Susan Stroman
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Susan P. Stroman[1] (born October 17, 1954) is an American theatre director, choreographer, and performer. Her notable theater productions include Oklahoma!, The Music Man, Crazy for You, Contact, The Producers, The Frogs, The Scottsboro Boys, Bullets Over Broadway, POTUS: Or, Behind Every Great Dumbass Are Seven Women Trying to Keep Him Alive, and New York, New York.

Key Information

She is a five-time Tony Award winner, four for Best Choreography and one as Best Director of a Musical for The Producers. In addition, she is a recipient of two Laurence Olivier Awards, five Drama Desk Awards, eight Outer Critics Circle Awards, two Lucille Lortel Awards, and the George Abbott Award for Lifetime Achievement in the American Theater.[2] She is a 2014 inductee in the American Theater Hall of Fame in New York City.[3][4]

Early years

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Stroman was born in Wilmington, Delaware, the daughter of Frances (née Nolan) and Charles Harry Stroman.[5][6] She was exposed to show tunes by her piano-playing salesman father. She began studying dance, concentrating on jazz, tap, and ballet at the age of five. She studied under James Jamieson at the Academy of the Dance in Wilmington. She majored in English at the University of Delaware.[7] She performed, choreographed and directed at community theaters in the Delaware and Philadelphia area.

After graduating in 1976, she moved to New York City. Her first professional appearance was in Hit the Deck at the Goodspeed Opera House in 1977. Later that year she was cast in the role of Hunyak[8] in the National tour of Chicago, which marked her first time working with composer John Kander and lyricist Fred Ebb.

Her first Broadway credit was as an ensemble member in the 1979 musical Whoopee!. In 1980 she was assistant director, assistant choreographer, and dance captain for the Broadway show Musical Chairs. Wanting to direct and choreograph instead of perform, Stroman concentrated on creating for the theater.[9] She worked in small venues as a director and choreographer in various industrial shows, club acts and commercials.[10]

Career

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Theatre

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1987–2000: Breakthrough

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Stroman's big break as a choreographer came in 1987 with the Off-Broadway revival of Flora the Red Menace (music by John Kander and Fred Ebb) at the Vineyard Theatre.[11] Her work there was seen by Hal Prince, who hired her to create the dance sequences for his New York City Opera production of Don Giovanni.

Her relationship with Kander and Ebb led to co-creating, along with Scott Ellis and David Thompson, the 1991 hit Off-Broadway musical And the World Goes 'Round. In 1992 she went on to choreograph Liza Stepping Out at Radio City Music Hall[12] starring Liza Minnelli,[13] receiving an Emmy nomination for her work. Later that year she earned her third Broadway credit for her collaboration with director, and then-future husband, Mike Ockrent on Crazy for You. The show won the Tony Award for Best Musical and she won her first Tony Award for Best Choreography.

In 1994, Stroman won her second Tony Award when she collaborated with Prince on a revival of Show Boat, where she used some of her most innovative ideas. She added several dance montages to the show, complete with a revolving door, to help guide the audience through the generations that are covered in the show. Stroman heavily researched the period in which the show takes place and learned that African-Americans are credited for inventing the Charleston. She used that information in designing the montages, as the popular dance is introduced by and eventually appropriated from the black characters. In 1994, Stroman collaborated again with her husband Mike Ockrent on the holiday spectacular A Christmas Carol at Madison Square Garden, which ran for 10 years, and the Broadway musical Big, The Musical (1996). She returned to her collaboration with Kander and Ebb, Ellis and Thompson on the Broadway musical Steel Pier (1997). In 1999, her choreography of Oklahoma!, directed by Trevor Nunn at the Royal National Theatre, won Stroman her second Olivier Award for her outstanding choreography. Stroman's husband Mike Ockrent died from leukemia on December 2, 1999.

She immersed herself in her work and directed and choreographed her first Broadway show as director, the 2000 revival of The Music Man. At the same time, Stroman was approached by Lincoln Center Theater's artistic director André Bishop, who offered assistance with developing the project of her choice. She and John Weidman, who had written the book for Big, began working on what would become the three-part "dance play" Contact, which she choreographed as well as directed. The show opened at Lincoln Center's Mitzi Newhouse Theater in the fall of 1999, and later transferred to the larger Vivian Beaumont Theater, where it was reclassified as a musical. It won the 2000 Tony Award for Best Musical. Stroman won her third Tony Award for best choreography. Contact won a 2003 Emmy Award for Outstanding Classical Music-Dance Program when a live broadcast of the show appeared as an episode of PBS's Live from Lincoln Center. For Lincoln Center Theater, Stroman went on to direct and choreograph Thou Shalt Not (2001) with music by Harry Connick Jr. and The Frogs (2004) with book by Nathan Lane.

2001–present: Established career

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In 2001, Stroman directed and choreographed the Mel Brooks musical The Producers. Stroman's late husband, Ockrent, had initially been named to direct. It was a commercial success and won a record twelve Tony Awards. Stroman won her fourth and fifth Tony Awards for direction and choreography, becoming the first woman to win both awards in the same night. She was also the second woman ever to win Best Direction of a Musical after Julie Taymor in 1998. In 2005, she made her feature film directorial debut with a film adaptation of the show. The movie was nominated for four Golden Globe Awards.

In 2007, she again collaborated with Brooks, as director and choreographer of the musical Young Frankenstein. In the fall of 2017, she and Brooks opened a newly revised version of the show at the Garrick Theatre in London's West End[14] after a successful tryout at the Theatre Royal in Newcastle.[15]

She directed and choreographed the musical Happiness, which has a book by John Weidman, music by Scott Frankel and lyrics by Michael Korie. The musical opened in February 2009 at the Mitzi E. Newhouse Theater at Lincoln Center.[16]

The musical The Scottsboro Boys opened at the Vineyard Theatre in February 2010. The music is by Kander and Ebb and the book is by David Thompson; Stroman both directed and choreographed.[17] The show later transferred to Broadway where it ran for 49 performances at the Lyceum Theatre and received 12 Tony Award Nominations. Regional theaters such as the Guthrie Theater in Minneapolis, San Diego's Old Globe, American Conservatory Theater in San Francisco, and the Ahmanson Theatre in Los Angeles have all mounted successful productions of the show. In 2013, Stroman directed the UK premiere of the show at the Young Vic in London.[18] After its successful run there, the show transferred to the West End where it was honored with the 2014 Evening Standard's Ned Sherrin Award.[19]

She co-directed with Hal Prince the new musical Paradise Found, which premiered at the Menier Chocolate Factory (London) on May 19, 2010. The cast included Mandy Patinkin, Judy Kaye and Shuler Hensley.[20]

Stroman directed and choreographed the new musical, Big Fish with songs by Andrew Lippa and book by John August. The show, based on the book and film of the same name, opened at the Oriental Theater in Chicago in April and May 2013 and then ran on Broadway in September 2013 to December 2013.[21][22]

In 2014 she directed and choreographed a production of The Merry Widow for the Metropolitan Opera, starring Renee Fleming in the title role.

