Tony-winning producer, advocate, and educator Cody Renard Richard is currently the production stage manager for the acclaimed revival of Ragtime that is playing Lincoln Center Theater's Vivian Beaumont through June 14.
Lear deBessonet's staging of Lynn Ahrens, Stephen Flaherty, and Terrence McNally's epic musical officially opened at the Beaumont October 16, 2025, following a concert run at New York City Center last year. The cast of Broadway favorites includes Joshua Henry, Caissie Levy, and Brandon Uranowitz as Coalhouse Walker, Jr., Mother, and Tateh, respectively, plus Colin Donnell as Father, Nichelle Lewis as Sarah, Ben Levi Ross as Mother's Younger Brother, and Tony winner Shaina Taub (Julie Benko is temporarily playing the role) as Emma Goldman.
The ever-busy Richard has worked as production stage manager or assistant stage manager for 20 Broadway shows, including the Broadway bow of The Last Five Years; the new musical Lempicka; the most recent revivals of Sweeney Todd, Once Upon a Mattress, and Into the Woods; Freestyle Love Supreme; Hamilton; Kinky Boots; Dear Evan Hansen; If/Then; and more.
As a producer, the Texas native has won two Tony Awards: for co-producing the revival of Jason Robert Brown's Parade and the Broadway premiere of Michael R. Jackson's Pulitzer Prize-winning A Strange Loop. His other producing credits include Thoughts of a Colored Man; the revival of Othello, starring Denzel Washington and Jake Gyllenhaal; and the national tour of Moulin Rouge! The Musical.
An adjunct professor at Columbia University for the past five years, Richard has actively worked with numerous organizations, including Broadway Advocacy Coalition, where he founded The Cody Renard Richard Scholarship Program for aspiring theatre makers of color. He is also a founding member of RISE Theatre Directory, a theatrical database geared to uplift underrepresented individuals in the theatre; and regularly participates in Design Action's Springboard to Design program, which offers tuition-free theatrical design mentorship and training to students from underrepresented communities.
READ: Why Cody Renard Richard Created a Scholarship to Diversify the Backstage of Broadway
In the interview below for the Playbill series How Did I Get Here—spotlighting not only actors, but directors, designers, musicians, and others who work on and off the stage to create the magic that is live theatre—Richard shares how not getting to stage manage the Gypsy revival led him to Ragtime, why he will always love Lempicka, and how "stage managers are artists."
Where did you train/study?
Cody Renard Richard: I received a BFA in stage management from Webster University Conservatory of Theatre Arts in St. Louis, which is now known as the Sargent Conservatory of Theatre Arts at Webster University. But I guess my training really started in high school when I was first introduced to stage management. And on top of that, I’ve learned from the best in the business—there’s no better training than learning on the job from your peers and elders. I’ve been very fortunate to have crossed paths with some of the greatest to ever do it.
Was there a teacher who was particularly impactful/helpful? What made this instructor stand out?
Absolutely! There were many teachers and professors who made an impact on me, but there are two that I always credit for shaping who I am in my early days. My high school theatre teacher Carrie Wood and my college professor and mentor, Peter Sargent. They both saw something in me at such a young age and guided me to pursue this path.
Carrie and her husband Brian really poured into me as my high school theatre teachers. They gave me responsibility and a sense of belonging when they made me their stage manager during my sophomore year of high school. I still remember what Carrie said to me: “You have a way of making people listen to you without yelling.” That is something that has stuck with me all these years. I didn’t realize how powerful that was at the time, but it really resonates now. Carrie and Brian also encouraged me to pursue stage management in college, which led me to meeting Peter Sargent at Webster University. Peter was the dean of the Conservatory and the head of the SM program. He quickly became my mentor and gave me numerous opportunities for me to grow and fail. He taught me the importance of learning by doing. He didn’t teach from a textbook, and I was so appreciative of that. He then eventually put the bug in my ear that I should move to New York. The power of having good educators is real. People who see your potential and pour into you. I always say that all it takes is one person to believe in you to change the course of your life. I’m so grateful to them and so many others for believing in me before I even did.
