Shows

Cabaret and industry rooms demand a different kind of bravery than a full musical: no set to hide behind, no ensemble to share the load — only text, timing, and the ability to hold a room. Stage Kiss is Sarah Ruhl’s sharp comedy about actors, desire, and the blurry line between performance and real feeling. A monologue from that world needs wit, vulnerability, and precise listening to an imagined partner.

Elyse’s New York City cabaret debut at Ripley-Grier Studios featured her Stage Kiss monologue — a milestone in her off-Broadway and NYC training journey after Broadway Artists Alliance work. Solo cabaret is casting-relevant because it proves she can shape an arc alone, land comic and emotional turns without scenic support, and stay present for an audience that is often industry-adjacent and close enough to see every choice.

This credit pairs with her musical roles to show versatility: she can thrive inside large productions and also deliver intimate, text-forward work that reads cleanly on camera and in small venues.

Irving Berlin’s White Christmas is holiday musical comedy built on song-and-dance entertainment: barn shows, romantic misunderstandings, and company numbers that sparkle. Featured ensemble tracks sit a step above general ensemble — more specialty moments, more visibility in production numbers, and a need for reliable vocal blend plus dance polish.

Elyse appeared as featured ensemble at Act I Academy, helping deliver the show’s festive energy and classic Berlin charm. Holiday musicals run on precision and goodwill; the company has to look joyful even on the sixth performance of the week. Featured ensemble work trains consistency under repetition and the habit of making every chorus land for first-time audiences.

For casting, this credit supports her profile as a musical theatre performer who can elevate company work — not only when she is named in the program as a principal, but when a production needs a stronger dancer/singer to lift the ensemble standard.

John Cariani’s Almost, Maine is a romantic comedy of interlocking short plays set in a fictional northern town where love arrives like weather — sudden, strange, and oddly precise. The evening mixes whimsy and ache: lost shoes, broken hearts made literal, and characters who say more through stillness than speech. Hope is one of those human anchors in the quilt of scenes, requiring sincerity that never tips into sentimentality.

Elyse played Hope at Cartersville High School, working inside a play (not a musical) where timing, listening, and emotional honesty carry the night. Without a score to lean on, the actor’s instrument is text and partnership. Hope’s scenes reward clarity of objective and a light touch — comedy that stays grounded in character truth.

This credit broadens Elyse’s casting profile beyond musicals: she can play contemporary comic drama, hold silence, and serve an ensemble evening of vignettes where every short play must feel complete.

Disney’s Frozen JR adapts the story of sisters Elsa and Anna for young casts while keeping the emotional spine intact: fear, love, and the courage to be seen. Elsa is the vocal and dramatic center of many productions — “Let It Go” and the character’s isolation ask for power, vulnerability, and control. Even in a JR edition, Elsa must feel regal and human, not merely a karaoke turn.

Elyse portrayed Elsa at The Grand Theater, carrying a leading musical theatre track with iconic audience expectations. Roles like Elsa test nerves as much as technique: spectators know the song, so the actor’s job is to make the moment character-true again. That means breath management, storytelling through lyric, and staying connected to Anna and the company so the spectacle serves the sister relationship.

This credit is casting-relevant for young leading / ingénue musical tracks that need belt, emotional clarity, and the poise to hold a house that arrives already humming the score.

Disney’s Tarzan tells of a man raised by gorillas who must reconcile two worlds — jungle and human society — through Phil Collins’s pop-inflected score and movement-heavy storytelling. Many productions lean on athletic dance, animal characterization, and company numbers that feel kinetic rather than drawing-room polite. Featured dancers help define that physical language: they set the quality of the tribe, the intensity of the jungle, and the polish of transitions that keep the adventure moving.

Elyse was a featured dancer at The Grand Theater, contributing specialty movement and company strength in a musical that rewards stamina and bold physical choices. Featured dance tracks require picking up choreography quickly, maintaining character in motion, and staying safe while still reading “effortless” from the house. Choreographers notice who counts, who spots, and who can repeat the combination on the second try.

Alongside her Elsa and other acting credits at the same venue, Tarzan reinforces Elyse’s triple-threat profile: she is not only a storyteller who sings, but a mover directors can trust with featured dance responsibility.

