The love of going to the theater is all about discovery.

It’s about seeing a new play you’ve been dying to catch or how a modern director might interpret a classic. Theater is about experiencing how that actor you loved in that thing you saw reinvents themselves in the show you're seeing now. It's having your eyes opened to our human stories while sitting shoulder to shoulder with others witnessing the same thing.

But there is one specific discovery that's truly the abundance of joy when it comes to theater – encountering young/new talent and being wowed by their performance.

For us, nothing is more thrilling than eagerly flipping through the program post-show thinking, who is that? And where can I see them again?

We're fortunate in Houston to have several graduate and post-grad theater programs and a sizeable young adult population who come here to attend those schools. Of course, local training isn't the only way young talent finds its way onto our stages, but this year, all our "up and comers" were trained at some point right here in Houston.

Additionally, everyone on this year's list had to weather graduating from their programs right into a pandemic, only to find the work they had booked or hoped to book as their professional debuts, was indefinitely on hold or canceled.

Understandably, many of these actors wondered if the career path they’d trained for was a mistake. Many thought about changing lanes. Thankfully for us, they held onto their love of performance and in so doing, gave us some of the most memorable theater moments of the last year.
Elissa Cuellar

American Mariachi at the Alley Theater was a joyous celebration of a lot of things – Mexican heritage in the form of the beloved and uplifting mariachi music, female acting prowess, and the sweetness of struggle leading to a happy ending. But it was also a celebration of up-and-coming talent and while there was much praise to go around, it was Elissa Cuellar that particularly caught our eye.

Playing Gabby, the sweet but awkward and oh-so-quirky Jesus-praising member of the all-female mariachi group, Cuellar gave a terrifically comedic performance that showed remarkable timing, talent and tone.

“I almost didn’t believe it when I got the part,” says Cuellar. “I got the email and had to read it several times and the experience was both thrilling, nerve-wracking and a great experience…The size of the theater wasn’t what got my nerves, I looked at the people in the cast and I wanted to be strong enough of a performer to support that show and not be a weak link.”

This sense of acting as a community activity is something that Cuellar grabbed hold of right from the start of her acting journey.

“Art was always an impulse for me and my family was really supportive of that, but I didn’t find theater until we moved from Houston to Georgia and I found myself feeling very isolated," says Cuellar who first acted in a paired-down production of A Funny Thing Happened On The Way To The Forum in 6th grade.

“Theater came as a gift as I found community and it stuck with me,” she says. “For me, it wasn’t ever about the show so much as opposed to really loving being around people and feeling like I was part of a whole.”

Cuellar moved to San Antonio for high school and participated in the University Interscholastic League theater competition, solidifying confidence in her talent and the desire to perform. So when it came time for college, it was a foregone conclusion that it was a theater program she was looking for, something her parents fully supported.

“I feel very privileged in that way,” she says. “My mum wasn’t an actor but she said, great, let’s find the right school for you. She’s a librarian so she’s like. I have the schools annotated and let’s go down the list.”
University of Houston is where she landed, preferring an acting tract over other types of performance. “I’m not a big musical theater person. I just always preferred plays that were about language. I’m more interested in pared down, character-driven shows.”

Small cast comedy or drama is the artistic desire for Cuellar who describes herself as a gut-actor.

“I like to do prep work but once you stand up, I feel like there is no reliable way other than trusting your gut. And of course, you’re going to mess up, but in that, you'll find something unique that you can use either in that show or elsewhere.”

Elsewhere for the time being remains Houston, a community Cuellar feels extremely indebted to. “I need to express my gratitude to Houston, especially the small companies working with small budgets who took chances on me and brought me to where I am today.”

Elissa Cuellar will be performing in the upcoming production of The Taming of the Shrew at Classical Theatre from April 11 – 20.



Krystal Uchem

It was both on and behind the stage that Krystal Uchem sparked our recent interest.

As Jo, the wife of an Elvis impersonator turned drag performer in The Legend of Georgia McBride at Stages Theatre, Uchem won our hearts with her sympathetic performance on stage chemistry. In Ensemble Theatre’s Chicken and Biscuits, she comedically transformed into a 15-year-old smart-mouthed, entitled teen, full of endless self-centered demands.

And if that weren’t enough talent, Uchem also wowed audiences and garnered a Houston Theater award nomination for her creative, colorful, and often surprisingly cheeky costuming in Clyde’s at Ensemble Theatre.

