Broadway Drumming 101

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Based in NYC since 2011, Adam came to New York by way of Houston, TX, where he completed his Master’s Degree at Rice University’s Shepherd School of Music (2008). Adam grew up in Northeast Ohio, where he attended Cleveland State University (2006). Formally studying classical percussion throughout his education, Adam also actively performed as a freelancer on drum set — his classical background combined with his drum set skills gave him a unique blend that turned out to be very well-suited for musical theater.

After playing its out-of-town tryout at Houston’s Alley Theatre, Adam had his Broadway debut as the drummer on Frank Wildhorn’s WONDERLAND when it transferred to Broadway (Spring 2011). OBCR on Sony Masterworks.

With his foot in the door from his first Broadway show, Adam set about the work of subbing and building a reputation in and around the city. Subbing on NYC productions as diverse as RENT, EVITA, MATILDA the Musical, AVENUE Q, CATS, HELLO DOLLY, ANASTASIA, THE PROM, WEST SIDE STORY, COME FROM AWAY, and LITTLE SHOP OF HORRORS — and many more — Adam routinely demonstrates a wide-ranging versatility. A unique hybrid player, Adam is equally at home on drum set and percussion, excelling in situations that demand both contemporary drum set styles and legit classical/orchestral sensibilities.

Adam’s most recent NYC chairs include 2017’s BANDSTAND on Broadway (TONY Nomination for Best Orchestrations, TONY WINNER for Best Choreography), Jerry Springer the Opera, and Between the Lines with acclaimed writers Samsel & Anderson — where Adam not only played drums and percussion but helped create the percussive mix elements. Adam is often found developing new works in NYC’s rehearsal studios, working with established and new writing teams whenever possible. Most recently, Adam subbed on CATS: The Jellicle Ball.

Adam has supported many of NYC’s finest singers, including Caroline Bowman, Austin Colby, Jordan Dobson, Natalie Weiss, Justin Guarini, Sierra Boggess, Laura Osnes, Josh Young, Orfeh, Andy Karl, Patti LuPone, Jeremy Jordan, Ben Fankhauser, Brian Justin Crumm, Jenna Ushkowitz, Jay Armstrong Johnson, Kacey Velazquez, Loren Allred, Andy Mientus, and Crystal Monee Hall, among many others.

When not in the theater, Adam is often found in NYC recording studios playing for singer/songwriters and composers like Desi Oakley, The Jack Mosbacher Band, Michael Mott, and David Mallamud — playing cabaret spots like Feinstein’s 54 Below, performing at Lincoln Center, and downtown venues such as Rockwood Music Hall, Piano’s, and The Bitter End. Adam also records drum tracks and produces at his studio in Midtown Manhattan.

Recordings Adam Has Played On:

Between the Lines Original Cast Recording
BANDSTAND Original Broadway Cast Recording
Desi Oakley, “Repeat”
Michael Mott, “Abandoned Heart” (Released on Broadway Records, September 15, 2017)
A Rockin’ Midsummer Night’s Dream – World Premiere Recording
You’re a Good Man, Charlie Brown (2016 Off-Broadway Cast Recording) — available on iTunes, Amazon, and Barnes & Noble

Collaborators featured on these recordings include David Mallamud, Nat Zegree, The Jack Mosbacher Band, and Desi Oakley.

Clayton Craddock was most recently the drummer for Cats: The Jellicle Ball on Broadway at the Broadhurst Theatre. He is also the founder of Broadway Drumming 101 and the author of Broadway Bound and Beyond: A Musician’s Guide to Building a Theater Career.

His Broadway credits include Memphis, Lady Day at Emerson’s Bar and Grill, Ain’t Too Proud, and Cats: The Jellicle Ball, with additional credits spanning tick, tick…BOOM!, The Hippest Trip: The Soul Train Musical, and subbing on Rent, Motown, Evita, Avenue Q, and the Hadestown tour.

Clayton has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the Tony Awards. He has performed with artists ranging from Chuck Berry and Ben E. King to Kristin Chenoweth and Norm Lewis.

www.claytoncraddock.com

Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

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My next guest on the Broadway Drumming 101 Classic series is drummer Adam Wolfe, and this is actually a return visit. Adam first joined the podcast years back, when he was known for his work on Wonderland, Bandstand, and Clueless the Musical, on top of subbing everything from Evita to Matilda and Cats.

I can speak about Adam from firsthand experience too. He was my only sub on Cats: The Jellicle Ball for a long stretch, until I eventually brought in someone else, a great young drummer who I helped get his first ever Broadway show subbing gig. I was about to start bringing in more subs as the show went on, but we are closing today.

That’s a story for another time.

The point is, that kind of trust doesn’t happen by accident. I even heard him play the show himself on Monday, and he’s fantastic! I’m genuinely glad to know him and even more glad I get to call him a colleague.

In this episode, we get into what it really takes to sub a Broadway show, the times he had weeks to prepare and drilled every bar until he was almost tired of the show before opening night, and the times he got the call with barely any notice and had to cram a stack of fast, dense charts while still working.

Make sure you subscribe so you’re notified the moment this episode drops. And if you know a drummer who needs to hear this, send it their way.

Clayton Craddock was most recently the drummer for Cats: The Jellicle Ball on Broadway at the Broadhurst Theatre. He is also the founder of Broadway Drumming 101 and the author of Broadway Bound and Beyond: A Musician’s Guide to Building a Theater Career.

His Broadway credits include Memphis, Lady Day at Emerson’s Bar and Grill, Ain’t Too Proud, and Cats: The Jellicle Ball, with additional credits spanning tick, tick…BOOM!, The Hippest Trip: The Soul Train Musical, and subbing on Rent, Motown, Evita, Avenue Q, and the Hadestown tour.

Clayton has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the Tony Awards. He has performed with artists ranging from Chuck Berry and Ben E. King to Kristin Chenoweth and Norm Lewis.

www.claytoncraddock.com

Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

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Spencer Inch is one of those musicians who makes you realize how wide this career can actually be. We talked about his path from Wilton, Connecticut to the national touring circuit, and I kept thinking: this is exactly what Broadway Bound and Beyond is about.

