Now, 20 years later, he serves as one of the stage managers on Broadway for Harry Potter and the Cursed Child.

鈥淲orking on this show, I鈥檝e learned how big of a worldwide phenomenon Harry Potter is,鈥� Carnero says. 鈥淲e have people come in from all over the world every night, and I鈥檒l be on Facebook or on Instagram and see official Harry Potter accounts post something about Cursed Child, and it鈥檚 an amazing feeling to think, I鈥檓 working on this. It鈥檚 something that鈥檚 really special.鈥�

Carnero never dreamed of working on Broadway. Not until he decided to visit New York City for the first time on spring break during his senior year at 麻豆原创.

Assistant Professor Claudia Lynch helped him make the most of his weeklong trip by setting up opportunities for the Orlando native to shadow professionals in the business.

鈥淗aving Claudia as a professor and a mentor in my last year of college, all of her networking and resources, she鈥檚 a big reason for my success and my continued success in New York,” he says.

Since moving to New York in 2015, Carnero has worked on productions of The Color Purple, Waitress, Dear Evan Hansen and The Play That Goes Wrong and has been with Cursed Child since day one of its run in the United States on April 22.

He discusses life backstage and what makes Cursed Child a special production.
What exactly does a stage manager do?
We are really the backbone of a production. During the rehearsal process and during the production phase of the show, we are doing a lot of scheduling and running rehearsals. Through those rehearsals, we鈥檙e collecting a bunch of information about the actors, about what they鈥檙e doing on stage, about all the tech elements 鈥� sound, lighting, props and costumes 鈥� and we鈥檙e channeling all that information to the right departments and basically facilitating the process of bringing the show to life.

Once the show is up and running, we鈥檙e calling all of the sound and light cues or we are making sure actors are where they need to be and the set is functioning as it is supposed to. We are making sure the director鈥檚 vision for the show stays the same every night. It鈥檚 a big umbrella of a job.
No kidding. What does it take to juggle all those responsibilities and be successful?
Be a listener and an observer above all else. By being in tune with everything that’s happening, you can make the best decisions in every moment.听Most stage managers start out as production assistants. When you鈥檙e a PA, you have to be relentless. Don鈥檛 settle for OK. Really push for the best that you can do for the good of the show. It takes a lot of being thorough, being detail-oriented and you have to really listen to what is going on around you.

Other than that, a good sense of humor helps. Because at the end of the day, we are just putting on a show, and it鈥檚 really easy to get frustrated about all of these things that might be going on. But you have to be able to say, 鈥淥K, this is what happened. How are we moving forward?鈥� and be able to laugh at it all with everyone.
Did you have to study up on the series to work on Cursed Child?
Before I interviewed for the job, I rewatched all the movies and made sure I knew my Harry Potter timeline. Of course, when I got to the interview, there was only one question about Harry Potter and it was, 鈥淎re you a fan?鈥�

Being a super fan was definitely not a prerequisite, but just by working on the show for the past year, the whole crew has become fans, and I鈥檝e definitely dived into the world of Harry Potter.
How do new cast or crew members get initiated to the Cursed Child club?
We have them sort themselves on the Pottermore website, so that鈥檚 fun. We keep tabs of who is in what house. I鈥檓 a Ravenclaw, so I鈥檓 very proud of that.
What was the energy like on opening night, and what has it been like since?
Opening night is always so special. Of course, the theater is buzzing. Family and friends are in the audience, so they鈥檙e extra excited and super supportive. With Harry Potter specifically, there was so much time and work that had gone into opening this big show, we were all just sort of ready to do the show and show people what we had been putting together. It was such a great night.
How has this experience compared to other shows you鈥檝e worked on?
Scale wise, it鈥檚 the biggest show I鈥檝e done by far. There are so many technical elements to it that blows every show I鈥檝e done out of the water. But every show you work on has something special about it. Be it the cast or the content.

Harry Potter is super special because of how of big it is and how technically smart it is. The Color Purple was extremely special because it was my first Broadway show and the music and the cast were so amazing. The Play that Goes Wrong was really special to me because of it originating in London and putting up a Broadway version of that show. Each show is meaningful to me in its own way.
How can a 麻豆原创 student become a Broadway stage manager?
A great first step would be to reach out to other stage managers and pick their brains. That鈥檚 what sparked my career. Ask good questions and develop a relationship with that person without being too overbearing. That interaction can eventually become: 鈥淲e鈥檝e had a great chat, I know you want to be a stage manager, and I have a production assistant position open 鈥� are you interested?鈥� Try to put yourself out there, ask good questions, seem interested. If this is something that you really want to do and put hard work into, people will pick up on that and help make it happen for you.

Almost, Maine tells nine stories of love in a small town in Maine. The residents of the town find themselves falling in and out of love in unexpected ways. It is, said director Mark Brotherton, 鈥渁n honest and insightful play that represents what all aspects of love really encompass.鈥�

Alex Pica, a junior at 麻豆原创, has just completed her first year in the BFA musical theatre program. She plays three characters in Almost, Maine.