However, her hyphenate talent wasn’t the original plan, it was something born out of circumstance and literally finding her voice.

A shy child, Uchem first auditioned for the drama club in 6th grade. “They were like you’re fabulous, you’re wonderful but you are not loud enough,” says Uchem. “Then in the 7th grade play, I didn’t get a part. Once again, they told me you’re wonderful, you’re fabulous but we cannot hear you.”

But she kept at it, working over the years to gain confidence in herself and her voice until finally, she was cast in her high school play. Smitten with theater, Uchem attended Sam Houston University in the theater program but then, expecting a child, switched to a theater design/technology tract at University of Houston.

"I was thinking about long-term responsibility," says Uchem. “I love to learn and I really love theater so to be part of any aspect of it I was happy with it but of course, I felt limited in my artistic expression not performing. But I learned that the design element is so similar to storytelling so I ran with that.”

A year after graduation Uchem decided to audition again and hasn’t looked back. Still, she's cognizant of balance when juggling her work in design with her onstage commitments. “I know what shows I’m doing pretty early on in the season. I usually have my performance stuff down by fall so I start taking design work based on when I’m cast.”

Acting and design go hand in hand for Uchem who feels like she’s learned so much about the entire process working behind the stage. “Sitting at production and design meetings opened up something to me as a performer,” says Uchem. “Now I know when I have a costume fitting, never be late, respect the props, ask questions and know that these people are here to facilitate your movement and are part of the same team.”

When it comes to the design projects she takes on and the roles she’s interested in, Uchem is quite particular. “Anything that involves a female or person of color. I’m drawn to telling those stories about us and telling those stories in spaces who it's for and why it's for them. And challenging my way of thinking.”

Uchem firmly believes that growing up in Alief and being part of that community taught her to dream big and challenge herself. It, along with her drama club theater directors shaped her, she says. “I learned about joy and experienced so much joy in the art and that’s what I want to give to the stage.”

Krystal Uchem is performing in The Piano Lesson at Ensemble Theatre through February 26 and Kingdom Undone at AD Players from March 13 – 30.

She is also the Costume Designer for Stagolee and the Funeral of a Dangerous World at Main Sstreet Theater from March 30 – April 21.



Michael Leonel Sifuentes

Michael Leonel Sifuentes almost didn’t audition for the role of Rafael, the sensitive, love-struck, hilarious ex-convict in Ensemble Theatre’s production of Clyde’s.

It was the Saturday before the Monday he was leaving to be in New York for a month, but at the last minute, he decided to give it a shot. A call-back on Sunday that had him doing the role completely in Spanish on the fly was the most fun he’d ever had at an audition. So even if he didn’t get cast, he knew it was a terrific experience he’d never forget.

The roaring with laughter reaction to his scene-stealing playful flirting/physical antics as Rafael and the Houston Theater co-award for Best Supporting Actor certainly affirms that Sifuentes was the right actor for the role.

Born and raised in Houston, Sifuentes didn’t get into theater until high school. “I needed one more elective so I signed up for the Intro to Theater course,” he says. “They were having auditions for High School
Musical and I thought that sounds fun, why not? And I had an absolute blast. It was so much fun to be a part of something that was coming together to create something bigger than ourselves.”

Sifuentes continued with theater in community college, but there came a point when the second-guessing crept in. "I thought maybe I need to get a real job, a conventional job. Especially growing up first generation going to college, my parents were like you’ll go to school, you’ll get a good job you’ll work hard and be set.”

Sifuentes says his parents were hesitant about the possibility of him studying theater in college because he was hesitant. But at the beckoning of a friend, he went to an audition at University of Houston, got accepted and decided to give it his all.

“Throughout the years my parents have been able to see the work ethic they instilled and that it was just being redirected into something I love.”

And it certainly took hard work. Doing shows and attending school often meant Sifuentes left the house at 6 a.m. and got home around midnight – only to wake up and do it again the next day. “But I loved it,” he says. “I’ll put in those hours because it’s fueling me. I have an immense love to create with people that we can then showcase and give stories to other people.”

Being able to give Rafael’s story in Clyde’s back to his Latinx family and community was especially meaningful to him and something he hopes to continue. “It was nerve-wracking because my parents saw me speak our language,” says Sifuentes who called the role a full celebration of what it meant to be Latinx on stage. “They loved the nods to our culture and to understand the words, even if it’s bad words.

