From FSC to the Kennedy Center: Stephen Emery

After three imaginative years helping produce eight Broadway Center Stage shows at the John F. Kennedy Center, theatre programmer and producer Stephen Emery ’14 returned to Florida Southern College to lead a masterclass for Musical Theatre seniors, and to share a grounded, generous take on what it really takes to build a life in the arts.

Photo courtesy of Stephen Emery.

“There is no formula. Art is subjective,” Stephen told a packed room of Musical Theatre seniors. “Sometimes you’re right for the job because of a spark that’s uniquely yours. Your work is to know yourself, show up prepared, and be the person people want to work with.”

Since graduating from Florida Southern in 2014, Stephen has toured, acted, produced, and most recently served in Theater Programming at the John F. Kennedy Center for the Performing Arts, where he helped shepherd eight Broadway Center Stage productions, including Guys and Dolls, Spamalot, The 25th Annual Putnam County Spelling Bee, and the developmental staging of Schmigadoon! that is now heading to Broadway.

“My first show at the Kennedy Center was Guys and Dolls, the first large musical after the pandemic. All three houses let out at once—6,000 people, three completely different audiences. That’s when the scale and joy of the place really hit me.”

Why Florida Is a Launchpad for the Arts

Stephen is quick to counter the myth that students must study in New York to start real careers. “You’re in a pocket of opportunity here,” he said. “Disney and Universal cast constantly. SeaWorld and Busch Gardens do, too. Orlando and Tampa have vibrant theatres, and Lakeland’s own scene gives you performance opportunities.”

He credits FSC for making those early experiences possible: “I picked a place where I’d have access to faculty and individualized attention. Engaged learning mattered. I could experiment, make mistakes, and get real feedback. And the alumni network is real. My first postgrad job came through an FSC alum stage manager.”

What Casting People Actually Notice

• Preparation shows. “We can tell if you filmed 30 minutes before the deadline.”
• Self-tape basics. Clean background; light from above or the side; eyeline just off camera.
• Song strategy. If it’s iconic or obscure, sell it completely and tell a story.
• Acting > notes. “I assume you can sing. I’m looking for emotional truth I believe eight shows a week.”

He’s equally clear-eyed about industry shifts: “Offer-only casting is more common. Equity versus non-Equity is situational. Build relationships with the people who actually hire—directors, choreographers, music directors, casting, and producers.”

The Three R’s (in brief)

Throughout his session, Stephen returned to a practical framework he calls the Three R’s, three daily habits that help young artists stay grounded, intentional, and ready for opportunity.

1. Routine. Treat your craft like the gym. Keep your toolbox sharp with classes and self-produced cabarets.
2. Research. Know the who behind every project—the creatives and venues that align with your goals.
3. Relatability. Auditions are job interviews. Be human, grounded, and collaborative.

“What sets you apart isn’t a high note. It’s whether you make us feel something.”

What’s Next

Having wrapped his tenure in D.C., Stephen is freelancing—directing a production in Annapolis and developing new projects. “Someday I’d love to lead a theatre company,” he said. “For now I’m grateful I got to work with some of the best artists in the world and bring stories to audiences at that scale.”

His final word to students: “You’re set up for success. Trust the tools you’re building here. Make your own work, keep training, and be the most relatable version of yourself.”