Scroll down to meet the cast and creative team of Dory Fantasmagory!

Meet the Cast of Dory Fantasmagory

Jared Alexander is thrilled to be joining NYCCT in Dory Fantasmagory!  Recent Credits: Spamilton (National Tour), The Scottsboro Boys, Wig Out! (The Pittsburgh Playhouse), South Pacific (FLMTF), Evita (Westport Country Playhouse), Ragtime (Park Playhouse).  BFA: Point Park University. Love and gratitude to his family, friends and Wolf Talent Group.  Instagram: @thejaredalex

Graham Baker has recently been seen in Decky Does a Bronco as O’Neil (Off-Broadway), 25th Annual Putnam County Spelling Bee as Leaf Coneybear (ACT of CT), and Peter and the Starcatcher as Peter (CFRT). You can also seem him in the new Apple series Little America on Apple TV+. Graham is a proud graduate of the UNCSA class of ‘17. Go Pickles! Follow @instagraham515 or

Aguel Lual recently graduated from the Johnny Carson School of Theatre and Film with a degree in theatre performance and is excited to be a part of such a wonderful production! Some of her favorite credits include Kate Monster in Avenue Q and Ella in Ella Enchanted!

Hannah Mount is originally from South Carolina and holds a B.F.A. in musical theatre from the Molloy College and CAP21 theatre arts program. She has most recently been seen Off-Broadway as Angelina Ballerina in Angelina Ballerina the Musical and Angelina Ballerina the Very Merry Holiday Musical with Vital Theatre Company. Hannah works with the Bach to Rock Musical School in Port Washington, Long Island as a piano and voice specialist while also serving as the musical director for the Molloy College Performing Arts Club. Other credits include: Frankenstein (Write Act Repertory), It’s A Wonderful Life: A Live Radio Play (Mile Square Theatre), Dreams and Nightmares (Rara Avis Productions), and Big Fish the Musical (Molloy College).

Bailey Seeker is thrilled to be a part of Dory Fantasmagory with this wonderful group! Off Broadway/Select Regional Credits: Swingtime Canteen (Jo, Cherry Lane Theatre), Dirty Rotten Scoundrels (Christine), Oliver! (Nancy), Into the Woods (Baker’s Wife), and Bullets Over Broadway (Ellen). BFA from NYU Tisch School of the Arts CAP21. Thanks to her wonderful husband, Matt, for being her rock.

Special Thanks

New York City Children’s Theater, the cast and creative team of Dory Fantasmagory would like to thank John Anselmo, Morgan Billings Smith, Matt Castle, Dan DeLuca, Lana Gallo, Tabitha Ginsberg, Hillbolic Arts & Carpentry, Sandi Knapp, Ken Larson, Jamie LaVerdiere, Nina Paradiz, Karen Rao, Pearl Sun, the Board and Staff of Theatre Row and Building for the Arts NY, Jeremy Wilson, Holly Wright, and Sumi Yu

New York City Children’s Theater is proud to continue to pay our artists and front of house staff, despite performances being cancelled. If you would like to help support our artists and theater staff, please consider making a donation to New York City Children’s Theater. It would be so meaningful to us during this difficult time.

A Note from Michelle Tattenbaum
Director of Dory Fantasmagory

Imagination is the best! My imagination is one of the most important tools that I use to do my job, when I direct a show like Dory Fantasmagory. When actors audition for a show, I watch their auditions and imagine how they would play the characters in this story. When I read a script and listen to songs, I imagine how the scenes and songs will look when actors perform them on stage. In rehearsals, the actors and writers use their imaginations too, to figure out how to tell Dory’s story in the most surprising and entertaining way.

Dory uses her imagination better than almost anyone I know. Her imagination is incredibly powerful, and not just because she uses it to invent so many people and ideas and events. Her imagination is powerful because she uses it to help her figure out things that are confusing or to work through things that make her feel bad. While you watch the show, see if you can find the problems that Dory is having, and how she uses her imagination to help her solve those problems.