After the show my mum said, I didn’t know you knew how to cuss like that. And I laughed and told her, no mum, it’s only for this show.”

Looking ahead, Sifuentes says he’s interested in playing high comedic characters that have equal amounts of heart and undertone. The kind that can flip on a switch and break your heart. “I’ve been a little afraid of those roles in the past. I was usually cast as the sidekick. But why not learn and grow and see what I can do.”

Michael Leonel Sifuentes is performing as a swing in The Lion, the Witch and The Wardrobe at Main Street Theater for Youth through February 16.


Shanae’a Rae Moore

Stop making so many faces while you’re dancing, Shanae’a Rae Moore’s ballet teacher used to tell her. Dance was Moore’s consuming passion in her young adult life growing up in Juno, Alaska, but her instinct to inject theater in her ballet was both a foreshadowing and a blessing for what was to come.

“My love of theater came from injury,” says Moore who endured a less-than-ideal surgery during high school. "Turns out I have knees that decided for me …but theater found me and it’s where my heart longs to be anyway.”

Perhaps it was this experience of grace in the face of physical impediment that Moore drew from when playing Emily in Rec Room’s Heroes of the Fourth Turning. Burdened with a painful mystery illness, the conservative/religious but empathetic Emily was a marvel in Moore's hands. To say it was a slow-burn performance would be an understatement as she carefully built the character from compassion to eruption and shocked all of us in the best way possible.

While Moore found healing through theater, she had misgivings about it prior to attending college.” I thought, I can’t do this; I can’t live a life where I’m the product. Where I’m constantly looking at myself and working to better myself all the time,” says Moore. “I wanted to make the world a better place and I thought there were better ways to do it so I started to work for a memory care facility caring for adults with Alzheimer’s.”

It was there that the performing arts came calling again. “One day the entertainment didn’t show up so I sang for them,” says Moore. “The reaction was incredible. A couple of people who were not verbal became verbal for a few hours and it was the magic of storytelling/music. It showed me how important art really is.”

Looking for musical theater programs, Moore says she feels as though Houston picked her. “I was auditioning for college and three people mentioned Sam Houston and they told me the one thing you don’t tell me, which is you’ll never make it. And I was like …ooooh…..I’m an Alaskan, you don’t know what that means to an Alaskan. Watch this.”

After graduation Moore was performing in musicals back-to-back when a prior botched surgery came back to haunt her. “The guy who did my breathing tube hit my vocal chord,” says Moore. “It turns out I wasn’t even supposed to be able to speak at the time. I was performing Elf at Queensbury and it was really disconcerting as a singer when you go to sing and you aren't sure what sound is going to come out of your mouth. Again, lost my identity as an artist.”

Through two months of complete silence, not even coughing or sneezing, Moore had a long time to make sense of who she was and that’s when theater/performing chased her down again.

“My heart keeps questioning my own identity, is theater something that’s really important, and at every turn, it becomes more and more important,” says Moore. “I’ll be at a show and people will come up to me telling me I touched or healed them somehow and that is everything to me.”

After a surgery and lots of vocal therapy, Moore still sings and she says she’s learned a lot about the craft of singing in the process – how to really use her voice, not just concentrate on sounding good.

But when it comes to what she wants to portray on stage these days, she’s drawn to a particular type of role. “I want to play villains. Not because it’s fun, which it is, but because it requires that I as a human have to see the character’s heart….If a villain is portrayed as a person who just makes bad choices there is no humanity in that and I’m all about representing the beauty in people even though they make choices that aren’t heroic.”

Shanae’a Moore will be performing in The Crucible from February 8 - February 25 at Unity Theatre and Dancing Lessons at Unity Theatre from April 4 - 14.


Kyle Clark

We’ve learned a new saying thanks to Kyle Clark. One that perfectly captures the magic of his recent performances.

“I’ve been told I’m rather good at what they call rolling the bus,” says Clark. “Can you take your emotion to a 10 and the next moment can you flip to another emotion and also take it to a 10? So I get these roles where I’m crying then screaming kind of thing.”

It’s been more like a fleet of buses we've seen Clark roll recently. First was his turn as the odious/conflicted parent of an adopted Korean-born six-year-old who decides that the toddler is just too much work in Rec Room's production of Wolf Play.

