EmStage’s Musical ‘Chantecler’ Ushers in a New Era of Drama

Emerson Stage’s recent musical Chantecler, about a rooster who believes his morning song makes the sun rise, marked a rare convergence of firsts in the College’s theatrical history.

As far back as anyone can recall, alumni—let alone Broadway-tested alumni—had never performed in an Emerson Stage production alongside undergraduates. That is, until January’s production of Chantecler, which was presented as stripped-down readings without sets or costumes.  

All photos by Celia Abbott ’27

“When someone approaches you about something like this, it’s foolish not to jump on board,” said Sam Simahk ’10, whose Broadway credits include Into the Woods and Carousel, and who was one of three alumni that Performing Arts Associate Professor Scott LaFeber recruited to lead Emerson’s production. 

Simahk joined Dru Serkes ’11, who has been involved in touring productions of Jersey Boys and Man of La Mancha, Lauren Chapman ’13, who was in the original Broadway cast of Frozen and played Princess Anna in its national tour, and current students for three performances held January 30 and 31.

For LaFeber, bringing experienced performers together with students was paramount. “The kids meet the alums, and the alums can see where our program is now. It’s that connectedness—this business is all about knowing people,” he said.

Learning On Stage and Off

The alumni trio spent a week in Boston. During rehearsals, they sang along to roles that weren’t their own, joked with students, and modeled professional collaboration. Simahk said he was careful not to offer unsolicited advice to students, but welcomed conversations about the realities of the industry.

“There’s so much pressure after leaving college, ‘to get on Broadway tomorrow,’” he said. “If you’re in this career, it’s a long slog and a lot of drive and effort over a long period of time.”

The students who performed in Chantecler said they appreciated the opportunity to work and learn alongside the alumni.

During a rehearsal break, Simahk and Amanda Marcos ’27 discussed their shared admiration for Filipino actress and singer Lea Salonga. For Marcos, seeing Simahk—a performer of Filipino descent—leading the production was meaningful.

“As there are very few Asian leads, let alone Asians in musical theatre, I love to see an Asian leading an incredible production like Chantecler,” said Marcos.

“It’s good to see how they work, and how to approach a new work,” said Mick Casey ’27. “This is my first time… on a production like this—I’ve only [done] well-established shows like Chicago and Hair.”

Isabella Schumacher ’27 also relished the opportunity to engage with the alumni performers.

“We came from the same [college], and got the same training,” she said. “It’s cool to be like, ‘That could be me some day.’”

She was particularly drawn to the collaborative process of developing an original musical.

“They cut parts of songs or added harmonies,” said Schumacher. “It’s been cool to see the different choices you can make with an original musical that you can’t do with established shows. It’s interesting to see that during rehearsals, as an actor, you get to influence an original production.”

Chapman described returning to Emerson to work on a developing production as deeply affirming.

“It’s a beautiful reminder of the tools we learned here and carried with us into our professional lives,” she said.

Evolution of Emerson Stage

Emerson’s production of Chantecler was presented as stripped-down readings without sets or costumes, signaling the first step in Emerson Stage’s shift toward tiered production levels. 

Emerson Stage Director of Operations Eric Paris, who began at Emerson in the summer of 2025, envisions a multi-tiered model that includes full productions alongside readings and workshops for new or lesser-known pieces. The approach allows for varying degrees of scale and pageantry depending on the work.

While maintaining a traditional season of fully produced shows—with elaborate sets and costumes—Paris also wants Emerson Stage to nurture works in earlier stages of development.

“We can do readings or workshops with a smaller budget, no sets, no costumes. Emerson will be associated with the production because it started here,” said Paris.

Presenting Chantecler as a reading also opened the door for broader student involvement. Traditionally, upperclass students—often seniors—fill many Emerson Stage leadership roles. This time, a call went out to the entire Performing Arts Department. First year and sophomore students rehearsed and performed technical roles alongside juniors and seniors.

“This is a new playpen of doing stage readings and developing new works,” said Paris. “Nothing is really highly technical. We need sound and lighting to some degree. Instead of picking one person [to lead a particular role], we said, ‘You’re our team.’”

Paris embraced the developmental approach, while LaFeber connected with Claudia Piano, daughter of original book and lyricist Anthony Piano and the copyright holder of the musical. She welcomed the opportunity to collaborate with Emerson Stage on reviving her father’s work.

Momentum is already building. LaFeber is currently working on plans to bring Chantecler to New York later this year for another reading, potentially involving the Broadway alumni cast, additional professional performers, and Emerson students.

A Long Time in the Making 

LaFeber has been thinking about Chantecler for years. 

In 1981, a 23-year-old LaFeber worked as a stage manager on Chantecler during a limited two-week run at New York City’s 47th Street Theatre. The modest Actors’ Equity production, directed by renowned Broadway director Edward Berkeley with music by Michael Colicchio, ran without compensation for its performers but carried significant artistic cache.

But the production stalled and never advanced beyond its initial run. On the final night, LaFeber sensed the show deserved a future. He gathered the score, book, lyrics, and any materials he could preserve.

And he never let it go.

“During the last 45 years, I have carried it around me in two big folders,” said LaFeber. “As a teacher once said to me, ‘Good book, good lyrics, and good score, and you can’t go wrong with that.’”Now, for LaFeber, bringing Chantecler back to life felt historic. “[The company] had to work fast and at a high standard,” he said. “It was a wonderful perfect storm. Everyone benefitted and everyone had fun. Educationally and professionally—it’s wonderful.”