Meet Stacy Alley.
She grew up in Alabama, but she’s toured the world doing theater – on stage and as a director. Her work has taken her to Germany, Austria, Tanzania and other countries. Along the way, she earned a BA in theater from the University of Southern California and an MFA in acting from the University of Alabama. That has led to 15 years teaching at the University of Alabama, where she is now head of the musical theater program.
Nowadays, she’s directing more than performing, and her latest directing job is Virginia Samford Theatre’s “Big River,” the rousing musical retelling of Mark Twain’s story of Huck Finn and Jim, which opens July 17 and runs through Aug. 3.
She’s answered some questions about the show, her start in theater in Birmingham, her professional career of more than 40 years and, of course, her five years as a featured performer in Radio City Music Hall’s “Christmas Spectacular.”
What’s your first memory of being on stage?
A specific one doesn’t come to mind, but I don’t remember NOT being involved in theater or dance in some way or another. It’s interwoven into most of my memories.
When did you know you were going to make theater your career?
After my mom took me to see the national tour of “Annie” in Birmingham in 1982. That same year, I auditioned for James Hatcher for Summerfest’s production of “Show Boat,” in which he cast me as Young Kim. (Fun fact, that audition was on VST’s stage, which was Town and Gown at the time.) I ended up not accepting the role due to another obligation, but the following year, Mr. Hatcher cast me as Molly in Summerfest’s production of “Annie.” I turned 9 the day it closed.
How did Radio City Music Hall become part of your journey?
I was doing a show called “Glittertind” for Town and Gown Theatre (on what is now VST’s stage) in 1985, and the creators of the show were C.J. Kelley and Christian Gray (aka Frank Harkins). Christian also happened to be an agent in NYC and working with me, and he told my mom he would represent me if we were ever to move to New York. My mother initially dismissed the idea, but I begged her to at least let me try, so we moved to NYC with the intention of staying only one month, which in hindsight is naïve. My very first audition was for Radio City Music Hall’s “Christmas Spectacular.” Not only did I get the role, but so did my little brother Bradley, whom Christian also represented. Bradley and I also did a few national commercials while there, which helped pay for college and such. We both continued to do the show from 1985-1990 during which we lived in NYC from October-January until we outgrew the roles. When not in the show, we were back here in Alabama where I was often performing at Birmingham Children’s Theatre or Summerfest.
How did teaching come into the equation?
I moved to Los Angeles in 1992 to attend the University of Southern California. Post graduation, after working professionally in regional theater and on cruise ships, I attended grad school at UA from 2000-2003. I then taught at Arkansas State University for seven years before being asked to apply for a new musical theater position at UA, where I have now been teaching since 2010 and have been head of musical theater since 2017.
Teaching as a career was never part of the plan, although I think I am a natural teacher and director. As a teen, I taught dance classes to young kids to offset the cost of my own dance classes, but I didn’t love it. And I taught workshops and assisted other teachers for many years. But it wasn’t until graduate school that I fell in love with teaching young adults. The MFA acting program at the University of Alabama was a pedagogy-based degree when I was there, so I was trusted to teach undergraduate classes in addition to having various performance opportunities. I mostly learned how to teach by doing.
Let’s talk about “Big River.” Have you directed the show before, and how did it come up this time?
I choreographed the show as part of the University of Alabama’s 2010-2011 season in collaboration with director (and mentor) Ed Williams; we also toured that production to Montgomery that year. When Philip Mann approached me last year about directing at VST this summer, we tossed around various titles. But when he suggested “Big River,” I immediately responded, “Yes, let’s do that!”
What drew you to the show?
Roger Miller’s rich and authentic score and the show’s message of freedom, friendship and moral growth and responsibility.
Can you talk a bit about this production?