Here’s what we got into:

Spencer started on drums at age six when his parents bought him a CB700 from a neighbor — he still talks about that kit like it was a Stradivarius
He studied classical percussion at Penn State, then pivoted to jazz drum set at the University of Miami’s Frost School — going from big fish to small pond overnight, and what he did about it
He did multiple contracts on cruise ships right out of grad school, playing everything from waltzes to Glenn Miller to German polka with no internet and no time to prepare — and why he says he learned more there than in six years of school
He toured the country opening for the Counting Crows with singer-songwriter Seán Barna — playing to amphitheater crowds of 3,000 to 7,000 people, and the moment the Counting Crows’ drummer handed him the sticks to close out a show
He spent a year and a half on the Come From Away national tour playing bodhran — on stage, in the action, 467 shows — after saying yes to an instrument he’d never played before
He’s now on the Water for Elephants national tour, a gig that came directly through the music director he built a relationship with on Come From Away

The throughline in Spencer’s story isn’t talent. It’s relationships, saying yes, and taking every single gig seriously — no matter what it is. The polka gig. The Les Mis at a children’s theater. All of it.

Watch the full episode above!

Clayton Craddock is the drummer for Cats: The Jellicle Ball on Broadway at the Broadhurst Theatre. He is also the founder of Broadway Drumming 101 and the author of Broadway Bound and Beyond: A Musician’s Guide to Building a Theater Career.

His Broadway credits include Memphis, Lady Day at Emerson’s Bar and Grill, Ain’t Too Proud, and Cats: The Jellicle Ball, with additional credits spanning tick, tick…BOOM!, The Hippest Trip: The Soul Train Musical, and subbing on Rent, Motown, Evita, Avenue Q, and the Hadestown tour.

Clayton has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the Tony Awards. He has performed with artists ranging from Chuck Berry and Ben E. King to Kristin Chenoweth and Norm Lewis.

www.claytoncraddock.com

Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

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Earlier this week I brought back the audio of one of my favorite conversations from the vault. Today, the full video version is here.

If you missed the audio episode, here’s the short version: in 2018, Mariana Ramirez became the first female Mexican percussionist to ever perform on a Broadway show, subbing Once On This Island. A year later she held the percussion chair on that show’s national tour. Then came sub work on Head Over Heels (drumset book) and Ain’t Too Proud, plus Off-Broadway runs of Merrily We Roll Along and Fiddler on the Roof in Yiddish.

Today she holds the percussion chair at the hit Broadway show SIX.

But watch this interview and you’ll see the chair is just one piece of a much bigger career.

Mariana began her studies at the National Conservatory of Music in Mexico City, where she won the percussion position at the Carlos Chávez Youth Orchestra, then earned her Bachelor of Music at the Mason Gross School of the Arts at Rutgers, picking up the Percussive Arts Society Thomas Siwe Scholarship along the way.

She founded Percussion Quartet Excelsis — the first multinational all-female percussion quartet in the U.S. — which Jonathan Haas, head of the NYU Percussion Department, called one of the most innovative and exciting ensembles of this era of chamber music. Excelsis has performed twice on NPR’s From the Top, at the Zeltsman Marimba Festival, Tippet Rise in Montana, and the Newport Classical Music Festival, and in 2024 the group received Chamber Music America’s highest grant.

Her recording credits include Platinum Girls and Song of Solomon on Broadway Records, and a concerto for bandoneon and violin with the Orpheus Chamber Orchestra. She has performed with the National Symphony of Mexico, the first all-women orchestra of Mexico, and premiered new works at Alice Tully Hall. She’s appeared on The Late Show with Stephen Colbert and in Mozart in the Jungle. She won the FONCA grant for Mexican artists twice in a row, touring an original percussion-and-dance project across five Mexican cities. She teaches. She’s endorsed by Sabian, Pearl, and Innovative Percussion.

Traditional Mexican music. Symphony halls. Chamber ensembles. Television. Education. And eight shows a week on Broadway.

Nobody builds a career like that by waiting for the phone to ring. Watch the conversation and you’ll understand exactly how she did it — starting with a Santana concert in Mexico City when she was 11 years old, watching three percussionists light up a stadium and deciding, right there, what her life was going to be.

Watch the full interview above.

The audio version is available now on Apple Podcasts and Spotify if you’d rather listen on the go.

And coming up next on the podcast: Spencer Inch. Stay tuned — that one’s going to be worth the wait.

For the complete roadmap to building a career in theater, grab Broadway Bound and Beyond at broadwayboundbook.com.

Clayton Craddock is the drummer for Cats: The Jellicle Ball on Broadway at the Broadhurst Theatre. He is also the founder of Broadway Drumming 101 and the author of Broadway Bound and Beyond: A Musician’s Guide to Building a Theater Career.

His Broadway credits include Memphis, Lady Day at Emerson’s Bar and Grill, Ain’t Too Proud, and Cats: The Jellicle Ball, with additional credits spanning tick, tick…BOOM!, The Hippest Trip: The Soul Train Musical, and subbing on Rent, Motown, Evita, Avenue Q, and the Hadestown tour.

Clayton has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the Tony Awards. He has performed with artists ranging from Chuck Berry and Ben E. King to Kristin Chenoweth and Norm Lewis.

www.claytoncraddock.com

Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

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Spencer Inch is one of the busiest drummers in the tri-state area and has been doing it the right way for a long time. He’s currently on the Water for Elephants national tour, and how he got there is a masterclass in how this business actually works.

What we covered:

How his drum teacher in Norwalk, Connecticut — a musical theater pit musician himself — shaped everything about the way Spencer approaches charts, styles, and preparation
Going from a classical undergrad at Penn State to a jazz grad program at UM Frost and feeling completely out of his league — and why that was the best thing that ever happened to him
What cruise ships actually teach you that school never will: making people dance, reading a room, and playing polka music with no internet and no prep time
How his first connection into the New York theater world came from a drummer he barely knew who shared a rehearsal space in Williamsburg — that drummer went on to play with Billie Eilish
The real reality of life on a rock tour — the routine of it, the grind of load-in and load-out, and why it felt more like going to work than living a dream

The advice he got on a cruise ship about playing polkas at the Blue Note — and why Wynton Marsalis walking in the door shouldn’t change anything about how you play.