Stroman worked with Woody Allen on a musical adaptation of his film Bullets Over Broadway, titled Bullets Over Broadway the Musical, which opened on Broadway in April 2014.[23]

She directed and choreographed the new musical Little Dancer, which ran at the Kennedy Center, Eisenhower Theater from October 25, 2014, to November 30. The book and lyrics are by Lynn Ahrens and music by Stephen Flaherty.[24] In the spring of 2019 she directed and choreographed Marie, Dancing Still[25] for Seattle's 5th Avenue Theatre. A newly reworked and retitled production of Little Dancer, the show starred Tiler Peck reprising her title role alongside Terrence Mann and Louise Pitre.

Stroman collaborated with Prince once again as co-director of a new musical entitled Prince of Broadway, a retrospective of the career and life of Hal Prince. The show has orchestrations and new material written by Jason Robert Brown. The revue premiered in Tokyo at the Tokyu Theatre Orb in October 2015 and then ran in Osaka in November through December 2015, and featured Tony Yazbeck, Ramin Karimloo, Shuler Hensley and Nancy Opel.[26][27] It premiered on Broadway on August 24, 2017, at the Samuel J. Friedman Theatre as a co-production of the Manhattan Theatre Club and Gorgeous Entertainment. The book is by David Thompson.[28]

In 2016 she returned to the Vineyard Theatre to direct the play Dot,[29] written by Colman Domingo. The following year she directed and choreographed her fourth collaboration with the Vineyard Theatre, The Beast in the Jungle,[30] winning the 2018 Joe Callaway Award for excellence in choreography.[31] The music was composed by John Kander and the book written by David Thompson.

In April 2022, Stroman directed the Broadway play POTUS: Or, Behind Every Great Dumbass Are Seven Women Trying to Keep Him Alive, by Selina Fillinger, at the Shubert Theatre.[32]

Stroman directed and choreographed the Chichester Festival Theatre revival of Crazy for You, which transferred to the West End's Gillian Lynne Theatre in 2023.

Her next projects include the Broadway musical adaptation of the television series Smash and the play Left on Tenth by Delia Ephron.[33][34]

Dance

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In 2004, Stroman was the first woman to choreograph a full-length ballet for New York City Ballet. Double Feature, with music by Irving Berlin and Walter Donaldson, is now in the New York City Ballet repertory.[35]

Stroman had previously worked with New York City Ballet in 1999, when she created Blossom Got Kissed, featuring the music of Duke Ellington, to celebrate the company's 50th Anniversary season. She later revisited the piece, choreographing three additional short dances to be performed alongside the original. This new expanded ballet entitled For the Love of Duke premiered in May 2011.

In 1997 she created But Not for Me for the Martha Graham Company, using the music of George Gershwin.

The world premiere of Take Five…More Or Less with The Pacific Northwest Ballet opened in 2008. Stroman combined jazz music by Dave Brubeck and classical pointe work. The ballet is now in their repertoire.[36]

Television

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She appeared as herself in Season Four of the HBO series Curb Your Enthusiasm, directing Larry David and David Schwimmer in a production of the Broadway hit musical The Producers. In 2017 she returned to the show, choreographing Larry David's musical Fatwa!, starring Lin-Manuel Miranda as Salman Rushdie.[37]

She has also made multiple appearances as herself on the Food Network's Barefoot Contessa program, as she is a close friend of its host, Ina Garten.

Film

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Stroman received the American Choreography Award for her work on Columbia Pictures' film Center Stage (2000). In 2005, she directed the film version of The Producers.

Stage productions

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Theater
Dance
Opera

Accolades

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Year Association Category Nominated work Result Ref.
1991 Drama Desk Award Outstanding Choreography And the World Goes 'Round Nominated
Outer Critics Circle Award Outstanding Choreography Won
1992 Tony Award Best Choreography Crazy For You Won
Drama Desk Award Outstanding Choreography Won
Outer Critics Circle Award Outstanding Choreography Won
1993 Laurence Olivier Award Best Theatre Choreographer Won
Primetime Emmy Award Outstanding Individual Achievement in Choreography Liza Minnelli Live from Radio City Music Hall Nominated
1995 Tony Award Best Choreography Show Boat Won
Outer Critics Circle Award Outstanding Choreography Won
A Christmas Carol Won
1996 Tony Award Best Choreography Big Nominated
1997 Tony Award Best Choreography Steel Pier Nominated
Drama Desk Award Outstanding Choreography Nominated
Outer Critics Circle Award Outstanding Choreography Nominated
1999 Laurence Olivier Award Best Theatre Choreographer Oklahoma! Won
2000 Tony Award Best Direction of a Musical Contact Nominated
The Music Man Nominated
Best Choreography Nominated
Contact Won
Drama Desk Award Outstanding Director of a Musical Nominated
The Music Man Nominated
Outstanding Choreography Nominated
Contact Won
Outer Critics Circle Award Outstanding Director of a Musical Won
The Music Man Won
Outstanding Choreography Won
Contact Won
American Choreography Awards Outstanding Achievement in Feature Film Center Stage Won
2001 Tony Award Best Direction of a Musical The Producers Won
Best Choreography Won
Drama Desk Award Outstanding Director of a Musical Won
Outstanding Choreography Won
Outer Critics Circle Award Outstanding Director of a Musical Won
Outstanding Choreography Won
2002 Tony Award Best Choreography Oklahoma! Nominated
Drama Desk Award Outstanding Choreography Won
Outer Critics Circle Award Outstanding Choreography Won
2008 Drama Desk Award Outstanding Choreography Young Frankenstein Nominated
Outer Critics Circle Award Outstanding Director of a Musical Nominated
Outstanding Choreographer Nominated
2009 Outstanding Direction of a Musical Happiness Nominated
Outstanding Choreography Nominated
2010 Drama Desk Award Outstanding Director of a Musical The Scottsboro Boys Nominated
Outstanding Choreography Nominated
Outer Critics Circle Award Outstanding Direction of a Musical Nominated
Outstanding Choreographer Nominated
2011 Tony Award Best Direction of a Musical Nominated
Best Choreography Nominated
Astaire Award Outstanding Choreographer in a Broadway Show Won
Drama League Award Julia Hansen Award for Excellence in Directing Won
2014 Tony Award Best Choreography Bullets Over Broadway Nominated
Drama Desk Award Outstanding Director of a Musical Nominated
Outstanding Choreography Nominated
Outer Critics Circle Award Outstanding Choreographer Nominated
Astaire Award Outstanding Choreographer in a Broadway Show Nominated
Big Fish Nominated
2023 Tony Award Best Choreography New York, New York Nominated [38]
Drama League Award Outstanding Direction of a Musical Nominated
Outer Critics Circle Award Outstanding Director of a Musical Nominated
Outstanding Choreography Nominated
Chita Rivera Awards Outstanding Choreography in a Broadway Show Nominated
Drama Desk Award Outstanding Choreography Nominated

