CFA: How did you learn about this opportunity, and what steps did you take to secure it?

Gregg: I have worked with Director Jack Cummings III, as Associate Director, on over 10 off-Broadway and regional theater productions. We’ve developed new musicals together, as well as, revisiting “American classics” with a contemporary examination. With every collaboration, Jack encourages me to step up to our industry and to be seen. He is a great champion and mentor. His process allows us all to learn in the moment. That collective ownership allows the “success” of Follies at Carnegie Hall to be a truly shared success.

CFA: What are some of your accomplishments from this experience?

Gregg: Carnegie Hall alone is a huge sense of accomplishment. Backstage they have old photos of everyone who has been on that stage: great musicians, speakers, and even Albert Einstein. If only for a day, I stood on the floorboards of greatness.
 
The experienced artists, from Jennifer Holiday, Beth Level, to Christine Ebersole, Katie Finneran… every performer in Follies is a Broadway star. Talking with each artist and observing how each artist approached and interpreted the material was a learning experience that surpasses any classroom setting. Masterclass performances were given at Carnegie Hall.

CFA: How did the coursework at CFA connect with your experience at Carnegie Hall?

Gregg: The MFA Directing program here at BU allows opportunity for you to try ideas and pivot, quickly. Entering a high-pressure situation where you have less than 24 hours to stage a concert adaptation of Follies with a cast of 50 and orchestra of 30 – you must be willing to try something else. Ideas are flexible; other artists’ questions and experimentations only strengthen the process, sharing the ownership of production. This is true if you’re an undergraduate, Master’s student, or Tony Award winner.

CFA: In what ways do you think this career opportunity has helped you prepare for your work beyond BU?

Gregg: I am not sure how this will help me prepare for my career or work beyond BU exactly – Please someone tell me!

What I do know about this opportunity is, it was important for me. For some reason, I needed the personal validation of standing on that stage, with those artists to know that I CAN. I can hang with the best of them. I can be the artist that legends, whom I respect, turn to and say, “Where do you want me to go?” Or “What are we thinking for this moment?” It does something to your confidence. I made the team!

CFA: What did you learn about yourself?

Gregg: Except for [social commentator] Fran Lebowitz, I think most artists have some degree of imposter syndrome. I know that true in my case and I think moments like Carnegie Hall are gentle reminders that my work is valid – to someone. And that’s not to be underestimated. It can be easy for an artist to live in a protective shell to immune themselves from criticism- because we will always create and there will always be criticism. It’s okay to celebrate your work. In fact, it’s necessary.

CFA: Any advice for current CFA students beginning this type of process?

Gregg: These days the easiest thing to do is say no. Look for artists that say yes! Look for collaborators who want to work with you and HAVE to be a part of the process.
 
Over 50 legendary Broadway singers and 30 orchestra members gave up their time and talents to be a part of this special event. Tony-award-winners learning tap dances in a week’s time. They said YES. They wanted to be a part of it because it’s important to them. It is awe-inspiring, actually. Another BU student also said yes to this opportunity. BFA acting senior Haley Chey Lynch (CFA’25) was a member of the chorus.

Find what’s important to you and say YES!

CFA: What’s next for you, Gregg?

Gregg: The Rink in BU’s Joan & Edgar Booth Theatre from November 22 through December 8. This rarely-done musical marks the second of three collaborations between Fred Eb, John Kander, and Terrance McNally. This production will feature newly restored Broadway orchestrations, making this production at Boston University the first time in over 20 years anyone has heard these songs like this.
 
Set along the boardwalk of 1970s Coney Island, the story revolves around a mother and daughter and an ever-changing world.

But also, roller skates.