The throughline in Spencer’s story isn’t talent. It’s relationships, saying yes, and taking every single gig seriously — no matter what it is. The polka gig. The Les Mis at a children’s theater. All of it.

Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

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A few weeks ago, a longtime listener and subscriber named Leo tried to order my book on Amazon. It didn’t go smoothly — stock issues, shipping headaches, the usual Amazon runaround. Most people would have just given up and moved on.

Leo didn’t. He found his way to Signature Brandworks and ordered a copy directly from me instead. That alone means a lot. Leo’s been with the podcast and the site for a long time, and knowing he cared enough to track down the book rather than let a broken checkout page stop him is exactly the kind of support that keeps this whole project going.

But what really got me was what he said after he read it.

Leo described the book as “pure gold” — not just for drummers, and not just for musical theater players, but for any working musician taking on all kinds of gigs. That phrase has been stuck in my head ever since, because it’s exactly what I set out to make. This was never meant to be just a drumming book. It’s a career guide — contracts, negotiating with producers, breaking into a market, understanding the business side most of us were never taught. If you’re a professional musician of any kind, that’s information you need.

Leo put it better than I could, so I’ll let him say it in his own words:

“This is pure gold for anyone who’s interested, especially in musical theater, but it applies to any kind of musician doing all sorts of gigs. Beyond our instrument — we get really focused on the instrument — but looking up content and resources that are important for a professional musician’s training... financial education, negotiation, understanding contracts, and the laws that apply to musicians. I think all of that is important for us to become better professionals and to improve the market for everyone too.”

Coming from someone who’s spent 23 years developing his own teaching method, that’s not a compliment I take lightly.

Who is Leo?

Leo Bandeira is a Brazilian drummer, author, and educator — and honestly, someone every drummer reading this should be following. He’s the author of Teoria Musical para Bateria (Music Theory for Drums), the accompanying Livros de Exercícios volumes 1–3, and Leitura à Primeira Vista (Sight Reading). He also teaches A Bateria no Teatro Musical — Drums in Musical Theater — so when a guy who spends his career teaching this stuff calls my book pure gold, that means a lot to me.

His beginner-level video course builds directly on those books: over 400 exercises covering reading, writing, coordination, orchestration, and rhythmic dictation, all developed over two decades of teaching drummers how to actually read and understand music, not just play by feel. If you’re a drummer looking to get more literate on your instrument, his material is worth your time.

Follow Leo here: instagram.com/leobandeiramusico

Leo’s Full Review (translated from Portuguese)

I wanted to share it in full, exactly as he gave it, rather than just pulling the one line:

Guys, I want to share with you a book I just finished reading, and it’s amazing. Clayton is a Broadway drummer with a ton of experience. He has a podcast where he interviews Broadway musicians, so he really lays out how the industry works over there, you know? Which is basically the top of the musical theater world.

So, in this book, he explains exactly how everything works over there: contracts with producers, how negotiations happen, how you break into the market. He talks about networking — honestly, he covers so many topics. This is pure gold for anyone who’s interested, especially in musical theater, but it applies to any kind of musician doing all sorts of gigs, you know?

Yeah, it’s really important information that every professional musician should have access to.

So folks, I’m leaving his Instagram here so you can find his materials. I think being a good professional musician also means doing your research. Beyond our instrument — we get really focused on the instrument — but looking up content and resources that are important for a professional musician’s training, you know?

Financial education, negotiation, understanding contracts, and the laws that apply to musicians. I think all of that is important for us to become better professionals and to improve the market for everyone too.

Alright? So here’s the golden tip.

Follow him over there, and look for the book. Thanks!

And if you’ve been on the fence about the book like Leo was — go grab a copy on Amazon. Or get a copy from me here at SignatureBrandworks.com.

Also, Leo, if you’re reading this: I’m taking a lesson from you the day I finally make it to Brazil, no excuses.

I’m proud of this one, and it means the world that it’s resonating with musicians outside the Broadway pit too.

Clayton Craddock is the founder of Broadway Drumming 101.

His Broadway and off-Broadway theater credits include Cats: The Jellicle Ball, Ain’t Too Proud – The Life and Times of The Temptations, Lady Day at Emerson’s Bar and Grill, Memphis, Altar Boyz, and tick, tick... BOOM!, plus subbing on Rent, Motown, Evita, Avenue Q, and the Hadestown tour. He’s appeared on The View, Good Morning America, The Tonight Show, The Today Show, and the Tony Awards, performing alongside artists from Chuck Berry to Kristin Chenoweth.

His book, Broadway Bound and Beyond: A Musician’s Guide to Building a Theater Career, is available on Amazon, Barnes & Noble, and at Signature Brandworks. His course, Broadway Bound and Beyond: The Course — The Career Foundation Every Working Musician Needs (But Nobody Teaches) — is coming soon.

www.claytoncraddock.com

Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

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In 2018, Mariana Ramirez walked into the pit at Once On This Island as a sub and made history. She became the first female Mexican percussionist to ever perform on a Broadway show.

Nobody handed her that moment. She built it.

I first published this conversation in March of 2022, and it remains one of my favorites. Most of you weren’t subscribed back then, so I’m bringing it back — the story is too good to leave in the archive.

Who is Mariana Ramirez?

Mariana is an NYC-based freelance percussionist who began her music studies at the National Conservatory of Mexico in Mexico City before earning her Bachelor of Music in Percussion at Rutgers University.

That first Broadway sub gig at Once On This Island opened doors. She went on to sub Head Over Heels and Ain’t Too Proud: The Life and Times of the Temptations, then hit the road holding the drums/percussion chair on the Once On This Island national tour. Off-Broadway, her credits include Merrily We Roll Along and Fiddler on the Roof in Yiddish, among many others. Today, she is one of just two female Mexican drummer/percussionists performing on Broadway.

But her career stretches far beyond the pit.

She has performed across Europe, Asia, and Mexico with Mexican traditional music bands, symphonic ensembles, chamber orchestras, and pop bands. You may have caught her on The Late Show with Stephen Colbert, in the series Mozart in the Jungle, or at the NBC Universal Upfronts at Radio City Music Hall.