Stroman received the Oscar Hammerstein Award for Lifetime Achievement in Musical Theatre for 2018, presented by the York Theatre Company.[39] Other notable awards include Glamour Magazine's Woman of the Year Award[40] (2001), The George Abbott Award for Lifetime Achievement in the American Theater[41] (2002), and the Sackler Center First Award[42] (2012) honoring extraordinary women who are first in their field.

She is a 2002 New York Public Library "Library Lion" inductee[43] for Outstanding Achievement in Art, Culture, Letters and Scholarship and a 2014 inductee into New York City's Theater Hall of Fame.[44]

In 2005 Stroman received an Honorary Doctorate of Humane Letters from the University of Delaware.[45]

References

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Further reading

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Susan Stroman

View on Grokipedia
from Grokipedia
Susan Stroman (born October 17, 1954) is an American theatre director, choreographer, and former performer recognized for her innovative contributions to Broadway musicals.[1][2]
Born in Wilmington, Delaware, Stroman began her career as a dancer before transitioning to choreography and direction, achieving prominence with works such as the 1992 revival of Crazy for You, for which she won her first Tony Award for Best Choreography.[3][4]
Her direction and choreography of The Producers in 2001 marked a career pinnacle, earning a record twelve Tony Awards, including her own for Best Direction and Best Choreography of a Musical—the first time a woman won both in the same year.[2][4]
Subsequent productions like the dance-play Contact (2000), which garnered her third Tony for choreography and Best Musical, and The Scottsboro Boys (2010) further solidified her reputation for blending narrative storytelling with precise, character-driven movement.[4][5]
A five-time Tony Award winner, Stroman has also received two Laurence Olivier Awards, five Drama Desk Awards, and the George Abbott Award for Lifetime Achievement, reflecting her enduring influence on American musical theatre.[6][4]

Early Life and Education

Childhood and Influences

Susan Stroman was born on October 17, 1954, in Wilmington, Delaware, to Charles Stroman, a salesperson and accomplished pianist, and Frances Stroman.[7][8] Her early years were shaped by a family environment rich in music, with her father regularly playing show tunes on the piano, exposing her to the sounds of Broadway from a young age.[1][3] This paternal influence fostered an instinctive affinity for performance, as Stroman would often improvise dances around the room while her father played.[9] At age four, around 1958, Stroman began dancing to piano music performed by her older brother, Corky, further embedding rhythmic movement into her daily life.[8] By five years old, she started formal dance lessons, focusing on jazz, tap, and ballet, which became a central pursuit alongside piano and guitar instruction.[3] Her childhood also included participation in community theater productions in Wilmington and immersion in art classes, dramatic plays, and classic films, broadening her creative palette.[1][9] Key influences included her father's storytelling through exaggerated "big fish" tales, which instilled in her a narrative drive essential to her later work as a director and choreographer.[10] The family's encouragement of artistic pursuits—described by Stroman as coming from "brave and loving" parents—prioritized music and dance without rigid professional expectations, allowing her to develop freely in a supportive household.[4] These elements collectively sparked her passion for integrating movement with musical theater, laying the groundwork for her career trajectory.[2]

University Years and Early Aspirations

Stroman majored in English at the University of Delaware, graduating in 1976.[11][12] During her time there, she drew inspiration from the campus environment and community, which fostered her optimism and determination to pursue dance and theater professionally.[13] She also began accumulating practical experience in performance, including a role in the summer stock production of Hit the Deck in 1974 at the Goodspeed Opera House while still enrolled as a student.[2] Her university years aligned with deepening aspirations to choreograph and direct for the stage, building on childhood visions of dancers triggered by music.[13] Stroman recognized early her desire to contribute creatively beyond performing, aiming for roles that involved shaping narratives through movement—a goal she pursued immediately after graduation by relocating to New York City in 1976 to audition and establish herself in musical theater.[2][14] This transition reflected her focus on professional choreography, though she initially supported herself as a dancer in productions and tours.[3]

Performing and Choreography Beginnings

Professional Dancing Career

Stroman's professional dancing career commenced shortly after her 1976 graduation from the University of Delaware, where she had majored in theater. Her stage debut occurred in 1977, performing in the musical Hit the Deck at the Goodspeed Opera House in East Haddam, Connecticut.[8] In 1978, she joined the national touring company of the original Chicago production, portraying the Hungarian prisoner Hunyak alongside principal performers Gwen Verdon, Chita Rivera, and Jerry Orbach; the tour ran from September 1977 to August 1978.[8][15] She also toured as a dancer with the original Sugar Babies revue, which emphasized vaudeville-style tap and dance numbers.[3][2] Stroman made her Broadway debut on February 14, 1979, as an ensemble member—specifically Leslie Daw—in the revival of Whoopee!, a musical comedy starring Charles Repole that ran for 204 performances at the ANTA Playhouse until August 12; she additionally understudied Harriet Underwood and served as dance captain.[16][17] These roles highlighted her skills in ensemble dancing and tap, aligning with her early training in multiple dance forms. By 1980, her final major performing credit came in Musical Chairs, where she appeared onstage while assuming assistant director, assistant choreographer, and dance captain duties, signaling an imminent shift from primary performance to creative leadership.[8]

