...And The World’s Your Oyster

Known for her determined and exacting manner, Bussert has the kind of magnetic personality that draws in dedicated students and faculty. Her work ethic and passion for music theater elevates her professional and college-level productions, and she is fond of saying that music theater is more than a simple combination of music and theater. “We are our own art form,” she notes.

From her first meetings with President Carmen Twillie Ambar and Dean of the Conservatory William Quillen, Bussert knew that Oberlin understood the importance of building a specialized music theater curriculum. For example, music theater faculty do not cross-teach in other areas, freeing them up to focus squarely on the program’s needs. That aspect “is really important, and it’s rare,” Bussert says.

“ The first thing Bill said to me was, ‘We’re either going to create a world-class program, or we’re not interested in doing it.’ That’s very different from the way most music theater programs have been created.”

Rehearsals and dance classes take place in the Conservatory East Studios (or Con East), an 8,600-square-foot space whose sleek glass facade adjoins the Hotel at Oberlin. The facility, which is the home of the music theater program, features two multipurpose studios, a recording control room, and offices for faculty and staff.

Bussert has carefully adorned her office with cozy lighting, photos, and colorful decorations; for example, yellow neon lettering proclaims, “This must be the place,” underneath a neon outline of red lips.  Many of the music theater faculty members have been working with Bussert for years and possess deep industry connections in the professional world. What the team has established at Oberlin “is not a new program—it’s a new relationship,” Bussert says. “ Oberlin really took a risk by saying, ‘We think this art form deserves its own training program at a first-class conservatory.’ The support we get here makes us want to work even harder because we want to live up to that reputation.”

Students pursue a Bachelor of Music degree while having the flexibility to take courses in both the college and the conservatory. Bussert says the students have responded enthusiastically to these interdisciplinary learning opportunities, exploring passions such as creative writing and conducting and taking courses such as Shakespeare and The Black Perspective, taught by Associate Professor of Theater and Africana Studies Justin Emeka ’95. In turn, the program is influencing Oberlin’s curriculum; for example, Barker Professor of Music Theory Jared Hartt chose to teach first-year students music theory using the songs from the music theater program’s productions.

The music theater faculty members have extensive Broadway and academic experience, offering classes that sharpen students’ performance skills and business acumen. Assistant Professor Laura Welsh spent more than 20 years as a professional actor at Great Lakes Theater in Cleveland and around the country before pivoting to full-time teaching four years ago. This year, she taught acting fundamentals, Shakespeare, and a course called The Business of the Business, which ensures that students understand the logistics of life as a working actor. “You are your own business, and no one would start a business without a five-year plan,” she says matter-of-factly. To that end, students connect with agents, managers, and casting directors as part of their studies and benefit from sessions with a personal trainer and a sports psychologist.

On a Friday morning during Winter Term, Assistant Professor Alex Sanchez paced among second-year students in Con East’s Studio B while teaching a dance number from On Your Feet!, a peppy jukebox musical set to songs by Gloria Estefan.

Sanchez’s ballet-centric approach grounds students in the fundamentals, preparing them for an industry that expects them to quickly learn combos in jazz, tap, contemporary, hip-hop, and more. “When they are asked to adapt, they’ll have the foundation to pick up those styles,” he says.

One of the program’s newest faculty additions, Sanchez brings decades of performing and choreographing experience on Broadway and beyond. Among other things, he performed in the original Broadway casts of Fosse and The Red Shoes and performed in the Lincoln Center Theater revival of Carousel. 

This year, he choreographed the inaugural music theater production of Natasha, Pierre and the Great Comet of 1812 and directed Oberlin’s production of The World Goes ’Round, taking the student cast to Hidden Valley, California, in January and Playhouse Square in Cleveland in May. 

Like many other members of the music theater faculty, Sanchez remains a practicing artist. “I’m experiencing the industry, so I can bring that knowledge to the students,” Sanchez says. In the studio, he holds them to a professional standard. “I bring that intensity into class every day.”

As Sanchez continued teaching the On Your Feet! choreography, Kaymond Ivey ’28 of Rochester, New York, attentively watched his own steps in the wall of mirrors. The youngest of nine children, many with musical talents of their own, Ivey developed a love of performing—and a thick skin—while growing up. That helped prepare him for the demands of music theater training—and for Bussert’s well-known straightforwardness: “She never beats around the bush.”

Ivey initially studied music education for a semester at another university but missed performing. Once accepted into the music theater program, he started building his resume, landing roles in his first musicals—Little Shop of Horrors, A Chorus Line, and Beautiful: The Carole King Musical—over a span of three months in 2024.