She also founded Percussion Quartet Excelsis, which Jonathan Haas, head of the NYU Percussion Department, praised as one of the most innovative and exciting percussion ensembles of this era of chamber music. Excelsis has performed twice on NPR’s From the Top, at the Percussive Arts Society New York Weekend of Percussion, Brooklyn Bound with Sō Percussion, Zeltsman Marimba Festival, and Tippet Rise Music Festival in Montana. The group is endorsed by Sabian Cymbals.

As a symphonic percussionist, she has performed with the National Symphony of Mexico, Orquesta de Minería, the first all-women orchestra of Mexico, Dartmouth Symphony, South Florida Symphony, New England Ensemble, Fairfield Orchestra, and most recently with The Dessoff Choir, premiering works for choir and orchestra at Alice Tully Hall.

Traditional Mexican music. Broadway pits. Symphony halls. Chamber ensembles. Television. That range is not an accident — it’s the career.

In this conversation, we talk about:

The Santana concert in Mexico City that made an 11-year-old girl decide, on the spot, what she wanted to do with her life
Her path from the National Conservatory of Mexico to Rutgers to New York
What it took to break into Broadway subbing — and what it meant to be the first
How versatility across genres and settings keeps a freelance career alive

And when you’re done with this one, keep an eye on your inbox. Up next on the podcast: Spencer Inch. You won’t want to miss that conversation.

For the complete roadmap to building a career in theater, grab Broadway Bound and Beyond at broadwayboundbook.com.

Broadway Bound and Beyond isn’t theory. It’s twenty-six years on Broadway broken down into what actually works: how auditions really get decided, how reputation gets built or destroyed, how money works in this business, why versatility keeps you employed, and what it takes to last decades instead of one season. If you want the full career picture, the hardcover is at broadwayboundbook.com.

If subbing is specifically your way in, the book gets you the mindset and the etiquette, but the Broadway Sub Playbook goes further. It’s the actual system: the four-week prep formula, the show-day routine, how to take notes that stick, how to handle a pit you’ve never sat in before. It’s built for one job — getting you ready for that call when it comes — and it’s the resource a lot of working subs wish they’d had before their first one.

Grab both at signaturebrandworks.com.

Clayton Craddock is the drummer for Cats: The Jellicle Ball on Broadway at the Broadhurst Theatre. He is also the founder of Broadway Drumming 101 and the author of Broadway Bound and Beyond: A Musician’s Guide to Building a Theater Career.

His Broadway credits include Memphis, Lady Day at Emerson’s Bar and Grill, Ain’t Too Proud, and Cats: The Jellicle Ball, with additional credits spanning tick, tick…BOOM!, The Hippest Trip: The Soul Train Musical, and subbing on Rent, Motown, Evita, Avenue Q, and the Hadestown tour.

Clayton has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the Tony Awards. He has performed with artists ranging from Chuck Berry and Ben E. King to Kristin Chenoweth and Norm Lewis.

www.claytoncraddock.com

Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

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She Was 11 Years Old at a Santana Concert. That Was It.

From the vault: one of my favorite conversations on the Broadway Drumming 101 Podcast.

Picture a stadium in Mexico. Bigger than Madison Square Garden. Open air. Packed. Santana is on stage with a humongous band — three percussionists and a drummer. Somewhere in that crowd is an 11-year-old girl, watching the faces around her. Tens of thousands of people losing their minds at the same time. She’s never seen anything like it.

And in that moment, she knew.

“That’s what I wanna do.”

That girl was Mariana Ramirez.

She went from the National Conservatory of Mexico to Rutgers to New York — and in 2018, she became the first female Mexican percussionist to ever perform on a Broadway show, subbing Once on This Island. Then Head Over Heels. Then Ain’t Too Proud. Then the percussion chair at SIX.

I first published this conversation back in March of 2022. It was one of the early episodes of the podcast, and it’s still one of my favorites. Most of you reading this weren’t subscribed back then, which means most of you have never heard it. That’s exactly why I’m bringing it back.

Mariana’s story is a masterclass in what actually builds a career: preparation, relationships, and knowing what you want before anyone hands you anything. Nobody handed her that chair.

Here’s what’s coming:

The full episode drops again in a few days on Apple Podcasts and Spotify. But since you’re subscribed here, you don’t have to wait for your podcast app — you’ll be able to listen right here first. The video version follows a few days after that.

Stay tuned.

And once you’ve heard Mariana’s story, don’t go anywhere — because up next on the podcast is Spencer Inch. That’s a conversation you’re not going to want to miss.

If you want the complete roadmap for building a career in theater, grab Broadway Bound and Beyond at broadwayboundbook.com.

Clayton Craddock is the drummer for Cats: The Jellicle Ball on Broadway at the Broadhurst Theatre. He is also the founder of Broadway Drumming 101 and the author of Broadway Bound and Beyond: A Musician’s Guide to Building a Theater Career.

His Broadway credits include Memphis, Lady Day at Emerson’s Bar and Grill, Ain’t Too Proud, and Cats: The Jellicle Ball, with additional credits spanning tick, tick…BOOM!, The Hippest Trip: The Soul Train Musical, and subbing on Rent, Motown, Evita, Avenue Q, and the Hadestown tour.

Clayton has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the Tony Awards. He has performed with artists ranging from Chuck Berry and Ben E. King to Kristin Chenoweth and Norm Lewis.

www.claytoncraddock.com

Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

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This Substack is reader-supported. To receive new posts and support my work, consider becoming a free or paid subscriber.

Mackenna Tolfa grew up in Green Bay with a blue sparkle drum kit called “The Rock Star.” Decades later, she’s touring North America as the first featured female Rockstar character in Blue Man Group’s history. The name on the kit was foreshadowing nobody knew about until recently — including the Blue Man marketing team.

In this episode, we dig into the full journey: from a family tradition built around an uncle with an accordion, to classical percussion study, to pit playing Broadway shows, to landing one of the most unique drumming roles in live entertainment.