In Rec Room’s Heroes of the Fourth Turning, came his explosive antsy neurosis as a staunch Christian Catholic conservative questioning and contradicting everything he believes into self and possible external harm.

We’ve hated him. We’ve felt sorry for him. We’ve worried about him. All at once. It’s this ability to conjure such simultaneous conflicting reactions that’s made us sit up and take notice.

Clarke came to acting later than most, it wasn’t until his early 20s that he even experienced theater. "My brother is an actor in Atlanta and I watched him do a production of Our Lady of 121st Street by Stephen Adly Guirgis and I’d never seen anything like it before.”

Despite being in the midst of an undergrad degree in grant writing at University of Michigan – Flint, he decided on a lark to audition for the school’s production of Romeo and Juliet and landed the role of Romeo.
“As part of my degree, I studied English literature, so I was studying Shakespeare and I knew a lot about the text. I just needed someone to explain how to perform it,” says Clark.

For that, he took special classes – both at college and in the community and while he now says he doesn’t think he was very good at all, it solidified his love for both performance and stage combat.

Clark ended up double majoring in theater and English/grant writing. A full load and then some. “I had to do 23 credit hour semesters and I was also working full time as a janitor at the university. So, I’d have classes from 7 to 5 and then 5 to midnight I worked as a janitor.”

After graduation, he performed around Michigan but felt his acting career had nowhere to go. “So, I had an extra $125 and an open weekend that fell during grad auditions”, says Clark. “I didn’t have anything better to do that weekend so I drove down – stayed on someone’s couch and auditioned for grad school and got nine full-ride offers but ultimately chose University of Houston.”

Like so many of our young actors, Clark graduated right into the pandemic with no work in sight so he moved back to Flint to build houses. Lucky for us, Houston came calling again when University of Houston needed actors for their production of Henry V and Rice had an opening for a lecturer (where he still teaches to this day).

It was a long and somewhat unorthodox route to an acting career, but he says it was the only path for him. “If I had acted when I was little it wouldn’t have worked out, I would have quit,” says Clark. ‘It’s better because I didn’t have rules or guidelines of the way it needed to be. I was already old enough to pick and choose what I thought would help me. I had life experience to draw on.”

Clark says this made him a reactionary actor, one who likes to question and collaborate. "It’s all play. I don’t hold reverence for anything and I don’t see a point in theatre if we’re not collaborating for the audience if we’re not sharing. Nine times out of ten other people have better ideas than I do, so collaboration is everything.”

Kyle Clark will be performing in and fight directing for Dirt Dog’s production of The Pillowman, March 8 - 23.

Shannon Uphold

Steve Banon in a dress and feminist adolescent rage against the machine. These are the two recent roles that roared Shannon Uphold into our minds. And we do mean roared.

Uphold’s performance as Ashlee, a young woman coming to terms with her physical and intellectual power in Rec Room’s Dance Nation and Teresa, a terrifying whip-smart sharp-tongue Christian conservative bully in Rec Room’s Heroes of the Fourth Turning, was like watching gas poured on an open fire.

Quite a journey from the shy 6-year-old girl in West Virginia who took a chance and auditioned for the musical Cinderella at her school. “Something just struck me about the audition and I remember shaking as I’d never had to speak like this in front of strangers,” says Uphold. “I got a little speaking part and that changed my whole world, this sudden experience of creativity and community, exploring this art field that I didn’t even know existed.”

Uphold went on to perform in every musical she could despite not being the greatest singer. She even worked at a small company every year during middle school. But it was high school that set her on her theatrical path.

“That’s when my professor introduced me to plays,” says Uphold. “I didn’t even know they existed. I was like, there are shows you don’t have to sing in? That was it, I got leads in the plays and theater was it for me.”

When it came time for college though, she wasn't sure if she could take the leap from loving theater in school to making it a career. "I loved English and I thought maybe I’d go the safer route and teach. I had that debate we all do as theater people; do I dedicate this money and time for something that isn’t certain?”

Her high school director opened her eyes to the possibility of a scholarship, which she applied for and got, the first step in her theater education. But after undergrad and a move to New York, where she did some professional Shakespeare work, Uphold decided that she needed grad school to tighten up her talent and acquire some more technique.