Entry into Choreography

Stroman's transition from performer to choreographer began after her final dancing role in the Broadway production of Whoopee! in 1979–1980, after which she ceased performing as a dancer.[2] She initially took on assistant roles, including serving as assistant choreographer, assistant director, and dance captain for the short-lived Broadway musical Musical Chairs in 1980.[18] This marked her first credited involvement in choreography, supplemented by freelance work directing and choreographing cabaret acts, industrial shows, and summer stock productions to build experience.[19] Her breakthrough as a lead choreographer occurred in 1987, when director Scott Ellis hired her for the Off-Broadway revival of Kander and Ebb's Flora, the Red Menace at the Vineyard Theatre, starring future collaborators such as Ralph Fiennes and Donna Murphy.[3] [2] This production, which ran for 30 performances, showcased Stroman's emerging style of narrative-driven dance integrated with character development, earning positive notices and establishing her reputation in New York theater circles.[1] The opportunity arose through prior professional connections, including Ellis's experience as a performer under Stroman's oversight in earlier shows.[2]

Theatre Career

Rise to Breakthrough (1980s–2000)

During the early 1980s, Stroman transitioned from performing to behind-the-scenes roles, appearing in the short-lived Broadway musical Musical Chairs in 1980 while also serving as assistant director, assistant choreographer, and dance captain.[8] [20] She directed and choreographed industrial shows for clients including Miller Beer, Honeywell, and Met Life in 1981 and continued such work through 1985.[8] In 1983, she co-conceived and starred in the Equity Library Theater production Trading Places, recreating iconic film dances.[8] Stroman's entry into professional choreography occurred in 1987 with the Off-Broadway revival of Flora the Red Menace at the Vineyard Theatre, marking her first significant credit in that capacity.[8] She extended her work to opera, choreographing Don Giovanni for the New York City Opera in 1989 and A Little Night Music in 1990.[8] In 1991, she choreographed and co-conceived the Off-Broadway revue And the World Goes 'Round, earning the SDCF Joe A. Callaway Award and an Outer Critics Circle Award; that year also saw her direct and choreograph the Emmy-nominated Liza Stepping Out at Radio City Music Hall and An Evening with the Boston Pops for PBS.[8] Her Broadway breakthrough arrived in 1992 as choreographer for Crazy for You, a Gershwin-infused musical that opened February 19 and ran 1,622 performances through 1996, for which she won the Tony Award for Best Choreography.[8] [21] The production's London transfer in 1993 secured Olivier Awards for Best Musical and Best Theatre Choreographer.[8] Building momentum, Stroman choreographed the 1994 Broadway revival of Show Boat, opening October 2 and running over 900 performances, earning her a second Tony Award for Best Choreography in 1995 along with an Outer Critics Circle Award.[8] She also handled musical interludes for the Roundabout Theatre's Picnic that year and choreographed A Christmas Carol at Madison Square Garden, winning another Outer Critics Circle Award.[8] Subsequent Broadway efforts included choreography for Big in 1996 (Tony and Drama Desk nominations, 524 performances) and Steel Pier in 1997 (nominations from Tony, Drama Desk, and Outer Critics Circle, but only 76 performances).[8] International recognition followed with Olivier Awards for choreography on London's Oklahoma! revival in 1998.[8] In 1999, she choreographed Blossom Got Kissed for New York City Ballet and directed, choreographed, and co-conceived Contact at Lincoln Center's Mitzi E. Newhouse Theater.[8] Transferring to Broadway's Vivian Beaumont in 2000, Contact won the Tony for Best Musical and Stroman her third Tony for Best Choreography, solidifying her dual expertise in direction and choreography.[8] That year, she also directed and choreographed the Broadway revival of The Music Man, receiving Tony and Drama Desk nominations.[8]

Established Directing Successes (2001–2010)

Stroman's direction of The Producers, a musical adaptation of Mel Brooks's 1967 film, premiered on Broadway at the St. James Theatre on April 19, 2001, where she also served as choreographer. The production achieved unprecedented commercial and critical acclaim, running for 2,502 performances and securing a record 12 Tony Awards, including Best Direction of a Musical and Best Choreography for Stroman—the first time a woman won both in the same year.[8][22] Building on this triumph, Stroman directed and choreographed Young Frankenstein, another Brooks adaptation, which opened at the Hilton Theatre on November 8, 2007, and ran for 486 performances. The show received Tony nominations for Best Musical, Best Direction of a Musical, and Best Choreography, highlighting her ability to helm large-scale comedic musicals with intricate staging and dance sequences.[8][23] In 2010, Stroman directed and choreographed The Scottsboro Boys, a Kander and Ebb musical depicting the 1931 Scottsboro trials through a minstrel show format, which transferred to Broadway's Lyceum Theatre after an Off-Broadway run, opening on October 31. Despite its brief 12-week Broadway engagement amid controversy over its subject matter, the production earned Tony nominations for Best Musical, Best Direction of a Musical, and Best Choreography, praised for its bold narrative approach and innovative choreography.[8][24]

Recent Theatre Projects (2011–present)