鈥淓ach of the characters is different and my challenge was finding the way to differentiate them to the audience. I had to find their individual quirks,鈥� Pica said. 鈥淸Director Mark Brotherton] really understands that you have to find every piece of information from the words. Those differences in the characters lie within the words.鈥�

The summer production schedule at 麻豆原创 is different than during the regular academic year. Since most students are not taking daytime classes, rehearsals occur during the days and are condensed into three weeks. This shortened and intense rehearsal period gives the students training for working summer stock productions.

鈥淏ecause the rehearsal period in the summer is a lot shorter we鈥檝e quickly had to delve into the show and fully focus on it,鈥� Pica said. 鈥淏ecause I鈥檓 not taking any other classes, I can focus entirely on being an artist and on finding the characters.鈥�

Assistant director Tommy Heller is starting his junior year in the BA theatre studies program. Brotherton gave him full control over two scenes, which Heller selected. 鈥淭he scenes I am directing are 鈥楬er Heart鈥� and 鈥楾his Hurts.鈥� I chose them because I wanted one high energy scene and one that was more emotionally charged.鈥�

Though he has directed in the past, this is Heller鈥檚 first time as an assistant director. 鈥淚t鈥檚 been very helpful. I鈥檝e been exposed to a different directing style than my own. I appreciate that Mark comes into the room with a clear vision of how the scene works, but then is able to adapt to new discoveries and the actors鈥� input.鈥�

Heller said that he and Brotherton have a very collaborative relationship. 鈥淢ark literally left the room and let me direct during my scenes. Then during the full runs, he would provide me with notes on how I might improve them. But I was also present during Mark鈥檚 scenes, so I was able to learn by watching him, and he asked for my feedback.鈥�

Pica explains that Almost, Maine can be enjoyed by both students and community members. 鈥淭his is a good show for anybody, because all of the themes are universal. This show really shines through the clear honesty in the words. It is about what love really means to different people.鈥�

Heller encourages patrons to come enjoy a bit of winter in Florida. 鈥淭his is a great show to see in the summer,鈥� he said. 鈥淚t takes place in February in Maine, so it might seem a little out of place in Florida in the summer. But though the characters live in a different world than ours, the raw, honest emotion they feel is universal and transcends any season.鈥�

For more information about Theatre 麻豆原创 and the 麻豆原创 School of Performing Arts, visit

Performance at a Glance

Almost, Maine

By John Cariani

Directed by Mark Brotherton

June 2, 3, 4, 9, 10, 11 at 7:30 p.m.

June 5, 11 at 2 p.m.

On a cold, clear, moonless night in the middle of winter, all is not quite what it seems in the remote, mythical town of Almost, Maine. As the northern lights hover in the star-filled sky above, Almost鈥檚 residents find themselves falling in and out of love in unexpected and often hilarious ways. Knees are bruised. Hearts are broken. But the bruises heal, and the hearts mend鈥攁lmost鈥攊n this midwinter night鈥檚 dream.

$20 standard, $10 麻豆原创 ID

407-823-1500

https://www.theatre.ucf.edu

theatre@ucf.edu

For more than five years, from Orlando to British Columbia, and Scotland to South Korea, he鈥檚 been bringing six distinct characters to life in his one-man show, titled 鈥�6 Guitars.鈥�

Each of his six characters play songs from their genres 鈥� blues, jazz, rock, classical, folk and country 鈥� while telling the stories of how they fell in love with their music, what they think of other styles of music and what music means to us all. Padgett also incorporates his improv comedy background into the act.

The show premiered in 2010 at the Orlando International Fringe Theatre Festival, where it became a breakout hit, winning multiple awards including Best in Venue, Best Musician and Best Solo Show, among several others. It also won awards at fringe festivals in Canada and Scotland.

Before his successful solo career, he performed various roles at Walt Disney World, Universal Studios and the SAK Comedy Lab in downtown Orlando, as an actor, improviser and musician.

Padgett says his 麻豆原创 degree gives him authority when he speaks about music, and sharpened his musicianship, which is a key component of his livelihood.

In 2014, Padgett became the artist-in-residence at the Curious Comedy Theatre in Portland, Ore., which is now the place he calls home 鈥� that is, when he鈥檚 not on the road, which is where he鈥檒l remain for at least the next couple of years, as he鈥檚 touring Canada for 鈥�6 Guitars鈥� through 2016. While that will take up much of his next two years, he鈥檚 already preparing for his next career move.

鈥淸I want to] develop more material that would make sense as a TV special,鈥� he says. 鈥淎lso, [I want to have] a legitimate run with one of my solo shows. Over time, I want to transition into more film and television. I just wrapped my first role in a feature film and I鈥檇 love to keep doing that. It was a blast!鈥�

Hitting the Notes Q&A

Q. Why do you do what you do?

A. Doing anything else would not nearly be as fulfilling.

Q. Favorite 麻豆原创 memory?

A. I think the choir performances I did were my favorite memory. Singing in a group like that is a truly intoxicating experience.

