Everything You Need to Know about a Career on Broadway

INSIDE+OUT is excited to introduce Sharon Grace Powers, a multi-talented Hudson Valley singer, actor, writer, and a beacon of enlightenment in the theater world.  Her latest achievement, How Broadway Works: Building and Running a Show from the People Who Make It Happen, celebrates the often unseen and unsung behind-the-scenes professionals who make today’s productions possible.

“How Broadway Works” showcases over thirty essential set designers, costume designers, orchestrators, wardrobe staff, choreographers and production stage managers, bringing these crucial roles into the spotlight and fostering a deeper appreciation for the intricate workings of Broadway. It’s a fabulous resource for anyone considering a career in theater – from high school and college students to aspiring actors and stagehands.

Ms. Powers has appeared on Broadway, in regional theatre productions and cabaret shows in New York City. She collaborated with the iconic Katharine Hepburn for sixteen years, assisting her on several TV films, serving as her public liaison and playing a key role in developing and publishing Ms. Hepburn’s autobiography, “Me.” Sharon has worked with Heywood Hale Broun, editing and rewriting various articles and manuscripts, and has collaborated with other notable writers, including the Jules Styne, Alan Jay Lerner, Arthur Laurents and the renowned Arthur Miller.

A resident of Woodstock and New York City since the 1980s with her late husband and renowned character actor Leonardo Cimino, Sharon still acts. Her nuanced performances with Round the Bend Theatre in Saugerties are indeed a treat. Let’s learn more…

INSIDE+OUT UPSTATE NY: Where are you from, and how did you wind up in the Hudson Valley?

Sharon Grace Powers: I was born in the Echo Park area of Los Angeles. I wound up in the Hudson Valley when my husband-to-be, the character actor Leonardo Cimino, had a house there – it was a typical Woodstock artist’s shack. Through him, I became acquainted with Woodstock.

Tell us about your background in the theater. How did you get your start, and were you behind the curtain running the show or on stage?

I have primarily been a performer—both a singer and an actress. I started my career with church jobs and non-union gigs in Los Angeles, and my first union job was touring with the Norman Luboff Choir for two seasons. We toured the US and Canada during that time, performing one-night concerts and traveling the next day. In our second season, we covered 10,000 miles in just ten weeks. I then moved to New York to learn how to audition, where I secured a summer stock job and decided to stay. Additionally, I sang with the Gregg Smith Singers for four seasons and participated in various choral work throughout the city.

Tell us about your book, “How Broadway Works: Building and Running a Show, from the People Who Make It Happen.” What inspired this project?

This book is a tribute to the hundreds of artists and artisans behind the curtain who collaborate to bring a theatrical vision to a Broadway stage. My goal is to share the essence of how a show comes together and runs every night on Broadway. While each production is unique, a general pattern remains consistent across all of them.

The original idea was to create a children’s book with a painter. However, as I started developing the concept, the painter could not continue and eventually withdrew from the project. The first two interviews were arranged through friends, and those interviewees referred me to others, creating a network of connections. I began working on the book in 2015. Initially, it was slow to set up interviews because many people were busy, and I needed to find a time when they were available. Most of the work was completed during the pandemic; without it, finishing a book like this would have taken much longer.

Your book is a love letter to Broadway and the skilled tradespeople involved in its productions. It’s remarkable to realize that between 50 and 75 people are working backstage alongside the performers to ensure the show runs smoothly. After writing this book, which craft intrigues or impresses you the most?

As a performer, I recognized the people behind the curtain, but my understanding deepened significantly while writing this book. I can’t pinpoint any single craft that amazed me above all others; they all impressed me equally. Some crafts may begin with a reference point, such as a historical context or a specific era like the 1960s. However, many others rely on imagination and the creative process of problem-solving to figure out how to make things function within the context of the production to tell the story effectively.

Additionally, beyond their creativity, it’s their ability to communicate the ideas in their head to someone else. We live in a time where words are thrown around like spaghetti on a wall, but words hold significant power. A term can mean one thing to one person and something entirely different to another. For instance, a lighting designer may tell a director that the light should be “warm,” but the designer’s interpretation of “warm” may differ from the director’s. These artisans must communicate effectively with each other to achieve the ultimate goal: storytelling.