Sometimes, we use our imaginations to escape from things that don’t make us feel good. And Dory does that too. Sometimes it’s more fun to imagine something than it is to deal with what’s going on in the real world. Being able to imagine things while not losing track of what’s real is hard to do, even for grownups. Sometimes, we let our imaginations run away with us. It’s hard for Dory too, but learning how to control her imagination and remembering what’s real is one of the most important things that Dory learns how to do in this story. 

I hope Dory and her family and her imaginary friends inspire you to use your imagination to help you solve your problems and to have fun!

A Note from Russ Kaplan and Sara Wordsworth
Creators of Dory Fantasmagory

What is reality? And why are grownups so obsessed with it? As any child can tell you, one of the hardest parts of growing up is being told you have to “get real” and check your imagination at the door. And what adult doesn’t remember this feeling too?  The two of us sure do. So we’re not surprised that both kids and parents alike have fallen so in love with Abby Hanlon’s books, and the irresistible and irrepressible Dory.

When we were first approached to musicalize Dory Fantasmagory, we (who are both parents of seven-year-olds) obviously found the book charming and hilarious. But when we saw how OBSESSED our kids both quickly became with Dory and her world, it became clear that this is a character who has tapped into not only the grade-school zeitgeist in a profound way, but the human condition itself. As we’ve been writing this show, we’ve watched our own kids grow and change… a little more quickly than we’d like. This project has been a wonderful reminder to cherish every fleeting moment of our young daughters’ uninhibited creativity.

As adult theatre makers, we’re fortunate to still be encouraged to play and let our imaginative inner child run free.  We hope this production not only reminds children to do the same, but lets adults temporarily escape those pesky practicalities of the “real world” too.   It’s been a joy creating the music and theatrical interpretation of Dory’s universe with this wonderful team, and we’re so grateful to NYCCT for the opportunity.  We hope you enjoy the show!

Meet Mr. Nuggy and our Monsters – designed by Leslie Bernstein, and built by Sandi Knapp, Nina Paradiz, and Karen Rao.

Meet the Creative Team

Russ Kaplan (Music/Book) is one of the creator/composers of In Transit, Broadway’s first a cappella musical. Other work includes The Elf on the Shelf (US Tour), Dear Albert Einstein (Dramatic Publishing; NYC Children’s Theater; Off Broadway Alliance nominee “Best Family Show”), Shortstack (York Theatre’s 4@15 series), and High School Confidential (Dramatic Publishing). Russ has composed instrumental music for Prospect Theatre Company and immersive dance-theatre company Third Rail Projects. He is a co-producer of the In Transit Original Broadway Cast Recording (Hollywood Records). Russ is also an active jazz pianist and composer, whose concert series “Russ Kaplan’s Broadway Jazz Session” has been running for over two years; his album of original jazz The Ulysses Cycle is available on Ropeadope Records. Member DGA, BFA Carnegie Mellon University. He lives in New Jersey with his wife, daughter and cat.

Sara Wordsworth (Lyrics/Book) is the co-writer/creator of In Transit, Broadway’s 1st a cappella musical (Circle in the Square, 2016; Off Broadway at Primary Stages, 2010; MTI) and co-producer of the In Transit Original Broadway Cast Recording (Hollywood Records). For Disney, she’s written large-scale stage adaptations of Frozen, Beauty and the Beast and Aladdin (Disney Cruise Line), as well as Frozen JR and Frozen KIDS (adaptations of the Broadway musical Frozen for young performers; Disney Theatrical/MTI).  Other writing credits include The Elf on the Shelf –A Christmas Musical (US Tour, Mills Entertainment/CCA&B), the published musicals Dear Albert Einstein and High School Confidential (Off Broadway; Dramatic Publishing), and Dory Fantasmagory (NYC Children’s Theatre, 2020).  In development: The Clearwaters, an indie-rock musical.  Awards: Edgerton Foundation New American Play Award, International Association of Amusement Parks and Attractions (IAAPA) Best Theatrical Production Worldwide 2018, BMI Harrington-Outstanding Creative Achievement in Musical Theatre (Librettist).  Nominations: Drama Desk, Drama League, Outer Critics Circle, Off Broadway Alliance, Lucille Lortel.  Residencies: Eugene O’Neill National Musical Theatre Conference, University of Oklahoma, CAP21. Sara has also developed treatments, songs and content for various regional theaters, performing arts organizations, educational institutions, recordings, publications, and charities, and has been a consultant for major entertainment organizations worldwide. She sits on the Steering Committee and is an instructor for the Tony-Honored BMI Lehman Engel Musical Theatre Writing Workshop, and is a proud member of The Dramatists Guild of America, Inc., Actors’ Equity Association, and is a BMI Affiliate Artist.  Sara lives in New York City with her husband and young daughter.