In the years following her established successes, Susan Stroman continued to direct and choreograph major Broadway musicals, often adapting film properties into stage works with elaborate dance sequences central to the storytelling. Her 2013 production of Big Fish, based on Daniel Wallace's novel and Tim Burton's film, opened at the Neil Simon Theatre on October 6, featuring music and lyrics by Andrew Lippa and a book by John August; Stroman served as both director and choreographer, emphasizing fantastical ensemble numbers to depict the protagonist's tall tales.[8][25] The show, starring Norbert Leo Butz, ran for only seven performances amid mixed reviews citing narrative sprawl despite Stroman's kinetic staging.[25] Stroman's 2014 adaptation of Woody Allen's Bullets Over Broadway premiered at the St. James Theatre on April 10, with a score drawing from 1920s jazz standards, a book by Allen and Douglas McGrath, and Stroman again directing and choreographing; the production highlighted tap and period dance to satirize Prohibition-era show business, earning her a Tony nomination for choreography.[8][26] It ran for 156 performances, closing on August 24 after recouping its investment through strong attendance driven by the comedic choreography.[27] Beyond Broadway, Stroman directed and choreographed non-musical plays, including the 2022 comedy POTUS: Or, Behind Every Great Dumbass Are Seven Women Trying to Keep Him Alive by Selina Fillinger, which opened at the Samuel J. Friedman Theatre on April 27 with an all-female cast navigating political farce; her direction focused on precise comedic timing without choreography.[8] In 2024, she directed Left on Tenth, Delia Ephron's memoir-based play about love and loss, which premiered at the James Earl Jones Theatre on October 23, emphasizing intimate character-driven scenes over spectacle.[8] These works demonstrated her versatility in straight plays while maintaining a focus on ensemble dynamics. Stroman's recent musical highlights include the 2023 premiere of New York, New York, a Kander and Ebb-inspired original with music by John Kander, lyrics by Fred Ebb and others, and a book by David Thompson and Sharon Washington; opening at the St. James Theatre on April 26, Stroman directed and choreographed the post-World War II ensemble story, incorporating large-scale jazz and tap numbers that earned Drama Desk recognition for her choreography.[8][28] The production ran through 2024, praised for its dance-driven energy despite narrative critiques. That same year, she helmed a revival of her own Crazy for You at London's Chichester Festival Theatre, transferring to the Gillian Lynne Theatre on July 3, where her updated choreography revitalized the Gershwin-scored show with fresh staging for contemporary audiences.[8] Looking ahead, Stroman is set to direct the stage adaptation of the television series Smash at the Imperial Theatre, scheduled to open on April 10, 2025, continuing her pattern of blending narrative drive with choreographic innovation in Broadway musicals.[8] Other projects in this period, such as the 2017 limited Broadway run of Prince of Broadway—a Harold Prince tribute co-directed with the honoree—and regional works like Marie (2019) in Seattle, underscore her ongoing influence across theatre scales, though Broadway remains her primary venue for high-profile directing and choreography.[8]

Work in Other Media

Ballet and Dance Choreography

Susan Stroman has created several works for major ballet companies, blending her Broadway choreography expertise with classical ballet techniques to produce narrative-driven pieces often inspired by jazz, film, and popular music. Her ballet commissions began in the late 1990s, marking her transition from theatre to concert dance settings.[29][30] In 1997, Stroman choreographed But Not for Me for the Martha Graham Dance Company, drawing on the company's modern dance legacy while incorporating her rhythmic, character-focused style.[31] Two years later, in 1999, she premiered Blossom Got Kissed with the New York City Ballet (NYCB), set to Duke Ellington's music and featuring a story of a clumsy ballerina finding her rhythm, which highlighted her ability to infuse humor and accessibility into ballet.[32][33] Stroman's first full-length ballet, Double Feature, debuted at NYCB in 2004 as part of the Balanchine Centennial Celebration, comprising two acts—The Blue Necklace and Makin' Whoopee—set to scores by Irving Berlin and Walter Donaldson, evoking silent film aesthetics with stylized partnering and ensemble formations.[30][34] This work showcased her innovative use of props and cinematic framing adapted for the stage. In 2008, she created Take Five… More or Less for Pacific Northwest Ballet, premiering on April 17 to Dave Brubeck's jazz compositions, emphasizing syncopated rhythms and improvisational energy across 25 minutes.[35] Returning to NYCB in 2011, Stroman expanded Blossom Got Kissed into the evening-length For the Love of Duke, premiered on January 28, which paired the original with a new companion piece to Ellington's oeuvre, exploring themes of romance and swing through fluid, jazz-inflected movements for 30 dancers.[36][37] These commissions demonstrate her recurring collaborations with NYCB, where she has contributed three major works, prioritizing musicality and storytelling over abstract formalism.[38]

Television Contributions

Stroman's contributions to television have centered on directing and choreographing musical specials and live broadcasts, primarily for public television outlets like PBS, adapting her theatrical expertise to the medium's constraints while preserving dynamic staging.[8] Her early television work included the 1991 HBO special Liza Stepping Out at Radio City, where she served as choreographer for Liza Minnelli's performance, earning a Primetime Emmy nomination for Outstanding Achievement in Choreography; the special premiered on November 10.[8] That same year, she directed and choreographed An Evening with the Boston Pops: A Tribute to the Theater Music of Leonard Bernstein, which aired on PBS on May 20, featuring orchestral interpretations of Bernstein's works integrated with dance sequences.[8] In 1992, Stroman choreographed Sondheim: A Celebration at Carnegie Hall, a PBS tribute concert honoring Stephen Sondheim's catalog, which received an Emmy nomination for her contributions.[8] Her involvement extended to documenting behind-the-scenes processes, as in 2001 when she directed and choreographed Recording 'The Producers': A Musical Romp with Mel Brooks, a PBS special aired on August 15 that captured the album sessions for her Tony-winning Broadway production, blending rehearsal footage with musical numbers.[8] Stroman's television adaptations of her own stage works further highlighted her dual role as director and choreographer. The 1999 PBS Great Performances broadcast of Crazy for You, originally choreographed by her for Broadway, aired on October 20 and showcased the Gershwin-infused dance numbers in a televised format.[8] Similarly, Contact: Live from Lincoln Center—her 2000 dance-play hybrid—premiered on PBS on September 1, 2002, winning an Emmy Award for Outstanding Classical Music-Dance Program, with Stroman credited for direction and choreography that translated the intimate Lincoln Center staging to national broadcast.[8] These projects earned recognition for innovating musical theater presentation on screen, though her television output remained selective compared to her stage career, focusing on high-profile tributes rather than ongoing series.[6]

