CMU Alumnae Play Powerful ROLES ON BROADWAY

MAY 28 , 2019

Broadway experienced an unex- pected first last year: An all-female creative team assembled by alumna Leigh Silverman mounted a produc- tion of “The Lifespan of a Fact” by journalist John D’Agata.

“I feel it is our responsibility as we gain power and any kind of platform, that we continue to widen the road as we go,” said Silverman, a 1996 College of Fine Arts graduate. “This is my fourth Broadway show, and I felt it was important to include, as I have throughout my career, women and people of color and put them in positions of power.”

Kristolyn Lloyd (front row, left), Meg Zervoulis, Emily Skinner, Leigh Silverman (back row, left), Earlier this year, three alumnae Liz Coleman, Jamie deRoy and Peggy Eisenhauer are some of CMU’s notable female alumni from Carnegie Mellon University working in theater. — producer Jamie deRoy, costume designer Ann Roth and lighting are four who shared what inspires Wagner cites her work in the the- designer Peggy Eisenhauer — them, tools they still use from their ater for giving her the tools to move received nine Tony Award nomina- CMU training and what advice they forward into a career as an agent and tions. Additionally, alumna Judith have for students following in their now a producer. Her agility and love Light received the 2019 Isabelle Ste- footsteps. of storytelling have given her career venson Award for her work as an longevity and allowed her the ability advocate for LGBTQIA+ causes. PAULA WAGNER to work across mediums. Paula Wagner (A 1969) experienced a “My experience of being a woman sort of homecoming this year when “I think that the philosophy of working on Broadway has been she returned to her theater roots Carnegie Mellon, ‘My heart is in the nothing short of extraordinary, to produce the Broadway musical work,’ is a simple one, and it can be amazing in every way,” Judith Light adaptation of the 1990 movie “Pretty translated in many ways,” explained said. “These people and these casts Woman.” Though she has been Wagner, a member of CMU’s Board and these productions — it’s beyond working in film since the late 1970s, of Trustees. “At CMU, there was a words how much love and faith and Wagner’s love for entertaining commitment to what we were doing, support I’ve received.” began at age 13 at the Youngstown to the work we were doing, because Playhouse in Ohio. it had a meaning and relevance.” Numerous CMU alumnae are mak- ing their marks on Broadway. Here

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One of her best suggestions for young designers is to look for men- torship from many, not just from one person.

“You can find and cultivate a board of mentors who you can rely on that Paula Wagner Kristolyn Lloyd Peggy Eisenhauer Jamie deRoy don’t have to give their whole life to you but that can offer support.” KRISTOLYN LLOYD PEGGY EISENHAUER When Kristolyn Lloyd (A 2007) Peggy Eisenhauer (A 1983) stands JAMIE deROY arrived at CMU to study musical the- out as one of a few Broadway lighting Jamie deRoy (A 1967) is a connector. ater, she was struck by the amount designers who happen to be women. As one of Broadway’s most prolific of talent that surrounded her. Those She refers to herself as a wild card — producers, she helps get produc- peers drove her to work hard. someone who has broken a barrier tions up, running and funded. but hasn’t left a path behind. “I think it’s valuable for every young Her career in the theater began as person to know that when they get As a child, Eisenhauer saw Broadway an aspiring actress at CMU, where into the business, there are going productions and noticed the work of she learned the discipline and rigor to be people that are better than professional lighting designers. A that would lead her to a childhood you,” Lloyd said. “There’s something favorite was Jules Fisher, and when dream, first formed when her father about adjusting to working in a com- it came time to apply to colleges, invested in the Broadway produc- petitive environment. You have to she chose his alma mater, Carnegie tions of “The Pajama Game” and find a way to show up and do your Mellon. “Damn Yankees.” work. That’s what I learned at CMU.” “I met him when I was 18, as a soph- After working as an actress on film, Lloyd notes that being a black omore, because he came to school television and stage, she dipped woman on Broadway has given her a to give a talk. Flash forward to get- her toe into the world of producing unique voice and the ability to bring ting to work with him, not that much after seeing “The Complete Works of an important perspective to conver- later when I was 23, it all sprung out William Shakespeare (Abridged).” sations about what a play is trying to of CMU,” Eisenhauer said. With more than 50 Broadway and 40 say to its audience. Her noteworthy off-Broadway productionstohercredit, career has included roles on tele- After graduating, Eisenhauer began deRoy has won seven Tony Awards. vision and stage. She played Alana assisting Fisher, and eventually Beck in the original cast of “Dear formed a more than 34-year strong “Everything is about connection for Evan Hansen” and recently starred artistic collaboration. Together, me. It snowballs — I didn’t rush into as Jo March in a new adaptation of they have earned three Tony Awards things right at the beginning. I see “Little Women” at Primary Stages. and have been nominated for a something off-Broadway, like ‘The dozen. Band’s Visit’ or ‘Vanya and Sonia and Masha and Spike,’ and become attached because I think it’s a great production, or I like the director or “At CMU, there was a commitment to writer.” what we were doing, to the work we were doing, See more profiles of CMU’s Broadway because it had a meaning and relevance.” alumnae at cmu.edu/ambassadors. — Paula Wagner

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