Here’s some of what we covered:

How growing up watching Neil Peart and Phil Collins shaped her musical identity from the start
Why she started on classical piano — and what that gave her as a percussionist
The pivot from Broadway pit playing to the Blue Man Group world tour, and what each world taught her about the other
The wild audition story — filmed at 115 degrees in a back room in Spain with a rented kit, two hours to record and send it back, and over 100 applicants in the original pool
Being flown to New York for the final callback and walking in to find the audition was nothing like what she’d spent two months preparing for
What it means to play a character when the character is essentially just you
Her time subbing on the Book of Mormon national tour — and what it was like watching audience reactions city to city
How a fun COVID project learning Ableton ended up being crucial to landing the Blue Man gig
A Cirque du Soleil invite-only audition in London that came directly from a YouTube video she posted just for fun
Her upcoming solo project (a band called Lemon) and her work as arranger and orchestrator on the new musical Dust Bowl Radio Hour
Why she tells every student: don’t wait for the degree to start networking

The advice she gave at the end of this episode is the kind of thing that takes most people years to figure out. Start the relationships now. Know your role. Understand that every gig — pit, stage, session, tour — is drumming, but the approach is completely different.

If this conversation resonated with you, the roadmap for building a career in theater music — the relationships, the mindset, the financial reality — is laid out in my book Broadway Bound and Beyond.

Get your copy at broadwayboundbook.com

Clayton Craddock is the drummer for Cats: The Jellicle Ball on Broadway at the Broadhurst Theatre. He is also the founder of Broadway Drumming 101 and the author of Broadway Bound and Beyond: A Musician’s Guide to Building a Theater Career.

His Broadway credits include Memphis, Lady Day at Emerson’s Bar and Grill, Ain’t Too Proud, and Cats: The Jellicle Ball, with additional credits spanning tick, tick…BOOM!, The Hippest Trip: The Soul Train Musical, and subbing on Rent, Motown, Evita, Avenue Q, and the Hadestown tour.

Clayton has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the Tony Awards. He has performed with artists ranging from Chuck Berry and Ben E. King to Kristin Chenoweth and Norm Lewis.

www.claytoncraddock.com

Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

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Mackenna Tolfa is the first featured female drummer in Blue Man Group history. She plays ‘The Rockstar’ on the current North American Tour — the character she originated on the World Tour in 2021 after performing in more than 20 countries. Before returning to Blue Man, she held the drum chair on the national tours of Mean Girls and The Book of Mormon. She’s also the orchestrator and arranger for The Dust Bowl Radio Hour, a new musical with a concept album.

In this conversation we get into how all of it happened. How she chose the University of Minnesota specifically to study with Fernando Meza, the original percussionist for The Lion King. How she wrote a letter to the drummer from The Band’s Visit as a high school student, had it delivered to the stage door, and how that relationship eventually led to her finding out about the Blue Man audition years later.

And the audition itself. She was in a remote desert town in Spain — 400 people, no drum set anywhere nearby — when she got the call. She drove two and a half hours, rented the one kit in a back room, and filmed her audition in 115-degree heat with no air conditioning. She booked the role.

We also get into what it means to originate a role versus step into a chair, how the Book of Mormon book is one of the most technically demanding on tour right now, and why following curiosity sideways — marimba physicality, Ableton, a fun cover video — has shaped her career in ways she never planned.

Catch this episode wherever you listen to podcasts. And if you’re finding value in these conversations, please leave a five-star review on Apple Podcasts — it helps other musicians find the show.

Resources

If you’re serious about landing a gig in this business, start with the free How to Land a Broadway Gig Roadmap. It breaks down how the industry actually works — who the key players are, how relationships drive hiring, and how to position yourself to get the call. Free with any subscription to Broadway Drumming 101.broadwayboundbook.com/roadmap

For the full picture, pick up Broadway Bound and Beyond: A Musician’s Guide to Building a Theater Career. Everything the roadmap introduces, the book goes deeper on — the mindset, the preparation, the relationships, and the financial side of sustaining a career long-term.broadwayboundbook.com

And coming soon — Broadway Bound and Beyond: The Course. The Career Foundation Every Working Musician Needs (But Nobody Teaches). More details dropping soon. Stay subscribed.

Clayton Craddock is the drummer for Cats: The Jellicle Ball on Broadway at the Broadhurst Theatre. He is also the founder of Broadway Drumming 101 and the author of Broadway Bound and Beyond: A Musician’s Guide to Building a Theater Career.

His Broadway credits include Memphis, Lady Day at Emerson’s Bar and Grill, Ain’t Too Proud, and Cats: The Jellicle Ball, with additional credits spanning tick, tick…BOOM!, The Hippest Trip: The Soul Train Musical, and subbing on Rent, Motown, Evita, Avenue Q, and the Hadestown tour.

Clayton has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the Tony Awards. He has performed with artists ranging from Chuck Berry and Ben E. King to Kristin Chenoweth and Norm Lewis.

www.claytoncraddock.com

Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

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Dizzy Gillespie didn’t hand his name to just anyone. Karl Latham played in the Dizzy Gillespie Alumni All-Stars. Then he played in the Dizzy Gillespie Afro-Latin Experience alongside Paquito D’Rivera. Two different bands carrying one legend’s name, and Karl had a chair in both.

We recorded this conversation back in February 2022. It’s been sitting on the Broadway Drumming 101 YouTube channel for a while. Now the audio is finally out everywhere you listen — Apple Podcasts, Spotify, wherever you get your shows. A lot has changed for Karl since we sat down, including new Broadway credits that weren’t on his resume yet when we hit record.

Karl’s career doesn’t sit in one lane. He’s played with Claudio Roditi, Slide Hampton, Clark Terry, Jon Faddis, and Cyrus Chestnut. He’s logged time with Edgar Winter and Johnny Winter. He was music director for The Shirelles. He’s worked with Mark Egan’s UNIT1, the Bernie Worrell Orchestra, and a long list of players most drummers only get to study, not stand next to.

His Broadway sub list reads the same way. Hamilton. Beautiful: The Carole King Musical. Ain’t Too Proud. Bring It On. Two Strangers. Five different shows, five different chairs, all earned the same way every sub gig gets earned: somebody trusted him enough to make the call.