“Exceptionally informative, impressively comprehensive, deftly written and thoroughly ‘reader friendly’. How Broadway Works is essential reading for anyone who aspires to a career in the performing arts in a supporting production crew capacity.” – The Midwest Review of Books

Broadway is a small community, and NYC is a hotbed of talent. In your experience, how does one make contacts and find opportunities to demonstrate their ability to fit into this environment?

From what I’ve learned, there is no single path to achieving a career in theatre, regardless of talent. Luck and timing play significant roles, and many talented individuals go unnoticed on both sides of the curtain. Many people I interviewed knew someone from their college community already working on Broadway. Others came to the city and, by chance, found temporary openings that allowed them to showcase their skills. Some gained experience in regional theatre, which helped them build valuable connections. Volunteering at small venues in the city also afforded opportunities to showcase their talents and make important contacts.

Let’s talk more about you. What incredible moments stand out for you from working in the theater?

I achieved my 12-year-old dream.  I appeared on Broadway in the play 1600 Pennsylvania Avenue, which has become an iconic production with Leonard Bernstein, Alan Jay Lerner, Tharon Musser (lights), Robert Whitehead and Roger Stevens– all big names. We made it to Broadway, but the show didn’t last long.

What is one question you’re constantly asked when it comes to your work in theater?

I frequently get questions about how I secured jobs to support myself while auditioning. I fell into a couple of jobs through luck and good timing. I have excellent typing and editing skills. When I came to New York, my first job was with Paul Simon and his attorney. This role allowed me to continue auditioning, coaching and going on brief tours with Gregg Smith. Later, during a hiatus from theater, I worked for Katharine Hepburn for several years.

Do tell us about that! What did you work on, and can you share one of your favorite moments with Ms. Hepburn?

Working with Katharine Hepburn was a unique experience; I refer to it as my PhD in show business. She was an established star, truly a legend. One time, while speaking on the phone, she identified herself by saying, “This is Katharine Hepburn. (Pause) Katharine Hepburn. (Pause) Katharine Hepburn.” She glanced at me as she waited for a response and remarked, “She doesn’t know who I am.” A lesson – so much for fame and fortune.

What about the Hudson Valley makes it unique to live and work here?

The peace, the quiet, the stunning natural beauty, and the light are remarkable. It’s easy to see why so many fine artists were drawn to this area.

What is missing in the area that you wish we had?

The most important missing element in this area is a first-class medical system that doesn’t require one to travel over an hour to get help.

What advice do you have for anyone with dreams of being on Broadway, starting with your belief that if someone wants a career in theatre, moving to New York is essential?

If your dream is to perform on Broadway, then New York City is the only place to be. Gaining experience in community and regional theaters is valuable, but competing in New York represents the ultimate test. While you might not achieve your Broadway dream, the experience and high standards of this competition will stay with you no matter where your journey takes you.

Another piece of advice is to recognize that theatre is a freelance business, which means that every job you get eventually ends, and you will need to find another one. The more skills you have, the better your chances of survival during lean times. Some of the interviewees began with different career aspirations within the theater. Eventually, they realized they had talents better suited for other areas of production, which they found more enjoyable. The skills may not be theatrical, but they can provide a job to survive between productions.

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Photos by Terry Dagrosa

About Sharon Powers

A native of Los Angeles, Ms. Powers attended UCLA, where she earned a BA in English Literature with a minor in theatre. She also completed a two-year graduate program in English Education at Cal State LA. Afterward, she moved to New York to pursue a career in theatre. Sharon has appeared on Broadway, in regional theatre productions, and cabaret shows in New York. Additionally, she has performed in choral work, touring the U.S., Canada, and various venues in New York City, including collaborations with the New York Philharmonic.

Connect with Sharon via her Website | Instagram @sharongracepowers | Facebook @sharonpowers
Email:  [email protected]