Q. What advice would you give to current 麻豆原创 music majors?

A. Being able to promote yourself in the artistic marketplace is crucial. Putting together a good online resume with videos and graphic design is so important. It could be the difference between really making it in your field and just scraping by. Also, talent has never been, nor will ever be, a substitute for character.

Q. Most memorable work experience so far?

A. Lots of highlights to choose from. I got to workshop a new musical improv show for Wayne Brady recently. Last fall, I did a sketch comedy showcase for the executives of NBC. But, honestly, the feeling I get during the final blackout of one of my live shows is probably the best thing. It鈥檚 the moment right after the performance and right before the audience鈥檚 applause. Therein lays an accomplished stillness that I still chase to this day.

Q. Who/what inspires your music?

A. Ray Charles is my single greatest inspiration both musically and entrepreneurially. Also, the guitar player Tommy Emmanuel is an enormous inspiration.

Q. First concert you attended?

A. B.B. King at the Naples Philharmonic

Q. Do you play any other instruments besides guitar?

A. Piano. I also beatbox a fair bit.

Q. What instrument do you wish you could play?

A. Chapman Stick!

Q. Who/what inspires your comedy?

A. There鈥檚 no better source for comedy than the truth in one鈥檚 own life.

Q. Best piece of advice you鈥檝e ever received?

A. 鈥淚t鈥檚 a marathon, not a sprint,鈥� in terms of a career in entertainment. Also, 鈥淐omparison is the thief of joy.鈥� It鈥檚 easy to get down on one鈥檚 self for not being where you鈥檇 like to be, but you鈥檝e got to combat that with gratitude. I鈥檓 a successful full-time performing artist making a living doing the material I created for myself. That鈥檚 certainly good enough to be grateful for.

MORE INFO

Read more stories about alumni at ucfalumnitoday.com.听

The Kennedy Center American College Theater Festival honors individuals or organizations that have made extraordinary contributions to the teaching and producing of theatre and who have significantly dedicated their time, artistry and enthusiasm to the development of the festival.

Recent shows Boyd has directed at 麻豆原创 include The 25th Annual Putnam County Spelling Bee,聽Stop Kiss, The Fantasticks, Lysistrata,听补苍诲听The Laramie Project, and she has played a variety of roles, including Calpurnia in聽Julius Caesar聽at the Orlando Shakespeare Festival.

Boyd is a member of the Dramatist鈥檚 Guild and previously was an associate professor at Texas Christian University, where she led the acting program, an associate professor at the University of North Carolina at Greensboro, and an assistant professor at the University of Vermont.

With a cast of about 75 students, free performances of The Merry Wives of Windsor are part of 麻豆原创 Opera鈥檚 mission to make opera accessible and relevant to all audiences.

Two performances will be presented March 16 at 7 p.m. and March 18 at 3 p.m. in the Pegasus Ballroom of the Student Union, which will be turned into an Elizabethan-era village.

鈥淭his presents a great opportunity to reach out to non-opera goers in our community,鈥� said Thomas Potter, associate professor of music and executive director of 麻豆原创 Opera. 鈥淪ince the opera is to be sung in English and is a light comedy, our key word for the production is 鈥榝un,鈥欌��

麻豆原创聽Opera performs most of its opera productions in English to help eliminate one of the perceived barriers that people may have聽鈥撀爐hat they won’t understand what’s going on if it is presented in a foreign language, Potter said.

The Otto Nicolai opera, which was originally performed in German in 1849, is based on the 1602 play of the same name by William Shakespeare.

But the production still contains lessons that can be learned today, as lead character Falstaff tries 鈥� but fails 鈥� to finagle his way into money.

In the seven years since Potter joined 麻豆原创 to develop its opera program, 麻豆原创 Opera has presented small concerts and some outreach programs to public schools, including one full production at a high school.

The Merry Wives of Windsor is the second collaboration with the 麻豆原创 Chamber Orchestra, under the direction of Laszlo Marosi. The singers are students in the Opera Workshop class and will also include some members of 麻豆原创鈥檚 Chamber Singers.

The Florida Opera Theatre in Orlando is helping out with some of the sets.

Presenting the opera in the Pegasus Ballroom will create some logistical demands, said stage director Allen McCoy of the 麻豆原创 Theatre faculty.

鈥淚t鈥檚 always a challenge getting something on its feet, and converting the Pegasus Ballroom into a theatrical space 鈥� as far as the sight and sound and look 鈥� presents some more challenges,鈥� McCoy said.

One of those challenges is movement on the big stage.

鈥淚t may be clear how a performer uses his voice, but they also communicate with their bodies by the way they walk and move,鈥� he said. 鈥淧eople look at those things separately, but for a performer it is all one thing.鈥�

Potter said this performance is the most significant step he has taken in developing the university鈥檚 opera program.

鈥淚t’s a big undertaking for us, and聽a great experience for all those students to be a part of a big production,鈥� he said.