Karl leads his own projects too. He co-leads Big Fun(k) with Don Braden. He co-led Constellations, the group that picked up a nomination for the 2016 BMW Welt Jazz Award. As a leader, he’s released Dancing Spirits, Resonance, and two volumes of Living Standards — the second one bringing in Wolfgang Lackerschmid, Mark Egan, Henry Hey, Mitch Stein, and Roger Squitero.

And he never stopped teaching. Karl is the current Co-Chair of the Percussive Arts Society Education Committee. He’s adjunct faculty at four schools: Drew University, County College of Morris, Raritan Valley Community College, and Blair Academy. Touring, recording, subbing on Broadway, and teaching at four schools. Most people pick one career. Karl runs four in parallel.

Karl is an endorsing artist for Yamaha Drums, Paiste Cymbals, ProMark Drumsticks, Evans Drumheads, Big Fat Snare, AEA Microphones, Radial Engineering, Heil Sound, ProLogix Percussion, and RME.

Press play. And if this episode gives you something, leave us a five-star review wherever you listen. It takes thirty seconds and it means a lot to the show.

If you’re serious about your own path in this industry, pick up Broadway Bound and Beyond at broadwayboundbook.com. Signed copies at signaturebrandworks.com.

Clayton Craddock is the drummer for Cats: The Jellicle Ball on Broadway at the Broadhurst Theatre. He is also the founder of Broadway Drumming 101 and the author of Broadway Bound and Beyond: A Musician’s Guide to Building a Theater Career.

His Broadway credits include Memphis, Lady Day at Emerson’s Bar and Grill, Ain’t Too Proud, and Cats: The Jellicle Ball, with additional credits spanning tick, tick…BOOM!, The Hippest Trip: The Soul Train Musical, and subbing on Rent, Motown, Evita, Avenue Q, and the Hadestown tour.

Clayton has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the Tony Awards. He has performed with artists ranging from Chuck Berry and Ben E. King to Kristin Chenoweth and Norm Lewis.

www.claytoncraddock.com

Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

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There’s nothing quite like watching your colleagues light up a TV stage.

The cast of Cats: The Jellicle Ball performed “Skimbleshanks: The Railway Cat” on The Tonight Show last night. Every time I see something like this, I get excited. They always look and sound great, and there’s something special about watching people you work with get that kind of shine.

I’ve been lucky enough to be on that side of the screen a few times. Tonight Show with the Ain’t Too Proud company on opening night in 2019. The Colbert Report and The View with Audra McDonald for Lady Day at Emerson’s Bar and Grill in 2014. The Tony Awards stage twice — Memphis: The Musical in 2010, Ain’t Too Proud in 2019.

So I know what that feeling is.

Someone asked me why the orchestra hasn’t appeared alongside the cast on any of these TV performances. Honest answer: the orchestra isn’t featured in this production the way it’s been in others I’ve been part of. We’re in the basement. You don’t see us.

But you hear us on every one of those tracks.

And I don’t mind watching from home on this one. Every time they air one of those performances, I get a check in the mail.

Mailbox money. I’ll take it!

Clayton Craddock is the drummer for Cats: The Jellicle Ball on Broadway at the Broadhurst Theatre. He is also the founder of Broadway Drumming 101 and the author of Broadway Bound and Beyond: A Musician’s Guide to Building a Theater Career.

His Broadway credits include Memphis, Lady Day at Emerson’s Bar and Grill, Ain’t Too Proud, and Cats: The Jellicle Ball, with additional credits spanning tick, tick…BOOM!, The Hippest Trip: The Soul Train Musical, and subbing on Rent, Motown, Evita, Avenue Q, and the Hadestown tour.

Clayton has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the Tony Awards. He has performed with artists ranging from Chuck Berry and Ben E. King to Kristin Chenoweth and Norm Lewis.

www.claytoncraddock.com

Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

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Karl Latham played in The Fantasy Band alongside Dave Valentin, Dave Samuels, Chuck Loeb, Noel Pointer, and Roy Ayers. Five names that don’t usually end up on the same bandstand. Karl made the cut for all of them.

We recorded this conversation back in February 2022. A lot has changed for Karl since we sat down, including new credits that weren’t on his resume yet when we hit record.

Karl’s reach goes deep into the jazz world. He’s played with Freddie Hendrix, Roberta Gamberini, Mark Gross, and Eric Alexander. He’s worked with Michael Urbaniak and Andy Snitzer. He was part of The New Voices of Freedom and joined Howard Paul for sessions with Tom Scott and Anat Cohen. He’s played with Ali Ryerson alongside Mark Egan and Pete Levin, and worked the Wolfgang Lackerschmid group with Attila Zoller, Ed Cherry, Cameron Brown, and Mark Egan. He’s also recorded with pianist Johannes Mossinger’s band, a lineup stacked with Joel Frahm, Calvin Jones, Don Braden, Boris Kozlov, and Kermit Driscoll.

He’s subbed on Broadway too: Hamilton, Beautiful: The Carole King Musical, Ain’t Too Proud, Bring It On, and Two Strangers. And when he’s not touring or subbing, he’s teaching. Karl is Co-Chair of the Percussive Arts Society Education Committee and adjunct faculty at four schools: Drew University, County College of Morris, Raritan Valley Community College, and Blair Academy.

Karl is an endorsing artist for Yamaha Drums, Paiste Cymbals, ProMark Drumsticks, Evans Drumheads, Big Fat Snare, AEA Microphones, Radial Engineering, Heil Sound, ProLogix Percussion, and RME.

Press play. And if this episode gives you something, leave us a five-star review wherever you listen. It takes thirty seconds and it means a lot to the show.

Broadway Bound and Beyond isn’t theory. It’s twenty-six years on Broadway broken down into what actually works: how auditions really get decided, how reputation gets built or destroyed, how money works in this business, why versatility keeps you employed, and what it takes to last decades instead of one season. If you want the full career picture, the hardcover is at broadwayboundbook.com.

If subbing is specifically your way in, the book gets you the mindset and the etiquette, but the Broadway Sub Playbook goes further. It’s the actual system: the four-week prep formula, the show-day routine, how to take notes that stick, how to handle a pit you’ve never sat in before. It’s built for one job — getting you ready for that call when it comes — and it’s the resource a lot of working subs wish they’d had before their first one.