Can you detail the nightly duties of being a stage manager?
We typically show up to the theatre about two hours or so before the show to begin prepping for that evening’s performance. However, on most days I begin working well before I arrive to the theatre. Depending on what needs to happen on a particular day, I’m usually answering emails and fielding calls or texts from actors, producers, or various creative staff members as early as 10 AM. The production stage manager is tasked with a myriad of duties, and often we have many plates spinning at once. Our overall objective is to keep the show running smoothly and safely. We are responsible for creating and overseeing the rehearsal schedules, providing care for the company, maintaining and upholding the technical integrity and creative vision of the show, providing a clear line of communication for all departments, and the list goes on.
We’re the first line of defense for most people on the production, so we must be open and ready to field any question or concern that comes up. The nightly duties vary based of the needs of the day, which keeps us on our toes for sure! But some things that happen nightly are coordinating who’s in the performance each night, calling the performance on headset, overseeing any lift, fight or rehearsal calls, checking in with the cast and crew on any notes from the prior performance, and communicating the needs of that night’s show to all appropriate parties. As you can imagine, some days the workload is heavier than others, and that is when teamwork comes into play—each stage manager works together to get things done as efficiently as possible.
And if you’re lucky, you’re surrounded by people who love this work as much as you do, so the vibes stay high and the work remains fun. Shoutout to the incredible SMs on Ragtime: Aaron Elgart, Imani Champion, and Heather Englander, who keep me sane, laughing, and feeling supported!
What are some of the particular challenges of stage managing the current revival of Ragtime?
Ragtime is a poignant, epic, tragic, and timely piece of theatre that feels so relevant at this moment in time. It’s a gift to be able to present this work and for it to be received so well by the community and audiences—but with that also comes a responsibility to uphold this material nightly. As you can imagine, a show like this takes a toll on the body, the spirit, and the mind. There’s a lot to take in—the language, the violence, the themes, the length of the show, and just the overall behemoth that is Ragtime. One of the challenges we face is sustainability. With so much going on in the world and with some of the themes of our production, you never know how the material will resonate on any given night. The balance of pouring ourselves into the work, but not getting lost in it, is a delicate one.
One of the things that I pride myself on is providing joy, care, and levity in the space. A part of my job is to hold and lift the company up, so they can do their best work. Delivering this material isn’t easy, so I try to hold space for the things that come up and navigate them the best way that I can. There must be joy, care, and trust in the building. It’s a challenge, but we’ve really built a tight-knit community at our theatre, and because of that, I think folks feel a bit freer to tackle this work.
You've also produced on Broadway to Tony-winning success. How did you segue into producing, and how do you balance both aspects of your career?
The pandemic was a big shift for me. This was a time when a lot of us were reflecting on the things that mattered and were having conversations about what more could be done. I was constantly in conversations and on panels about the lack of diversity in our field, the lack of voices from people of color making decisions, and harmful practices that have been in place for years, and the list goes on. Working groups and organizations were formed, people were brought in as EDIA consultants, and for the first time, it felt like folks were actively centering Black and Brown voices. Through these conversations, I started to actively take up more space and really dig into the other side of my brain since there was no theatre to stage manage at the time.
Eventually, I was approached to join the team of co-producers on Thoughts of a Colored Man, one of the first new shows to welcome audiences back to Broadway after the coronavirus shutdown. During this time, I was also having conversations about joining the producing team of A Strange Loop and the national tour of Moulin Rouge! All of these were immediate yeses for me, and thus began my foray into producing. I had a deep connection to A Strange Loop and Thoughts of a Colored Man, so the timing of those opportunities just felt right. The balancing act of co-producing, stage managing, and all the other things that I tackle is significant. Co-producing gives me the flexibility to be a part of a show without the responsibility of needing to be there full time. I’m able to support a production and lend my voice to the producing team when needed, but I’m not tasked with leading the production. Whereas with stage managing, it’s all-encompassing, and I am leading the team and very much there full time. The thing that drives me is that these are all passion projects. It has to be something that I really want to do, otherwise I won’t make time for it. You make time for the things that are important. So, if it isn’t a hell yes, it’s a fuck no for me.
