, songwriter, dramaturg, and actor-in-a-past-life. Her performance credits include the Broadway Revivals of Miss Saigon and A Chorus Line and she has crossed the US in a half-dozen National Tours, performed at Shakespeare in the Park, Radio City Music Hall, NYC Opera, Lincoln Center, with numerous Regional theatres, and in late-night sketches with Jimmy Fallon and Stephen Colbert. Jessica has written a number of short-films and theatrical works, including two full-length musicals. “You, Me, I, We” has won several development awards (including The National Asian Artists Project’s Discover: New Musicals Series) and was a Finalist for Live & In Color’s Development Retreat, as well as a semi-finalist for The National Alliance of Musical Theatre’s O’Neill Conference. Upcoming is “Poupelle of Chimney Town”, a new-musical based upon the best-selling Japanese picture book of the same name. Currently in development, it’s slated to debut next season Off-Broadway. Jessica is an adjunct Theatre Professor at American University and has also spent the last several years in Non-Profit Arts Leadership as an Associate Artistic Director. Last fall she founded Inspirate Creative Consulting and Development, a practice dedicated to providing clients with purposeful creative coaching and open-hearted, collaborative development sessions for works in-process. www.jessica-wu.com

 

DEVANAND JANKI is an award winning Director-Choreographer based in New York City, originally from Canada. He is the founder and artistic director of Live & In Color, whose mission is developing new plays and musical that celebrate diversity. LiveandInColor.org

His prolific New York credits include the hit Off-Broadway show Zanna, Don’t! (Winner of the Lortel, Callaway, and GLAAD Media Awards), John Patrick Shanley’s Romantic Poetry for the Manhattan Theatre Club, The Yellow Brick Road  (Callaway nom.), Junie B. Jones (Lortel nom.), Cupid & Psyche, Henry & Mudge (Lortel nom.), Skippyjon Jones (Lortel nom.), Shine! The Horatio Alger Musical (NYMF), This One Girl’s Story (Abingdon Theatre, GLAAD Media Award nom.), and Buddy’s Tavern (York Theater - Lab).

Dev has combined his philanthropic skills with his Broadway prowess on such concerts as: HAIR with an all-star cast, featuring Jennifer Hudson(Grammy nom.), Funny Girl featuring 16 Fanny Brices, including Whoopi Goldberg, Bebe Neuwirth, and Jane Krakowski; Dreamgirls and Seth's Rudetsky's Broadway 101, all for the Actors’ Fund, the entertainment industry’s largest charitable organization. He has also served nine years as an Artistic Associate for Broadway Bares, one of the largest fundraisers for Broadway Cares/Equity Fights AIDS.

His other notable credits include: Amahl and the Night Visitors, Babes in Toyland, Anything Goes in concert (assoc.) all for Lincoln Center; The Wings of Ikarus Jackson and Barrio Grrrl! (Helen Hayes nom., Kennedy Center); The hit show, Little Girl Blue - The Nina Simone Musical (George Street Playhouse); The Rocky Horror Show, Xanadu, the regional premiere of Rent (Hangar Theatre, SALT Award); How Can You Run with a Shell on Your Back? and Disney's Aladdin (Chicago Shakespeare); Andrew Lippa's Asphalt Beach (AMTP); Man of La Mancha (Maltz Jupiter Theatre); The Full Monty (Foothills Theatre); The Scarlet Pimpernel (Gateway Playhouse); and the workshop of Lily (Huntington Theatre). TYA tours: Martha Speaks, If You Give a Pig A Panacake, Fly Guy & Other Stories, Nate The Great, The Berenstain Bears LIVE!, Family Matters, the Musical, and The Jack Sprat Low Fat World Tour.

Dev has also worked internationally, creating One Man's Dream II for Tokyo Disney, as well as the Korean Premiere of Zanna, Don't!, and concerts for Japan's #1 Boy Band: Shonentai. Live Industrial credits include projects for: Carnival Cruise Lines, Coca-Cola,
MAC Cosmetics, Benjamin Moore Paints and Dove.

As a performer, Dev has appeared on Broadway in Miss Saigon, Cats, The King & I, Side Show, and tours of A Chorus Line and West Side Story

He is the Director of the Musical Theatre Division at The Stella Adler Studio of Acting. He is a frequent guest teacher and lecturer across the country where he continues to be a strong advocate for diversity, inclusion & equity in the arts.

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