On stage 5 productions, 8 years
| 2015 | Hamilton Richard Rodgers Theatre · Original · directed by Thomas Kail | 3,500 perf. |
| 2017 | Amélie, A New Musical Walter Kerr Theatre · Original · directed by Pam MacKinnon | 56 perf. |
| 2017 | The Parisian Woman Hudson Theatre · Original · directed by Pam MacKinnon | 116 perf. |
| 2022 | Into the Woods St. James Theatre · Revival · directed by Lear deBessonet | 425 perf. |
| 2023 | Camelot Vivian Beaumont Theater · Revival · directed by Bartlett Sher | 116 perf. |
Each row is a staging this name appears in the cast list of, read from the production record rather than from the person record. The person record names works instead, and a work cannot say which run somebody was in — that is how Elaine Stritch ends up filed under Show Boat 1927 when she was in the 1994 revival. No row here says what part was played, because no cast list records it.
Worked with more than once3 names
| Paul Whitty | 2 productions |
| Denee Benton | 2 productions |
| Brian D Arcy James | 2 productions |
Both names in the same cast list, more than once. It is not evidence of a partnership — a long-running company puts the same forty people together every night — but it is where one would start looking. 2 of these names are not links because we hold no record behind them; the name is set from the identifier and its punctuation may be wrong.
Also credited on1 work
These come off the person record, which names a work and not a production. So we can say this name is attached to the work and we cannot say which staging, or in what capacity. For a composer or a writer that is the whole career we hold; there is no cast list to find them in.
What this page does not know
- What this person played. No cast list we hold records a character against a performer.
- Which of the credits above the roles on this record — actor — apply to. The roles sit on the person and never on a credit, so a director who also acted looks the same here as one who did not.