Can you tell me a little about your work with Springboard to Design?
Clint Ramos has been a long-time collaborator of mine, and we’ve done so much work together in terms of advocating for the arts throughout the years. I met David Zinn through Clint when I first came on to work with their students through Springboard to Design. I love what they are doing with this program—giving young individuals access to the arts at such an early point of their journey is incredible.
I was first introduced to the program back in 2023 when I joined for a panel called “Advocating for Yourself.” In this panel, we sit down with the students and talk about the importance of self-advocacy. We remind them that who we are, all that we are, is our superpower and our biggest strength. We share our experiences as artists of color and self-advocates in hopes to empower the students to approach the industry and their own journeys from a place of advocacy, strength, and a sense of celebration of who they are. We share how we navigate, overcome, and eliminate obstacles for ourselves and others, the importance of building meaningful relationships, and the importance of bringing our full selves to make our work, forge our paths, and shape our field. These always end off being powerful conversations.
My favorite part is watching the students get increasingly more engaged in the discussion as it begins to pick up—there’s always something special about seeing the spark come alive in real time. I’m very passionate about empowering the next generation of theatre makers and giving them access to the arts, so any time David and Clint call, I’m there. Again, what they are doing with Springboard to Design is the type of work that is essential, and I’m honored to be a small part in it.
Excluding Ragtime, do you have a favorite Broadway production that you stage managed? What made that experience special?
I’ve been truly fortunate to work on some of the best shows with the best collaborators over the years! Ragtime is the 20th Broadway production that I’ve been a part of as a stage manager, which I still pinch myself when I think about. So many shows hold a special place in my heart, but doing Lempicka stands out as my favorite Broadway production that I’ve stage managed. I worked on that production for six years leading up to its Broadway bow, and when you work on something for that long, it becomes a part of you. To carry something out from page to stage is magical, to create bold new work is thrilling, and then to get to do it with some of your favorite people is the icing on the cake. It’s always about the people for me, and the company of artists that I got to work with on Lempicka were truly some of the best humans around. I credit our director, Rachel Chavkin, for helping me access a new part of my confidence and voice by trusting me to PSM the show at Williamstown in 2018 when I was still very much new to the role. She also brought Jhanaë Bonnick into my life, who is one my closest SM collaborators and friends still to this date. The show was challenging, and it helped me sharpen my technical skills—each production of the show from Williamstown, to La Jolla, to Broadway had all new technical and scenic elements, which stretched me to be more flexible in my craft. I loved getting to figure out new aspects of the production each time we came together to revisit the material.
Our time with Lempicka on Broadway was short-lived, but that experience will always hold a special place in my heart. The show was full of heart and love. Lempicka will always be that girl for me!
Tell me about a time you almost gave up but didn’t.
Like Destiny’s Child, I’m a survivor! Giving up has never really been an option for me. There were absolutely times when things got hard or discouraging, but the thought of giving up hasn’t crossed my mind.
What do you consider your big break?
I feel like my entire career is full of “big breaks,” so many things that felt like major milestones have opened the door for the next. Moving to New York to join the SM team of the Cirque du Soleil production of Wintuk at Madison Square Garden was a big break for sure. I was 22 years old and new to the city. I felt like I was sitting on top of the world! Booking my first Broadway show as a production assistant for Lysistrata Jones, and then subsequently booking Motown the Musical as an assistant stage manager also felt like big breaks. My first production stage manager gig on Broadway with Freestyle Love Supreme was an absolute turning point as well. Broadway was the dream, and to have it fully realized time and time again has been extremely special.