Ivey says the support he received from Bussert and other faculty mentors helped him make the leap and commit to his music theater journey. “ I had a lot of insecurity before, not really sure of who I was and what musical theater was,” he says. “ Now, I am a completely different artist, completely different performer. And it’s all to do with this team.”

In a program of talented people from a range of backgrounds, Ivey says what unites them is a solid work ethic. “If you constantly let competition and insecurities get in your way in this industry, you will not make it,” he says. “But when you show up for yourself, you are not worried about anything.”

At Oberlin, his voice teacher Jaron LeGrair became another mentor he can lean on for support. When LeGrair began teaching at the school this year, Ivey was thrilled—LeGrair’s educational YouTube and TikTok videos had been inspiring him for years. “ I would watch his videos all the time, and I would try to apply it to what I was doing,” he says. “He’s a genius.”

Jai McAllister ’27 studies with LeGrair as well. “ He is incredible at allowing us to embrace our natural voice and explore other things that we may want to grow in,” she says.

For McAllister, the idea of finding her voice has defined much of her collegiate journey. Steeped in sacred African American music during her childhood, she learned all kinds of instruments from her grandfather—the two-keyboard organ, the Hawaiian guitar, the viola.

“ I felt like I had multiple voices, and I didn’t know which one was really me,” she says. “But I’ve been able to find that ease this year.”

With the flexibility to choose her liberal arts electives, she’s been enjoying studying vocal pedagogy with Associate Professor of Voice Martha Guth ’98, creating choreography in a dance practicum, and soaking up as many music theory classes as possible.

“The faculty are always extremely confident in our abilities to be versatile,” she says. “ You learn a lot about yourself when you start to step outside of your foundation as a performer.”

While in-class time is crucial, the music theater program also recognizes the need for professional performing experiences. The program collaborates yearly with Beck Center for the Arts in Lakewood, Ohio, and students are also often cast in shows at Great Lakes Theater and its sister companies, the Idaho Shakespeare Festival and the Lake Tahoe Shakespeare Festival. All graduating students have the ability to qualify to join the Actors’ Equity Association.

Music theater students have also been cast in theater productions on campus. “In my first year, I knew that I was going to have opportunities, but  I don’t think I expected to be performing as much as I am,” says Seger Ott-Rudolph ’29. So far, he’s been a part of the company in The SpongeBob Musical at the Beck Center; starred as Bruce Bechdel in Oberlin Theater’s production of Fun Home; and performed in Stranger Sings! The Parody Musical.

At 19, Ott-Rudolph is a seasoned performer, possessing both a steely calmness and a relaxed curiosity. “My mom tells me that before I spoke, I sang,” he says. In middle school and high school in Maryland, he participated in Young Artists of America at Strathmore and earned accolades from the YoungArts National Arts Competition and the Brandon Victor Dixon Awards. He was also a finalist in the prestigious 2025 National High School Music Theatre Awards, popularly known as the Jimmy Awards, performing “If I Loved You” from Carousel.

Ott-Rudolph chose Oberlin because it encourages professional work and brings in well-respected names in the industry. During Winter Term, first-year students enjoyed an industry-focused boot camp of workshops with guest artists including New York City-based choreographer Lainie Sakakura and the artistic leaders from Great Lakes Theater, Sara Bruner and Jacqueline Miller.

While getting up for 8 a.m. dance class five days a week initially felt daunting, he says it only improved his athlete mentality. “This is my passion,” he says. “I work hard, and I play hard.”

Izzy Baker ’26 was also surprised by how much she enjoyed the increased focus on dance training. “I love it,” she says. “ Getting moving in the morning really helps me wake up.”  

She didn’t consider herself a dancer before college. “Now, I feel like I can go into an audition and kill a dance call,” she says. As a nod to the effort, she included a dance break in her showcase performance. “I wanted to show that off for myself.”

Sitting on an Adirondack chair outside the Con East building, she shielded her eyes from the sun, cheerfully waving away an offer to talk somewhere shadier. “I’m from Vegas,” she explained, smiling. “More Vitamin D.”

Baker has loved theater since playing young Cosette in Les Misérables as a child: “ Being able to communicate with people in a live setting—there’s nothing like it,” she says. “I knew I wanted to do it for the rest of my life.”

With a love of comedy, Baker is drawn to quirky, entertaining characters like Mrs. Lovett in Sweeney Todd—a dream role. She finds a bit of herself in each character she portrays. “That’s the key,” she says. “In each performance, everybody has to sprinkle in a little bit of them to make it genuine.”

