Max Mendoza Crumm, who was seen last winter Off-Broadway in the world premiere of Jason Robert Brown's The Connector, is currently readying to make their Carnegie Hall debut.

The actor will play George in the October 20 concert production of the Tony-nominated musical The Drowsy Chaperone at Carnegie's Stern Auditorium/Perelman Stage. Launching the fourth annual Breaking the Binary Theatre Festival, the concert will boast an all trans and non-binary cast led by Emmy winner Laverne Cox as The Drowsy Chaperone, history-making Shucked Tony winner Alex Newell as Janet Van De Graaf, RuPaul's Drag Race star Peppermint as Mrs. Tottendale, Emmy winner Jonathan Van Ness as Man in Chair, and pop sensation Betty Who as Robert Martin. Tony nominee L Morgan Lee (A Strange Loop) will direct.

It was nearly two decades ago when Crumm shot to fame via the 2007 TV reality series Grease: You're the One That I Want!, eventually landing the role of Danny Zuko in the 2007 revival of Grease that was directed and choreographed by Kathleen Marshall. They were most recently on Broadway in the musical comedy Disaster! Their numerous Off-Broadway credits include Emojiland, The Evolution of Mann, Hot Mess, The Fantasticks, and Brooklyn Crush, while regional audiences have seen their work in Something Rotten!, Beatsville, and Legendale. On screen, Crumm’s credits include Elsbeth, Emergence, Ray Donovan, and Killing Diaz, among others. 

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—Crumm shares a healthy list of dream roles and dream stage partners as well as why it's meaningful for them to be part of Concord Theatricals Recordings’ Songs By an Immigrant Vol. 3, featuring Jaime Lozano & The Familia.

Where did you train/study?
Max Mendoza Crumm: I grew up in what was essentially a family-run theatre company. My dad directed, my mom starred, and my sister and I were either on stage or doing our homework in the seats while watching rehearsals. Very Chicago. My sister and I had an act that couldn’t flop! Later, my brother was born and immediately got drafted into the circus. That’s where I picked up my foundation—mostly by watching and doing. I also spent a year at the American Academy of Dramatic Arts in Hollywood, across from The Jim Henson Company!

Was there a teacher who was particularly impactful/helpful? What made this instructor stand out?
My dad’s absolute die-hard love for theatre and my mom’s star quality on stage were my earliest inspirations. More than any single lesson, what stayed with me was watching how they—and the community around them—poured themselves into the work. They created a space where people gathered, sacrificed, and built something larger than themselves. All while having the time of their lives. That spirit shaped me as much as any classroom could, and it’s what still grounds me as an artist.

You’re going to play George in the upcoming Carnegie Hall concert production of The Drowsy Chaperone. What does it mean to you to be part of the Breaking the Binary production working with such a stellar company?
I’m ecstatic (in frankly unreasonable amounts) to play George. It’s Carnegie Hall—are you kidding me?! Making my Carnegie Hall debut in the company of these sparkly, sparkly, talented superstars feels surreal in the best way. Being part of Breaking the Binary is an honor, and I’m deeply grateful to L Morgan Lee and the whole team for having me.

As an actor, I would think it’s probably an even bigger decision to change your name. Can you share your thoughts about changing your professional name from Max Crumm to Max Mendoza Crumm?
Oh, so you noticed! After my grandpa Che Che passed away last year, it felt really important to honor that part of my heritage. I’m half Mexican, and adding Mendoza is my way of carrying that forward and making sure it’s represented wherever my name appears.

Tell me about the song you perform on the third volume of Songs By an Immigrant and how you became involved in the project.
My song on the album is called "Because of Yours," written by Jaime Lozano, Tom Kitt, and Georgie Castilla. It’s about the people and the words that came before us, and the idea that “I’m here because of you.” My grandpa was a mariachi, so that’s always resonated with me. It feels really beautiful to celebrate the array of Latiné artists who have forged the path forward and continue to thrive.

Jaime and Florencia [Cuenca] came to see The Connector, and afterward Jaime invited me into the project. It felt like stepping into a family. I’m so grateful for that welcome, and getting to get to record with the Familia, and with Tom Kitt on piano, was the icing on the cake of something that felt serendipitous.

Do you have any dream stage roles and/or actors you would like to work with?
At the top of my list: an offstage swing in Oh, Mary! Also, the Baker in Into the Woods, the Emcee in Cabaret, Pseudolus in A Funny Thing Happened on the Way to the Forum, King George III in Hamilton, Seymour in Little Shop of Horros, Hedwig, anyone in Rocky Horror—Brad, Frank, whoever. As well as Timon, Zazu, Dr. Dillamond, Donna Sheridan, or the Cat in the Hat.

As for actors, I’d love to work with Florencia Cuenca, Cole Escola, Drew Droege, Eddie Cooper, Noel McNeal, Jason Tam, Charity Angel Dawson, Caitlin Kinnunen, L Morgan Lee, Ann Harada, Jan Sport, DeMarius R. Copes, Cory Jeacoma, Taylor Iman Jones, Jakeim Hart, Hannah Solow, Sis Thee Doll, Kiki Ball-Change, Sherz Aletaha, Willam, Anthony Lee Medina, Diana Huey, Nick Rashad Burroughs, Mike Millan, Mykal Kilgore, John Tartaglia, Troy Iwata, Andrew Durand, Ephraim Sykes, Nick Adams, Lindsay Lohan, and of course, Mylinda Hull.

What do you consider your big break?
I’d probably say Grease on Broadway. I won an NBC reality show called Grease: You’re the One That I Want, where America voted for me each week until I landed the role of Danny Zuko. It was pretty surreal. Just a couple of weeks ago marked 18 years since that Broadway debut, which is wild to think about.

(Or Hot Mess in 2017, depending on who you ask.)

What advice would you give your younger self or anyone starting out?
Drink water, learn your lines, trust your gut. The people who look at your shoes before shaking your hand are not to be trusted. And never forget: Your point of view is the thing that makes you unforgettable.

In such difficult times in this country and around the world, how do you think theatre can play a positive role, either for yourself and/or the community at large?
Theatre has always been a uniting force. At its core, it’s about reminding people that we’re human—by telling stories that connect us, move us, and open us up to perspectives beyond our own. Especially in dark or uncertain times, that reminder can shift the air in a room, or even change the way someone sees the world.

That’s part of why Breaking the Binary and The Drowsy Chaperone feel so meaningful to me. It’s a joyful production that celebrates trans and non-binary performers, and it offers audiences a chance to see us in all our humor and humanity. To me, that joy is as important as anything else theatre can do right now.

What is your proudest achievement as an actor?
In this business, it’s tempting to play it safe. I think my proudest achievement is that I’ve done my very best to keep growing, evolving, and showing up as more of who I really am. It hasn’t always been simple, but it feels like the truest way to do this work.

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Photos: The Connector Reunion Concert

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