Film Directing

Stroman's debut as a feature film director was the 2005 musical comedy The Producers, an adaptation of the Broadway production she had directed and choreographed in 2001.[39][40] The screenplay, written by Mel Brooks and Thomas Meehan, retained the core plot of a scheming Broadway producer (Max Bialystock, played by Nathan Lane) and his timid accountant (Leo Bloom, played by Matthew Broderick) who plan to oversell shares in a guaranteed flop to profit from its failure.[40] Supporting roles featured Uma Thurman as Ulla, the Swedish secretary, and Will Ferrell as the flamboyant author Franz Liebkind.[40] Principal photography occurred in 2004, with Stroman emphasizing the translation of stage choreography to cinematic scale, including elaborate production numbers like "Springtime for Hitler."[40] Released by Sony Pictures on December 16, 2005, the film had a budget of approximately $45 million and grossed $38.1 million worldwide, underperforming commercially relative to the stage show's success.[40] It earned four Golden Globe nominations, including Best Motion Picture – Musical or Comedy, Best Actor for Lane, Best Actress for Thurman, and Best Supporting Actor for Ferrell, though it won none.[6] Critical reception was mixed, with praise for Stroman's direction of musical sequences but criticism for the film's stage-bound feel and failure to adapt effectively to screen dynamics; it holds a 51% approval rating on Rotten Tomatoes based on 153 reviews.[41] Some reviewers noted the challenge of recapturing the Broadway original's energy, attributing the film's shortcomings partly to the inherent difficulties of filming musical theater.[41] Beyond The Producers, Stroman's film directing credits include shorter-form works, such as the 2020 project The Right Girl, though it remains lesser-known and primarily circulated in limited television or streaming contexts.[42] As of 2025, she is attached to direct The Beast in the Jungle, an adaptation of Henry James's novella, but production details and release status are pending.[43] Her film work underscores a focus on musical and theatrical adaptations, leveraging her Broadway expertise while highlighting the medium's transitional challenges from stage to screen.

Notable Stage Productions

Broadway Productions

Stroman's Broadway career as a choreographer began with the 1992 musical Crazy for You, for which she received the Tony Award for Best Choreography.[8][44] She followed with choreography for the 1994 revival of Show Boat, earning another Tony for Best Choreography.[8][44]
YearProductionRoleKey Awards/Nominations
1992Crazy for YouChoreographerTony Award for Best Choreography[8][44]
1994Show Boat (revival)ChoreographerTony Award for Best Choreography[8][44]
1996BigDirector/ChoreographerTony nomination for Best Choreography[8]
1997Steel PierChoreographerTony nomination for Best Choreography[8][45]
2000The Music Man (revival)Director/ChoreographerTony nominations for Best Direction and Best Choreography of a Musical[8]
2000ContactDirector/ChoreographerTony Award for Best Choreography; Tony for Best Musical[8][44][46]
2001The ProducersDirector/ChoreographerTony Awards for Best Direction and Best Choreography of a Musical; 12 total Tonys for the production[8][44][22]
2001Thou Shalt NotDirector/ChoreographerNone listed[8]
2002Oklahoma! (revival)ChoreographerTony nomination for Best Choreography[8]
2007Young FrankensteinDirector/ChoreographerDrama Desk and Outer Critics Circle nominations[8]
2010The Scottsboro BoysDirector/ChoreographerTony nominations for Best Direction and Best Choreography of a Musical[44][24]
2013Big FishDirector/ChoreographerNone listed[8]
2014Bullets Over BroadwayDirector/ChoreographerTony nomination for Best Choreography[8][44][47]
2017Prince of BroadwayCo-Director/ChoreographerNone listed[8]
2023New York, New YorkDirector/ChoreographerTony nomination for Best Choreography[8][44][48]
In addition to musicals, Stroman directed the 2022 comedy POTUS: Or, Behind Every Great Dumbass Are Seven Women Trying to Keep Him Alive, her first Broadway play direction without choreography.[8] She is slated to direct the musical adaptation of SMASH in 2025.[8][49]

Other Theatre Works

Stroman's early Off-Broadway contributions include choreographing the 1987 revival of Flora the Red Menace at the Vineyard Theatre, marking a breakthrough in her career under director Scott Ellis.[8][3] In 1991, she co-conceived and choreographed And the World Goes 'Round at the Westside Theatre, a revue of Kander and Ebb songs that earned her the SDCF Joe A. Callaway Award for choreography and an Outer Critics Circle Award.[8] Contact, which she directed, choreographed, and co-conceived, premiered Off-Broadway at Lincoln Center Theater's Mitzi E. Newhouse Theatre in 1999 before transferring to Broadway; the dance-driven narrative explores themes of longing through three interconnected vignettes.[8] She directed and choreographed Happiness in 2009 at the Mitzi E. Newhouse Theatre, a musical by Scott Frankel, Michael Korie, and John Weidman depicting New Yorkers reflecting on personal memories during a subway delay, featuring a cast including Joanna Gleason and Hunter Foster.[50][51] The Scottsboro Boys opened Off-Broadway at the Vineyard Theatre on March 10, 2010, with Stroman directing and choreographing John Kander, Fred Ebb, and David Thompson's controversial musical dramatizing the historical trials through a minstrel show format, garnering Lucille Lortel Awards despite later Broadway challenges.[8] In 2013, Stroman directed and choreographed the premiere of The Last Two People on Earth: An Apocalyptic Vaudeville Off-Broadway, a two-hander with Mandy Patinkin and Taylor Mac portraying survivors bonding through song and dance post-flood, later presented at the American Repertory Theater in 2015.[52][8] She directed Colman Domingo's Dot at the Vineyard Theatre in 2016, a family drama centered on a matriarch with dementia, starring Marjorie Johnson and exploring intergenerational dynamics in a Philadelphia household.[8][53] Stroman's West End directing and choreography extended to the revised production of Young Frankenstein at the Garrick Theatre starting October 9, 2017, adapting Mel Brooks's comedy with updated staging for international audiences.[54] In 2023, she directed and choreographed the revival of Crazy for You at the Gillian Lynne Theatre, starring Charlie Stemp and Carly Anderson, refreshing the Gershwin-infused musical originally co-conceived with Mike Ockrent.[8][55]

Awards and Honors

Tony Awards and Nominations

Susan Stroman has received 15 nominations for the Tony Awards, tying Bob Fosse for the most ever as a choreographer, and has won five times overall.[56] Her victories consist of four in the category of Best Choreography—for Crazy for You (1992), the revival of Show Boat (1995), Contact (2000), and The Producers (2001)—along with Best Direction of a Musical for The Producers (2001), making her the first woman to win both directing and choreography awards in the same year.[2][57][58] She earned four nominations in the 2000 Tony Awards cycle alone—for Best Direction and Best Choreography on both The Music Man revival (nominated in both categories) and Contact (won choreography; nominated for direction)—the first instance of a woman receiving dual choreography nods in one season.[59][60] Additional nominations include Best Choreography for Steel Pier (1997), the Oklahoma! revival (2002), The Scottsboro Boys (2011), Bullets Over Broadway (2014), and New York, New York (2023); and Best Direction of a Musical for The Scottsboro Boys (2011).[61][62][63][64][56]
YearCategoryProductionResult
1992Best ChoreographyCrazy for YouWon
1995Best ChoreographyShow BoatWon
1997Best ChoreographySteel PierNominated
2000Best ChoreographyThe Music ManNominated
2000Best ChoreographyContactWon
2000Best Direction of a MusicalThe Music ManNominated
2000Best Direction of a MusicalContactNominated
2001Best ChoreographyThe ProducersWon
2001Best Direction of a MusicalThe ProducersWon
2002Best ChoreographyOklahoma!Nominated
2011Best ChoreographyThe Scottsboro BoysNominated
2011Best Direction of a MusicalThe Scottsboro BoysNominated
2014Best ChoreographyBullets Over BroadwayNominated
2023Best ChoreographyNew York, New YorkNominated