Michelle Tattenbaum (Director) directed the world premiere of NOBODY LOVES YOU at the Old Globe (San Diego Theatre Critics Circle nomination: Best Director) and the New York premiere at Second Stage.  She has directed three world premieres (LOVE/STORIESSTUDENT BODY, and MS. ESTRADA) at the Flea, where she is an Associate Artist. International: URINETOWN at Fredericia Teater in Denmark. New Media: fiction podcasts for kids (including over 200 episodes of the mystery thriller SIX MINUTES and the Peabody Award Winning podcast THE UNEXPLAINABLE DISAPPEARANCE OF MARS PATEL) and the web series BABYPROV.  Regional: ACT of CT, O’Neill Musical Theatre Conference, Hangar Theatre, Cape Fear Regional Theatre, Williamstown, Goodspeed and Shakespeare Theatre of NJ.  Tattenbaum worked for Manhattan Theatre Club for three years, developing new work. Member: SDC. Two-time Drama League Directing Fellow.

Robert Frost (Music Director) is an NYC-based pianist, music director, arranger, and educator. Select MD credits include Miss Blanche Tells It All (NYMF); We Live In Cairo and Cardboard Piano (O’Neill Theater Center); Minor Character (Under the Radar); Guys and Dolls and My Fair Lady (Arkansas Shakespeare Theater). As a pianist, music director, and arranger, Robert has also worked with Arkansas Rep, The Cher Show (Lab: Music Assistant), Berkshire Theater Group, New Georges, NYU, Celebrity Cruises, New Dramatists, Lincoln Center, Brown University, Hunter College, Connecticut College, and Molloy College. Robert serves on the faculty of New Studio on Broadway at NYU and The O’Neill Theatre Center’s National Musical Theatre Institute.

Emma Hogan (Production Stage Manager) is a NYC based freelance stage manager. Recent credits include the World Premiere of Mac Wellman’s The Fez (Flea Theater) and The Wild Parrots of Campbell (NOW Collective).  She has worked with a variety of companies in New York City including The Flea Theater, The New Group, The Mint Theater, The WP Theater, New York City Children’s Theater and Play On Shakespeare, as well as festivals and events. Proud alum of Alma College (BA Theater and Dance). All the love and thanks to her family for their constant support.

Leslie Bernstein (Costume Designer) has been designing Theatre, Film, Television and Opera for 25 years in NYC and regionally. Some recent works include, Off Broadway: Little Rock (Sheen Center), Wringer (City Center II), Band Of Angels (Mint Theater), Interstellar Cinderella, Young Charles Dickens and Ballerina Swan’s Nutcracker (Theater Row) Please Bring Balloons and Love That Dog (A.R.T NY) and The Magic Flute (Arizona Opera), (Hawaii Opera), (Madison Opera) and coming this fall (Kentucky Opera). Associate Costume Designer for Disgraced (Lyceum Theatre) Domesticated (LCT) and WIT(MTC). Feature Film includes Costume Design for “The Opponent” (Lions Gate), Assistant Costume Designer “The Private Lives of Pippa Lee”, “Gods Behaving Badly” & “Hateship Loveship”. Television Assistant Costume Designer “Law & Order” (Original Series 2000-2010), “The Slap”, “Under the Dome”, “Unforgettable”, “Benjamin Franklin” and “All My Children”. Leslie is a graduate of Purchase College and a member of 829 United Scenic Artists.