Doing The Wiz Live! on NBC back in 2015 led to me doing three other live TV musicals, as well as stage managing the Tony Awards and the MTV VMAs—that was certainly a pivotal moment for me. Being interviewed live on CNN during the pandemic was, in an odd way, another defining moment. Other milestones that really felt momentous is being the only stage manager to be included on the Out100 list, as well as being recognized by the Kennedy Center as a part of their Next 50 leaders moving the arts forward. And, of course, being a co-producer on and winning a Tony Award for A Strange Loop.
All these experiences, for me, can be defined in some way as big breaks, as they all led me to the next and kept my momentum moving forward.
Tell me about a job/opportunity you really wanted but didn’t get. How did you get over that disappointment?
The most recent one I can think of is that I had dreams of working with Audra McDonald on the recent revival of Gypsy. Ultimately, that dream wasn’t meant to happen for me.
But it’s okay, as it ended up being a blessing in disguise—that production conflicted with the City Center run of Ragtime, which, of course, led to the current revival of Ragtime at Lincoln Center Theater on Broadway that I am now the production stage manager for. Ragtime was meant to be in my life the way that it is, and had Gypsy worked out, who knows if I would have had this opportunity? In these moments when a gig doesn’t go my way, I’ve learned to not take it personal. I received so many “no’s” at the beginning of my journey that I really had to learn this lesson quickly. As hard as it is to not get the opportunity that I sometimes believe that I’m perfect for, I always remind myself that everything happens for a reason. I know that what is coming will be greater than what didn’t work out, and most importantly what is coming is meant for me.
What advice would you give your younger self or anyone starting out?
A few things are coming up for me today:
You don’t need anyone’s permission to thrive. It starts with you. When I started out, I found myself searching to be seen by certain people or to get the approval that I was good enough to do the thing I wanted to do. You don’t need that. Sure, it’s nice to hear it, but you don’t need it. Work on your self-awareness and self-confidence as much as you can. You are all you need to get started!
Time is precious, don’t wait to chase your dreams! Don’t wait until you’re ready or that it’s perfect to do the thing you want to do. Do it scared, do it now.
Trust the timing of your life. You can’t force anything to happen. Manifestations happen when they are supposed to. Dream, work hard, and prepare so you’re fully present when your time comes.
Walk into every space like you belong there. There may be moments where you are made to feel like you don’t belong, but you do. You are the gift. You are your biggest superpower, and your presence is needed.
A little grace goes a long way. You never know what people are carrying.
What do you wish you knew starting out that you know now?
That stage managers are artists.
What is your proudest achievement as a stage manager and/or producer?
I’m proud of so many moments from my journey, but starting my scholarship program in 2020 is hands down my proudest achievement. Working with the students, I really get to blend a lot of my passions—stage management, producing, teaching, advocacy, leadership, philanthropy. We are now in the sixth year of my scholarship program, and we have given out over $500,000 to 55 students throughout the years. Some of these students are now in New York working in the industry as my peers, and that makes me proud. They give me hope for sure!
Joshua Henry, Caissie Levy, Brandon Uranowitz, and company of Ragtime
Caissie Levy and Brandon Uranowitz in Ragtime
John Clay III and company of Ragtime
Shaina Taub in Ragtime
Anna Grace Barlow in Ragtime
Joshua Henry and company of Ragtime
Nichelle Lewis and Joshua Henry in Ragtime
Joshua Henry, Ben Levi Ross, and company of Ragtime
Brandon Uranowitz and Tabitha Lawing in Ragtime
Company of Ragtime
Nick Barrington, Rodd Cyrus, and company of Ragtime
Nichelle Lewis in Ragtime
Brandon Uranowitz in Ragtime
Ben Levi Ross in Ragtime
Nick Barrington and Colin Donnell in Ragtime
Caissie Levy in Ragtime
Company of Ragtime