Other Recognitions

Stroman has received five Drama Desk Awards for outstanding choreography and direction across various productions.[2][4] She earned eight Outer Critics Circle Awards, including for choreography in The Producers (2001) and outstanding choreography for New York, New York (2023).[65][66][4] In London theatre, Stroman won two Laurence Olivier Awards for best choreography, for Crazy for You (1993 revival) and Contact (2003).[67][68] She also holds two Lucille Lortel Awards and a record six Fred Astaire Awards, with one for outstanding choreographer in a Broadway show for The Producers (2001).[4][69] For lifetime achievement, Stroman received the Oscar Hammerstein Award in 2018 from the Kurt Weill Foundation for the Performing Arts.[70] The Vineyard Theatre established the Biennial Susan Stroman Directing Fellowship in her honor.[8]

Reception and Legacy

Critical Acclaim and Innovations

Susan Stroman's direction and choreography for The Producers (2001) garnered significant critical praise, earning her Tony Awards for Best Direction of a Musical and Best Choreography, marking her as the first woman to win both in the same production.[10] The musical received 12 Tony nominations overall and was lauded for its high-energy dance sequences that amplified Mel Brooks' comedic script.[67] Critics highlighted her precise, athletic staging, which contributed to the show's record-breaking commercial and artistic success on Broadway.[1] Her work on Contact (2000), a dance play she conceived, directed, and choreographed, was acclaimed for its minimalist narrative structure consisting of three thematically linked vignettes set to pre-recorded music, eschewing live singing and dialogue in favor of movement to advance the story.[71] The production won the Tony Award for Best Musical and was praised for revitalizing interest in plot-driven choreography without reliance on traditional musical elements.[1] Reviewers noted its innovative use of everyday settings and stylized dance to explore themes of human connection, influencing subsequent dance-theater hybrids.[10] Stroman's innovations lie in her emphasis on narrative choreography that integrates diverse dance forms—such as jazz, tap, and ballet—to propel storytelling, shifting focus from spectacle to character development through movement.[72] She has been recognized for blending humor with technical precision, as seen in her flexible adaptation of styles across productions like Crazy for You (1992) and The Scottsboro Boys (2010), the latter earning 12 Tony nominations for its bold, stylized depiction of historical events via choreography.[73] This approach has redefined Broadway's use of dance as an essential dramatic tool rather than ornamental, earning her acclaim from outlets like PBS for pioneering accessible yet sophisticated theatrical forms.[1]

Commercial Performance and Criticisms

Stroman's direction and choreography of The Producers (2001) achieved exceptional commercial success, grossing $288,361,724 over 2,502 performances with an attendance of 3,672,795, and setting a record for the largest single-day box-office sales in Broadway history at over $3 million following its opening.[74][75] Her revival of Oklahoma! in London (1998) also broke box-office records with a six-month sold-out run at the National Theatre.[76] In contrast, several productions underperformed financially; Young Frankenstein (2007), despite an opening week gross of $1.5 million, concluded after 486 performances without matching the blockbuster scale of The Producers.[77] Big Fish (2013) and Bullets Over Broadway (2014) each closed prematurely after 98 and 156 performances, respectively, amid challenges in recouping investments in a competitive market.[78] Criticisms of Stroman's work have centered on structural and representational choices in specific productions. The Scottsboro Boys (2010), which employed a minstrel show format to depict the racially motivated trials of nine Black teenagers in 1930s Alabama, drew accusations of insensitivity and perpetuating stereotypes, contributing to mixed reviews and a brief Broadway run of only 49 performances following 29 previews.[79] While some praised its bold confrontation of historical racism, others argued the stylistic device undermined the gravity of the subject, limiting audience appeal and commercial viability.[80] New York, New York (2023) faced critique for overcrowding the narrative with excessive characters and subplots, diluting focus despite Stroman's choreographic strengths.[81] Broader commentary has noted that female directors like Stroman encounter heightened scrutiny compared to male counterparts, potentially amplifying perceptions of flaws in ambitious musicals.[82]

Controversies and Debates

The production of The Scottsboro Boys (2010), directed and choreographed by Stroman, drew significant debate over its use of minstrel show conventions to depict the 1931 trial and imprisonment of nine Black teenagers falsely accused of raping two white women in Alabama, an event marked by racial injustice and multiple retrials spanning years. Critics and protesters, including the NAACP, argued that employing blackface and minstrelsy—historically tied to racist caricature—risked perpetuating stereotypes rather than subverting them, with demonstrations outside the theater and calls for cancellation from advocacy groups who viewed the form as inherently offensive despite the show's intent to critique Southern racism through irony and vaudeville tropes.[83][84][85] Stroman defended the artistic choice as a deliberate historical echo, noting that minstrel shows were a popular entertainment form during the Scottsboro era, allowing the narrative to mirror the dehumanizing spectacle of the trials themselves and expose their absurdity; she emphasized in interviews that the approach aimed to make audiences confront uncomfortable truths about racial history without sanitization. The production received strong critical praise for its score by John Kander and Fred Ebb, Stroman's choreography, and overall execution—earning 12 Tony Award nominations—but commercial underperformance led to its closure after 49 previews and 12 regular performances on December 12, 2010, with producers attributing the failure primarily to audience turnout amid the recession rather than protests alone.[83][86][85] Subsequent revivals, including an Off-Broadway run in 2014 and a London production in 2013, reignited discussions on the efficacy of provocative staging in addressing racial trauma, with some reviewers praising its unflinching formalism as innovative while others maintained reservations about the minstrelsy's potential to alienate or confuse audiences unfamiliar with the critique's layers. No major personal controversies have been associated with Stroman, whose career has otherwise emphasized collaborative musical theater without widespread ethical or professional scandals.[83][84] Earlier work on the 1994 revival of Show Boat, for which Stroman served as choreographer, intersected with broader debates on racial representation in classic musicals, as some Black critics questioned the revival of a story centered on Jim Crow-era prejudice by a production team including Jewish producers Hal Prince and Michael Riedel, though the contention focused more on institutional choices than Stroman's contributions. Similarly, her dance-play Contact (2000) sparked minor Tony Awards categorization debate over qualifying as a "musical" given its limited songs and emphasis on choreography, ultimately winning Best Musical despite objections from traditionalists.[87][88]