This show is a beast and involves difficult technical elements, a large cast and many locations, all of which require a tremendous amount of dedication and effort by the creative team, cast, and crew to bring it to fruition. The cast consists of actors I have worked with before, including students or former students from UA, as well as young adults from Birmingham colleges. I also get the privilege of working with veteran actors I have admired for years, as well as people I met for the first time during auditions for the show. And I really enjoy being back in the Birmingham theatre community. I directed/choreographed “Joseph and the Amazing Technicolor Dreamcoat” at Red Mountain Theatre in 2023, but the last time I worked at VST was in 2017 when I directed/choreographed “A Chorus Line.” Another fun fact: The last time I was actually on stage was in 2005 in Summerfest’s production of “Cats,” which was produced on the current VST stage. I was Bombularina to Carl Dean’s Rum Tum Tugger. Of course, his son Ryder is now playing Huck Finn in “Big River.” Theater is a tiny world.
What do you hope audiences will take away from the show?
Its historical and cultural relevance and a feeling of hope. I’m sure they will be humming some tunes as well.
What’s your favorite role you’ve played or show you’ve been in or directed?
I don’t tend to have favorites and usually find something I like or at least appreciate in everything I’m hired to do. But favorites that come to mind that I have directed (and choreographed) are LaChiusa’s “The Wild Party” (in Danish), “Spring Awakening,” “All Shook Up,” “A Chorus Line” (three times), “Urinetown” and “Cabaret”. Favorite shows I’ve been in are “Gypsy” and, of course, the Christmas show at Radio City.
Who is your favorite composer?
I adore Sondheim although I don’t love all of his shows. Otherwise, I like the work of a lot of different composers. In general, I don’t enjoy shows composed by Andrew Lloyd Webber or Stephen Schwartz.
Who is your favorite playwright?
Martin McDonagh.
Do you have a favorite song from a show?
“A Quiet Thing” from “Flora the Red Menace” and “I Don’t Care Much” from “Cabaret” are two that come to mind. There are three beautiful male duets in “Big River,” which is unusual for musical theater. And “Worlds Apart,” is my one of my favorites.
What’s a performance (on stage or screen) that sticks out to you as an audience member? Cynthia Erivo in the revival of “The Color Purple” before anyone knew who she was. Jefferson Mays in “I Am My Own Wife.” The original Broadway cast of “Les Miserables.” There are too many to name!
What is a role you wish you will or could have played?
There are several. But I don’t really have the desire to perform anymore so I don’t dwell on it. I am completely satisfied being on the “other side of the table.”
Any great advice you’ve been given by a director or anyone else about being on stage?
Don’t slap your thighs. And less is more (unless it isn’t).
Tell me about a time something went wrong on stage.
When I played Peter Pan at Theatre Tuscaloosa, I was flown into a wall instead of through the window at the top of the show. The professional that was hired to jump off the ladder to propel me into the air didn’t land on his feet. It was my 30th birthday, and it was incredibly painful.
Tell me something people might be surprised to know about you.
I don’t listen to musical theater in my free time. And I have a magical power in that the music of whatever show I’m working on, that incessantly plays in my head during the process, instantly leaves once the show opens and I never think about it again.
What kind of music do you listen to when you’re not doing a show?
I listen to Brandi Carlile, Lake Street Dive, The Beatles, Queen, Pearl Jam and anything else my husband (trumpet) or daughter (guitar, piano, percussion, bass) is playing/practicing in the house. Music is a huge part of our lives. We plan our vacations around seeing live music.
What’s the last book you read?
“James” by Percival Everett.
What podcasts do you listen to?
“Armchair Expert,” “Smartless,” “Handsome.”
What’s the last TV series you binged?
“Sirens.”
What’s next for you?
I am directing/choreographing “Violet” in the fall for the University of Alabama’s departmental season and directing a concert version of “South Pacific” for the Alabama Symphony in January. But first, my husband and I are moving our daughter to the UK, where she will begin studying songwriting and performance at the Liverpool Institute of Performing Arts in September.
“Big River,” at the Virginia Samford Theatre July 17 through Aug. 3. Stacy Alley directs, with music direction by Carolyn Violi. Bobby Horton is music advisor/archivist.