University of Houston was the choice and she’s been working in the city ever since. Not just in theater, Uphold has spent most of her time recently doing television and commercial work, balancing her love of live on-stage performance with the opportunities that come her way.

And hoping to try out a different kind of role. “I’ve played bullet train characters,” says Uphold. “I would love to dabble in a role where she is soft and maternal, something slyer.”

Regardless of the role she takes on, Uphold will always be drawn to the community aspect of theater. “We are all keeping this ball in the air and I love the thrill of getting the ball passed to me and keeping it up, and then the excitement of passing it to the next person and watching your fellow actor succeed. This camaraderie is everything.”


Alan Kim

As Wolf, the six-year-old Korean boy dealing with the trauma of adoption gone wrong in Rec Room’s Wolf Play, Alan Kim delivered a brazenly smart and sensitive performance. Most impressive considering Wolf was a puppet Kim manipulated seamlessly throughout the show. So impressed were we that Kim was nominated as Best Actor for a Houston Theater Award.

Back again at Rec Room, this time in Peter Pan, Kim held his own and then some amongst the superb ensemble cast, playing John and most notably, the sweetly shy and ultimately most emotionally mature lost boy, Tootles.

Not too shabby for a guy who grew up thinking he was going to college to be a doctor or the like.

“I took theater classes for fun in middle school in Colorado but never took it seriously," says Kim, who spent most of his artistic time playing piano and violin. "I really loved it but wasn’t going on to study it. I wasn’t good enough and the career opportunities just weren’t there.”

It wasn’t until he auditioned for a play as a senior in high school that the theater bug really bit. “I found the experience really validating for the artist in me,” says Kim who made a last-minute decision to change tracks for his college application and pursue a theater degree.

“It was really scary,” he says. “It was as existential as I could understand at that age because I had spent so many years believing I was going to be something related to hard sciences and find a more traditional career.”

Kim says he didn’t quite know what he was signing up for or what a theater career even looked like, he just knew that it spoke to him on a very personal level. “I was severely lacking human connection and teenage boys don’t like being vulnerable,” he says. “I was also dealing with lots of family issues at home which made things harder. Theater tapped me into a deep human connection and ultimately that outweighed the fear in the moment.”

Not that it was all smooth sailing from there. Kim’s path came with struggles as so many artists experience. “In 3rd year of college at Rice, I was going through a tough personal time. I was having trouble connecting to my work. I felt like I wasn’t a good actor and was very focused on my deficiencies. I was starting to feel like I wasn’t capable of connecting to people that way because I was too damaged and not experienced enough. I was very discouraged.”

Thankfully for him and us, Kim sat with his fears and decided that theater was something he wanted to continue doing, that it would give him the emotional richness he needed even if he felt that the small program at Rice wasn’t quite giving him the wholistic theater education he craved.

It was Kim's first time in an equity play at Houston Shakespeare Festival that he felt that deficit. "I was clueless and understood I was clueless,” says Kim who says the situation freed him to observe and take risks. “Everyone had seen me be a fool so I figured what did I have to lose? I was the least experienced actor and felt the inadequacies of my training. Others that had gone through other programs knew much more than I did from a technical/professional perspective.”

By the time he took up the lead in Wolf Play, he says he was in a more confident space with his talent and very eager to play the role. “Wolf was a really big deal for me because Asian stuff doesn’t happen that much in local theater here,” says Kim.

And it’s this experience of being fully seen along with his desire to bolster his formal training that’s leading Kim to take a break from the professional stage and apply to grad school.

“I’ve had great experiences acting, but I'm never going to want to single-track myself in theater. I want to have experience with other aspects like directing, dramaturgy, etc.," says Kim, not simply for experience's sake, but to come back to Houston and be a leader in the Asian theatre community.

“I want to be someone who helps cultivate young Asian talent because our local scene is a little behind in the way it engages with Asian people. With the lack of opportunity for Asian people here in Houston, I think it’s important to be a multi-disciplinary artist. Yes, I want to be the best artist I can be but I also want to be able to give opportunity and foster community.”

Cat Thomas
There’s nothing more exciting than seeing a local playwright premiere her new show in Houston and declaring it a wonderfully adventurous success. So, it was doubly exciting when within Elizabeth Keel’s fantastical Tooth and Tail, we found a scene-stealing performance by a young actor just bubbling over with charisma.