The Wizard of Oz remains one of theatre’s most familiar journeys: Kansas dust, a cyclone, and a road toward courage, heart, and home. Ensemble members populate Munchkinland, Oz, and the shifting worlds between — often with quick costume changes, character switches, and vocal parts that keep the fairy-tale engine running. Without a strong company, Dorothy’s adventure has no world to travel through.

Elyse performed in the ensemble at The Grand Theater, supporting a large classic musical with the kind of reliable company work that makes stars look good. Ensemble in Oz is a master class in transformation: one night you are a Munchkin, a flying-monkey energy, a citizen of the Emerald City — always storytelling, never “just filling space.” The craft is in the details: focus, spacing, and selling every picture even when you are not the one holding the ruby slippers.

This credit, stacked with her featured Grand Theater roles, shows a performer who understands both ends of the cast list and treats ensemble responsibility as craft, not a placeholder between “real” parts.

Seussical whirls Dr. Seuss’s imagination into a musical about Horton, Whos, and the power of belief. The Cat in the Hat (and related Cat tracks, depending on the edition and casting) often functions as narrator-trickster — guiding the audience, breaking frames, and keeping the evening playful. First Cat is a featured comic assignment that needs vocal clarity, elastic physicality, and the confidence to talk to an audience without apology.

Elyse portrayed First Cat at Mission Road Theater, a featured comic track rather than a silent ensemble bit. Roles like this reward performers who can pivot between storytelling and mischief, stay rhythmically tight with the band, and still make room for Horton’s sincerity so the show’s heart is not lost in the jokes.

Casting directors looking for comic musical presence — especially narrator/emcee energy — can read First Cat as evidence that Elyse can hold focus, land humor, and shepherd an audience through a stylized world.

Adventures of a Comic Book Artist lives in pulp-bright imagination: heroes, alter egos, and the blur between the drawn page and ordinary life. The musical thrives on heightened style — bold poses, punchy numbers, and characters who feel like they stepped out of ink and color. Wombat Woman is a character-driven featured track that invites comic-book physicality, vocal characterization, and the joy of playing a hero without losing the human underneath the cape.

Elyse played Wombat Woman at The Grand Theater, a named specialty role that stands out for its specificity. Character parts like this are casting gold when played with commitment: clear objectives, comic timing, and enough sincerity that the pastiche never becomes empty parody. The audience should believe the hero’s stakes even while laughing at the genre.

This credit complements her ingénue and leading tracks by showing she can deliver heightened character comedy — useful for callbacks that ask for “character woman,” comic specialty, or playful genre work alongside more straightforward romantic or dramatic musical roles.

Singin’ In The Rain celebrates Hollywood’s messy leap from silent films to talkies — friendship, romance, and dance numbers that have become musical-theatre folklore. Camp Broadway programs place young performers inside professional-feeling productions with high dance standards and classic musical comedy style. Ensemble tracks in this title demand bright energy, clean taps or jazz vocabulary depending on the staging, and vocal blend in period-flavored harmonies that keep the studio-lot world alive.

Elyse performed in the ensemble with Camp Broadway at the Rialto at Georgia State University — an early credit that put her on a notable Atlanta-area stage in a dance-forward classic. Those rooms teach professionalism early: call times, spacing, costume discipline, and the joy of company numbers that only work when everyone is precise together. Missing a count is visible; nailing the picture is what makes the audience cheer.

For casting, the Rialto Camp Broadway credit signals foundational musical comedy training and comfort inside iconic repertoire — useful context alongside later featured roles like Elsa, Amy, and Lily.

Annie follows an optimistic orphan who softens a hard-edged billionaire and reminds a Depression-era New York that hope can be stubborn. The orphanage girls are the show’s comic and musical engine in the early scenes — harmony, mischief, and the chaos of “Hard Knock Life.” Molly is a featured child track with personality: she is not Annie, but she helps define the world Annie escapes and returns to with new purpose.

Elyse portrayed Molly at The Grand Theater, an early featured credit on a major local stage in a classic musical. Those first named roles matter. They are where performers learn to take direction under pressure, hold vocal parts in group numbers, stay in character when the house is melting for the title role, and treat “small” characters as full people with wants and status.

On a casting resume, Molly is foundational context — proof of long stage experience and comfort with iconic musical comedy repertoire that still fills houses, and a reminder that Elyse has been building craft in named tracks for years.