Brian Aldous (Lighting Designer) Mr. Aldous lights theatre, dance, concerts & art installations. Recent work includes The Invention of Tragedy by Mac Wellman at the Flea Theatre; Risa Puno’s The Privilege of Escape, for Creative Time, and an exhibit at the Museum of the City of New York about the Blue Man Group’s original show Tubes – which he lit 28 years ago and is still running at Astor Place. Other children’s theaters he’s designed for include the Children’s Theatre of Minneapolis, the New Victory, the Just Kidding! Series at Symphony Space and Batoto Yetu, an African dance company providing free lessons for New York’s children. He teaches design at CCNY and is a member of the board of Triskelion Arts in Brooklyn.

Jack Mehler (Scenic Designer) Based in New York for over 25 years, Jack Mehler designs scenery and lighting for a wide variety of Dance, Musicals, Plays and other projects.  He designed  The Orphan Singer, The Butterfly and José Limon: the Making of an Artist for New York City Children’s Theater (formerly Making Books Sing) and has previously collaborated with Michelle Tattenbaum on the ACT of CT production of …Spelling Bee for which he received a B’way World Connecticut nomination.  He received Korean Musical Theatre Awards (Korean Tony) for his lighting of Rebecca and  Elisabeth as well as B’way World Connecticut Scenery and Lighting awards for Evita.  Theatre designs include Cleveland Play House, Manhattan Theatre Club, North Shore Music Theatre, Ogunquit Playhouse, Paper Mill Playhouse, Riverside Theatre, Seattle Rep, Syracuse Stage, Walnut Street Playhouse, The Working Theatre and the WPA Theatre, among many others.  Dance projects include Alvin Ailey, Ballet Austin, Ballet Memphis, BalletMet, Donald Byrd/Spectrum Dance, Houston Ballet, Hubbard Street, Joffrey Ballet, José Limón, Lar Lubovitch, and San Francisco Ballet, among many others. He is a founding board member of ACT of Connecticut and provides owner’s representation for organizations building and renovating performance and rehearsal venues.

Caroline Eng (Sound Designer) is a New York-based sound designer. Sound design work includes Measure for Measure (USSC Theaterworks, CO Springs), Marguerite (Astoria Performing Arts Center), The Three Musketeers (Greater Boston Stage Company), Follies (Astoria Performing Arts Center, nominated: New York Innovative Theatre Award for Outstanding Sound Design). Assistant sound design includes Fefu and Her Friends (Theater for a New Audience), Bring Down the House (Oregon Shakespeare Festival). Find Caroline’s work at

Sarah Azizo (Props Master) is a freelance props master and stage manager in New York. Her most recent props credits include Muse, Suds (Bluelaces) and The Wild Parrots of Campbell (NOW Collective). She is thrilled to be working on such a fun production with this wonderful team!

Regina Gamboa (Wardrobe Supervisor) is proud to work for NYC Children’s Theater for the first time! Off Broadway credits include Little Match Girl (St. Luke’s Theater), Drama League’s DirectorFest, The Sorceress (National Yiddish Theater Folksbiene), Desire (Miller Theater), Hamlet (Shakespeare@, Jersey City).  She continues studies at Fashion Institute of Technology for specialized training in Costume & Wardrobe.

Aaron Drescher (Percussionist) originally from Albany, New York, is a New York City based drummer, songwriter, and multi instrumentalist. In NYC, Drescher has originated the drum books for the Off Broadway shows We Are The Tigers, Only Human, and Camp Morning Wood.  Aaron has also toured nationally and internationally with Kinky Boots, Elf, and various artists.  As a songwriter, Drescher has been featured in the legendary New York Songwriters Circle at the Bitter End in New York City, and also currently plays with the up and coming rock band She’s Everest.

New York City Children’s Theater is proud to continue to pay our artists and front of house staff, despite performances being cancelled. If you would like to help support our artists and theater staff, please consider making a donation to New York City Children’s Theater. It would be so meaningful to us during this difficult time.