Grab both at signaturebrandworks.com.

Clayton Craddock is the drummer for Cats: The Jellicle Ball on Broadway at the Broadhurst Theatre. He is also the founder of Broadway Drumming 101 and the author of Broadway Bound and Beyond: A Musician’s Guide to Building a Theater Career.

His Broadway credits include Memphis, Lady Day at Emerson’s Bar and Grill, Ain’t Too Proud, and Cats: The Jellicle Ball, with additional credits spanning tick, tick…BOOM!, The Hippest Trip: The Soul Train Musical, and subbing on Rent, Motown, Evita, Avenue Q, and the Hadestown tour.

Clayton has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the Tony Awards. He has performed with artists ranging from Chuck Berry and Ben E. King to Kristin Chenoweth and Norm Lewis.

www.claytoncraddock.com

Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

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This Substack is reader-supported. To receive new posts and support my work, consider becoming a free or paid subscriber.

Jared Shaw has held the drum chair on national tours of Beautiful: The Carole King Musical and The Book of Mormon. He’s subbed on Broadway including Tommy, one of the most demanding drum books out there. He’s performed at the Kennedy Center and Ghana’s National Theater, and he plays groove percussion, orchestral, African percussion, and programs electronics.

In this episode, Jared breaks down what it actually took to build a career like that.

We cover:

How he approached learning difficult drum books
What touring taught him about preparation and professionalism
How electronic drumming and programming fit into his toolkit
Subbing on Broadway and staying ready for the call
Studying with James Saporito, Shawn Pelton, and Valerie Naranjo
Building a sustainable career as a working musician in New York City

If you’re serious about Broadway, touring, or becoming a more complete drummer, this conversation is for you.

Clayton Craddock is the drummer for Cats: The Jellicle Ball on Broadway at the Broadhurst Theatre. He is also the founder of Broadway Drumming 101 and the author of Broadway Bound and Beyond: A Musician’s Guide to Building a Theater Career.

His Broadway credits include Memphis, Lady Day at Emerson’s Bar and Grill, Ain’t Too Proud, and Cats: The Jellicle Ball, with additional credits spanning tick, tick…BOOM!, The Hippest Trip: The Soul Train Musical, and subbing on Rent, Motown, Evita, Avenue Q, and the Hadestown tour.

Clayton has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the Tony Awards. He has performed with artists ranging from Chuck Berry and Ben E. King to Kristin Chenoweth and Norm Lewis.

www.claytoncraddock.com

Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

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Jared Shaw didn’t build his career on one big break.

He built it on being ready.

National tours of Beautiful: The Carole King Musical and The Book of Mormon. Broadway sub credits on Tommy, Boop! The Musical, Beaches, and more. Four years as the drummer for Billy Mira & The Hitmen on the Howard Stern Show. Percussion guest with the National Symphony of Ghana. First drum chair of the NYU Broadway Orchestra under Ted Sperling. Over 40 theatrical productions in New York City.

That’s not a resume. That’s a body of work built one gig at a time.

He also came up the right way — NYU Steinhardt, Percussion Performance, University Honors, with minors in Business of Entertainment and Producing.

In this episode, we get into what it actually took. How he approached learning difficult books. How he thinks about subbing. What touring taught him about professionalism. How electronic drumming and programming became part of his toolkit — not as a novelty, but as a necessity.

We also talk about his studies with James Saporito, Shawn Pelton, and Valerie Naranjo. Three teachers who shaped how he hears music and approaches the instrument.

This is a conversation about longevity. About what it actually takes to last in this business. About being the kind of drummer people call — and call back.

If you’re serious about how to get into subbing on Broadway, or getting a tour, this one’s worth your time.

For more: https://www.jared-shaw.com

Clayton Craddock is the drummer for Cats: The Jellicle Ball on Broadway at the Broadhurst Theatre. He is also the founder of Broadway Drumming 101 and the author of Broadway Bound and Beyond: A Musician’s Guide to Building a Theater Career.

His Broadway credits include Memphis, Lady Day at Emerson’s Bar and Grill, Ain’t Too Proud, and Cats: The Jellicle Ball, with additional credits spanning tick, tick…BOOM!, The Hippest Trip: The Soul Train Musical, and subbing on Rent, Motown, Evita, Avenue Q, and the Hadestown tour.

Clayton has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the Tony Awards. He has performed with artists ranging from Chuck Berry and Ben E. King to Kristin Chenoweth and Norm Lewis.

www.claytoncraddock.com

Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

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This Substack is reader-supported. To receive new posts and support my work, consider becoming a free or paid subscriber.

Gary Seligson: The Grammy-Winning Broadway Drummer Phil Collins Refused to Work Without

Phil Collins snuck into a performance of Wicked one night without telling Gary Seligson he was coming.

The next morning, he walked into Tarzan rehearsal and told the producers he didn’t care who else they put in the band. There was one guy he wanted on drums. Not Chuck Burgi — who had literally replaced Phil Collins in Brand X and was calling in every favor he had to get the gig. Gary Seligson. The one he heard play in the theater when nobody knew he was watching.

That’s the kind of reputation you build over a career that most Broadway musicians would trade anything for.

I chatted with Gary on August 24, 2021. The video is on the Broadway Drumming 101 YouTube channel. Now the audio is available everywhere you get your podcasts — Apple Podcasts, Spotify, wherever you listen.

Gary is a Grammy Award winner who originated the drum books and recorded the cast albums for Aida, Wicked, Tarzan, A Little Princess, School of Rock, and Soft Power. He held the drum chair on Billy Elliot for over three years. He’s on the Motown: The Musical cast recording playing percussion. His Broadway credits span more than two decades — from The Gershwins’ Fascinating Rhythm in 1999 through Bob Fosse’s Dancin’ and Harmony in 2023. In 2025, he headed back out on the road with the Beauty and the Beast revival. He’s also subbed on more than 20 Broadway productions, including Chicago, The Lion King, Les Misérables, Miss Saigon, Cats, and Rent.