Cat Thomas' turn as the precocious Princess Plumeria in the Mildred's Umbrella show was spunky, smart, and endlessly funny. She shone on stage with a confidence that belied the early stage of her career.

In fairness, it wasn’t the first time Thomas had to show great confidence in production. In fact, the very first role she had demanded it.

“I was in 4th grade in Texarkana and we put on a very condensed 20-minute version of Romeo and Juliet”, says Thomas who landed the part of Juliet. “I was so nervous that Romeo was going to have to kiss me, but he kissed me on the hand so it was OK.”

Nerves about the romantic aspects aside, she dove head first into the text, reading the play as much as she could, trying to understand the role but at the same time realizing that the play was bigger than just her.

“It was everything,” says Thomas. “From there I just wanted to be on stage all the time. I didn’t even need to be the main character all the time, I just wanted to be there watching everyone else do their thing and be part of something that was bigger.”

Middle school meant participation in the University Interscholastic League theater competition followed by high school drama club, but it was community theater and theater camp that expanded her experience.

“The Texarkana Repertory Company was my theatrical home for a long time”, says Thomas. “But doing theater camps in high school that got me out of the city showed me that I wanted to move away. My parents were supportive of me pursuing an acting degree out of town as long as I didn’t need to take out a loan for education. Which I’m now very thankful for.”

Thomas chose the University of Houston for her theater training and it was there that she found a love for physical theater, something she cites as inspiration for her approach to all her acting.

“I’m a very physical actor,” she says. “I approach roles from the outside and if I can achieve a physical state externally then the emotions come with it.”

While Thomas loves to be on stage, she’s found a love for the behind-the-scenes aspects as well. She’s in her fourth year teaching at Stages Young Artists Conservatory. Between that work, her day job working with children and coming off a year of almost solid bookings, Thomas now feels she can choose what she auditions for.

“I don’t need to say yes to everything. I do only have so much time to give to things so it has to be something I feel called to, with people I love and text that excites me and even things that are just light and fluffy – there is something wonderful to that.”

Marc Alba

There are many ways actors can find themselves included on our up and comers list – part of a standout ensemble, a star turn, big C character role. Marc Alba gave us none of these. Instead, they were a fleeting part in a classic play – just a few minutes on stage. But what a few minutes that was.

Playing the Messenger in Classical Theater’s production of Medea, Alba was tasked with a daunting three-page monologue detailing a grisly death by slow poison. As they told us of the flesh-eating demise, our spines tingled and no one took a breath for fear of missing this talent. More we thought, we want to see more of this actor.

Alba’s love for performance may have started at a young age doing community theater overseas in the UK and Malaysia, but it wasn’t until high school that they realized theater could be a career. Attending Sam Houston State University in the acting and directing track, Alba switched halfway to a BFA in musical theater.

But even though Alba was pursuing their dream, it wasn't without personal challenges.

“My strong suit is dramatic realism, I love portraying raw emotion in characters,” says Alba. “I felt I needed to have musical theater based on the idea that you had to be a triple threat to succeed and that your identity had to fit with certain characteristics – a certain height/weight/look and identity. There was never a place for anyone beyond the cisgender/hetero normative.”

In addition to the pressure and constraints Alba felt in their theatrical training, they were also told that struggles with mental health would mean that they would never succeed. "I'm proud to say that's not true for me or so many others in this industry."

Alba first performed as themselves in Borderline at the 2021 Stages Sin Muros Festival, followed by an eerie turn in Classical Theater’s, Nevermore: Tales of Edgar Allan Poe. Both immensely positive experiences for the actor.

These days they are particular about the places they work and the roles they go after.

“Acting professionally since right before graduation in 2020, I haven’t always had great experiences in the places I’ve worked,” says Alba. I’m not willing to put myself in harm’s way or in situations where I won’t be respected or comfortable.”

Alba is interested in theaters actively searching for diversity, not simply diverse casting. They want to represent those who don’t normally see themselves on stage. This means roles that reflect Alba personally and tell a similar truth and conversely, characters that are as far away from their perceived type as possible.

“My purpose as an actor is beyond just me. It’s about carving out pathways for the folks who are like me who will follow me,” says Alba. “I want to go down in history not for the roles I’ve played or the things I accomplished but rather for the doors I’ve opened.”

Marc Alba will be performing in the upcoming production of The Taming of the Shrew at Classical Theatre from April 11 – 20.