Having served as assistant director on Bussert’s 2025 production of Waitress at the Beck Center, she hopes to one day further explore her passions for script writing and directing.

Baker and Elliot Block ’26  also speak highly of their class with Associate Professor of Jazz Voice La Tanya Hall. Hall is “phenomenal,” Block says. “It’s what I imagined Oberlin would be like—getting into a room and collaborating with different artists.”

Originally from New Jersey, Block began acting in high school before training up his singing voice when the pandemic hit. Inspired by Broadway tenor Jeremy Jordan, Block is drawn towards both heartfelt vocal performances and comedy.  “That’s the lane where I would most see myself as an actor—someone who makes people laugh,” he says.

Like Baker, he balances school productions, liberal arts classes, and outside work. In the fall, he was in the company of Sunday in the Park with George at Great Lakes Theater, where performances briefly overlapped with rehearsals for Oberlin’s Natasha, Pierre and the Great Comet of 1812.

With such an intensive schedule, keeping his mind and body in shape is paramount. Embracing his athleticism, Block recently earned a personal training certificate—a side gig he can pursue while taking auditions after graduation.

“ It’s super rewarding to have this opportunity to be at the school and to be the first class to graduate from musical theater,” he says. “ I’ve learned a lot about being a team player this year. My drama teacher in high school told me, ‘You have to be two out of three things: You have to be nice; you have to work hard; and you have to be talented.’  I’ve tried my best to achieve all three.”

Late March in New York City still held a wintry chill as attendees arrived at the Alvin Ailey American Dance Theater, but excitement buzzed in the air—the Class of 2026 had made it to showcase. Downstairs in the 275-seat theater, friends, family, and agents exchanged greetings and cheered warmly when etiquette allowed. Despite the pressure, the nine seniors radiated confidence.

True to form, Block consistently drew chuckles while portraying the earnestly awkward Mr. Knightley in the title song from Emma. Justin Lee-Price ventured into jazzy R&B with Stevie Wonder’s “Sir Duke,” moonwalking in an easy groove. Baker did an acrobatic duet with Lee-Price during an enthusiastic take on The Act’s “Arthur in the Afternoon.” She then upped the emotional intensity with a stirring vocal performance of Aida’s “I Know the Truth.”

Reese Henrick’s sultry delivery and sparkly black pantsuit elevated the Judy Garland-popularized “The Man That Got Away.” A flurry of bubbles blown from stage left announced Capri Castriotta and her graceful Glinda in Wicked’s “No One Mourns the Wicked.” Tobias Yeung lit up the stage with his choreography, twirling and voguing with ease during “And You Don’t Even Know It” from Everybody’s Talking about Jamie.

Bebe Moss’ operatic singing voice took the spotlight, effortlessly reaching operatic heights in “The Ballad of Jane Doe” from Ride the Cyclone. Marcus Alonso showcased acting with the heartbreaking “You Don’t Need To Love Me” from If/Then. And Ryan James Sweeney showed versatility on guitar and piano, ratcheting up the energy with “30/90” from Tick, Tick… Boom! before the group said a cheerful goodbye with Abba’s “Waterloo.”

As the students performed, agents and industry representatives flipped through headshots and resumes and scribbled notes. After the showcase, the students booked well over 100 appointments with agents or managers to talk potential representation.

“ There was a lot of anxiety going into the week,” Block says. “But at the same time, it’s truly just a chance to show that we love theater, and it’s a way to express ourselves and be authentic.”

Later in the night, a reception at the rooftop establishment Bar Sprezzatura celebrated not only the showcases, but also the group’s concluding cabaret performance at 54 Below. Industry legends Judy Kuhn ’81 and Seth Rudetsky ’88 hosted the festivities, performing a few selections including “Do You Love Me?” from Fiddler on the Roof before listening to each student and their choice of song.

Block used part of his set to invite Baker up to perform “Move On” from Sunday in the Park with George. In the song, Dot encourages George to find inspiration in life’s small beauties and to keep moving forward.

As the two sang, Rudetsky and Kuhn listened intently, particularly to the tender final verse from Baker:

Anything you do
Let it come from you
Then it will be new
Give us more to see

“Life will continue to bring new things, you know?” Baker later says, reflecting on the performance.  “That’s what it’s all about.”

This article originally appeared in the Spring 2026 issue of the Oberlin Alumni Magazine. On the cover: Between February 13-March 1, 2026, Oberlin Music Theater performed Spring Awakening at the Beck Center for the Arts in Lakewood, Ohio. Photo by Roger Mastroianni.