References

  1. Susan Stroman | The Stars | Broadway: The American Musical - PBS
  2. Susan Stroman - The Official Masterworks Broadway Site
  3. Susan Stroman - The Kennedy Center
  4. About - Susan Stroman
  5. Susan Stroman Faculty Bio | Broadway Dance Center
  6. Susan Stroman - IMDb
  7. Stroman, Susan 1954– | Encyclopedia.com
  8. Timeline - Susan Stroman
  9. Susan Stroman - Jewish Virtual Library
  10. An Interview with Susan Stroman | The Interval
  11. Blue Hens on Broadway - University of Delaware
  12. Susan Stroman: University of Delaware's Hall of Fame
  13. UD Messenger - Susan Stroman - University of Delaware
  14. Susan Stroman Tells Stories Through Music - WSJ
  15. Chicago – Broadway Musical – 1977-1978 Tour | IBDB
  16. Whoopee! (Broadway, August Wilson Theatre, 1979) | Playbill
  17. Whoopee! – Broadway Musical – 1979 Revival - IBDB
  18. Choreographer Highlight: Susan Stroman, creator of “Take Five ...
  19. Susan Stroman; Lights up a stage (Win 93)
  20. Susan Stroman – Broadway Cast & Staff | IBDB
  21. https://www.ibdb.com/broadway-production/crazy-for-you-4662
  22. The Producers – Broadway Musical – Original - IBDB
  23. Young Frankenstein – Broadway Musical – Original | IBDB
  24. The Scottsboro Boys – Broadway Musical – Original - IBDB
  25. Susan Stroman Directs 'Big Fish' on Broadway - The New York Times
  26. Bullets Over Broadway - Susan Stroman
  27. Bullets Over Broadway - The Official Masterworks Broadway Site
  28. New York, New York - Susan Stroman
  29. Susan Stroman — Official Website
  30. Double Feature - New York City Ballet
  31. Susan Stroman : Shows - Lincoln Center Theater
  32. Blossom Got Kissed - Susan Stroman
  33. Duke! | New York City Ballet
  34. Double Feature - Susan Stroman
  35. Take Five… More or Less - Susan Stroman
  36. For the Love of Duke - Susan Stroman
  37. For the Love of Duke | New York City Ballet
  38. Susan Stroman - Broadway Teaching Group
  39. The Producers: The Movie Musical - Susan Stroman
  40. The Producers (2005) - IMDb
  41. The Producers | Rotten Tomatoes
  42. Susan Stroman - TV Guide
  43. Susan Stroman - Filmography, Age, Biography & More - Mabumbe
  44. Susan Stroman Tony Awards Wins and Nominations
  45. Steel Pier – Broadway Musical – Original | IBDB
  46. Contact – Broadway Musical – Original - IBDB
  47. Bullets Over Broadway - IBDB
  48. New York, New York – Broadway Musical – Original - IBDB
  49. SMASH - Susan Stroman
  50. PHOTO CALL: Happiness Celebrates Opening Night Off-Broadway
  51. Happiness | Concord Theatricals
  52. The Last Two People on Earth: An Apocalyptic Vaudeville, Starring ...
  53. Dot - 2016 Off-Broadway Play: Tickets & Info
  54. Young Frankenstein - Susan Stroman
  55. Susan Stroman Bringing 'Crazy For You' Revival Starring Charlie ...
  56. Tony Awards History: Susan Stroman Is Now Tied With Bob Fosse ...
  57. Nominations / 1992 - Tony Awards
  58. Nominations / 2001 - Tony Awards
  59. 2000 TONY AWARD WINNER: Best Choreography - Susan Stroman ...
  60. Susan Stroman on Record-Breaking Tony Nomination for New York ...
  61. Nominations / 1997 - Tony Awards
  62. Nominations / 2002 - Tony Awards
  63. https://www.broadwayworld.com/tonyawardspersoninfo.php?nomname=Susan%20Stroman
  64. Nominations / 2014 - Tony Awards
  65. PHOTO CALL: The Producers Take Home Some Outer Critics ...
  66. New York, New York: Outstanding Choreography Award
  67. Susan Stroman (Actor, Conceiver, Bookwriter) - Broadway World
  68. Olivier Winners 2003 - Official London Theatre
  69. Susan Stroman A 3-Time Winner - The New York Times
  70. Odds & Ends: Susan Stroman to Receive Oscar Hammerstein Award ...
  71. Contact - Variety
  72. Dancing with Susan Stroman | A.R.T. - American Repertory Theater
  73. Susan Stroman | Hollywood Bowl
  74. THE PRODUCERS Broadway Grosses
  75. Show History | Music Theatre International
  76. Oklahoma! - Susan Stroman
  77. Variety Estimates Young Frankenstein Gross $1.5 Million for First ...
  78. Broadway: Too Many Shows for Box Office to Turn Profit? - Variety
  79. Musical of the Month: The Scottsboro Boys
  80. The Scottsboro Boys review – a dazzling civil rights musical
  81. NYNY review: Susan Stroman is a genius but. . . : r/Broadway - Reddit
  82. The Ladies Who Lead: Rachel Chavkin, Diane Paulus, and Susan ...
  83. The Scottsboro Boys: a minstrel show like no other - The Guardian
  84. 'Scottsboro' set to shutter - Variety
  85. 'Scottsboro Boys' To Close on December 12 - The New York Times
  86. Susan Stroman interview: 'One has to make it believable' - Time Out
  87. Blacks Accuse Jews In 'Show Boat' Revival - The New York Times
  88. Both Tonys for Directing Go to Michael Blakemore; 'Kiss Me, Kate ...
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