Gary grew up in West Orange, New Jersey, banging on his mother’s pots and pans before his father bought him a tiny metal snare drum at age three. He studied with the same teacher from second grade through twelfth grade. He went to the Hartt School of Music in Hartford. He found his way to Gary Chester in New York, who completely rewired how he thought about the instrument, and then told him flat out: never leave town for more than four weeks.

Gary took a touring gig anyway.

Nine years on the road followed. And the moment he pulled into his mother’s driveway after finally deciding to come home, the phone rang. It was Bob Billig calling about Chicago. That’s how this business works when you’ve done the groundwork.

We get into his first Broadway subbing experience at The King and I — walking into the pit two hours before curtain, sitting down at a drum set that felt completely foreign, getting thrown out by the stage manager before the show even started, then spending an hour and forty-five minutes walking around Midtown getting more nervous with every step. Trial by fire. He made the cut, and word traveled fast.

We talk about what it felt like to play alongside Elton John in an Aida rehearsal room. We talk about Phil Collins tapping a pencil on a desk during Tarzan rehearsals — not even playing, just tapping — and how the groove was so wide the entire room felt it. And we talk about the moment Gary flew himself to San Francisco on JetBlue just to watch Wicked out of town, because he needed to know for himself whether to leave Aida for it.

He knew by the first number.

Gary is a Pearl Drums, Sabian Cymbals, Pro-Mark Sticks, Grover Percussion, and Remo Heads endorser, and has been featured in Modern Drummer and DRUM magazine multiple times.

Press play. And if this episode gives you something, please leave us a glowing five-star review wherever you’re listening. It takes 30 seconds and it means everything to the show.

If you’re serious about your own path in this industry, pick up Broadway Bound and Beyond at broadwayboundbook.com. Signed copies at signaturebrandworks.com.

Clayton Craddock is the drummer for Cats: The Jellicle Ball on Broadway at the Broadhurst Theatre. He is also the founder of Broadway Drumming 101 and the author of Broadway Bound and Beyond: A Musician’s Guide to Building a Theater Career.

His Broadway credits include Memphis, Lady Day at Emerson’s Bar and Grill, Ain’t Too Proud, and Cats: The Jellicle Ball, with additional credits spanning tick, tick…BOOM!, The Hippest Trip: The Soul Train Musical, and subbing on Rent, Motown, Evita, Avenue Q, and the Hadestown tour.

Clayton has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the Tony Awards. He has performed with artists ranging from Chuck Berry and Ben E. King to Kristin Chenoweth and Norm Lewis.

www.claytoncraddock.com

Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

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He showed up to watch.

9:28 AM. Carroll’s Rehearsal Studios. The Tina Turner Broadway show is about to start.

Jared’s a college student at NYU. He’s not there to play. He’s there to observe — to see how a real Broadway drummer handles a real Broadway rehearsal. He’s looking at the chart on the stand. Not touching anything. Just studying.

9:30 hits.

The drummer isn’t there.

Contractor John Miller scans the room. Lands on Jared.

“All right, Jared. Sit down. You’re on.”

He sat down. Blacked out. And sight-read 15 minutes of a mega-mix — a chart he’d never seen, styles flipping every 16 bars, a section in 3/4 buried in the middle — while a friend quietly filmed from across the room.

He had no idea that moment would eventually lead to his first touring gig: Beautiful.

Not because he was perfect that day, but it was because he was prepared before it.

My full conversation with Jared Shaw drops soon on the Broadway Drumming 101 podcast.

Clayton Craddock is the drummer for Cats: The Jellicle Ball on Broadway at the Broadhurst Theatre. He is also the founder of Broadway Drumming 101 and the author of Broadway Bound and Beyond: A Musician’s Guide to Building a Theater Career.

His Broadway credits include Memphis, Lady Day at Emerson’s Bar and Grill, Ain’t Too Proud, and Cats: The Jellicle Ball, with additional credits spanning tick, tick…BOOM!, The Hippest Trip: The Soul Train Musical, and subbing on Rent, Motown, Evita, Avenue Q, and the Hadestown tour.

Clayton has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the Tony Awards. He has performed with artists ranging from Chuck Berry and Ben E. King to Kristin Chenoweth and Norm Lewis.

www.claytoncraddock.com

This Substack is reader-supported. To receive new posts and support my work, consider becoming a free or paid subscriber.

Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

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This Substack is reader-supported. To receive new posts and support my work, consider becoming a free or paid subscriber.

When I recorded this in February of 2022, Rodney was in his drum room. Blue Pearl kit behind him. Meshell Ndegeocello shirt on — second album, Peace Beyond Passion. We both agreed it's her best record. If you've never heard it, fix that before you do anything else today.

Now he’s the percussionist on The Lost Boys at the Palace Theatre. Twelve Tony nominations. Best Musical on the table. If there was ever a time to bring this one back in full, it’s now.

He came up in a town in North Carolina with no stoplight. His dad couldn’t buy him brushes, so he put mini broomsticks in his hands and showed him what a brush sweep sounds like on a picnic table. That’s the foundation. He started on saxophone. Switched to drums at 17. Moved to New York not thinking about Broadway at all. Jeff Campbell put his name in front of Chris Parker. The rest followed.

The conversation goes deep on what it actually costs to stack your deck in this business. Playing Diana in La Jolla, then jumping on a plane to Japan with Avril Lavigne, then folding Mrs. Doubtfire in because his wife asked one simple question: what’s the worst that can happen?

Clayton Craddock is the drummer for Cats: The Jellicle Ball on Broadway at the Broadhurst Theatre. He is also the founder of Broadway Drumming 101 and the author of Broadway Bound and Beyond: A Musician’s Guide to Building a Theater Career.

His Broadway credits include Memphis, Lady Day at Emerson’s Bar and Grill, Ain’t Too Proud, and Cats: The Jellicle Ball, with additional credits spanning tick, tick…BOOM!, The Hippest Trip: The Soul Train Musical, and subbing on Rent, Motown, Evita, Avenue Q, and the Hadestown tour.

Clayton has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the Tony Awards. He has performed with artists ranging from Chuck Berry and Ben E. King to Kristin Chenoweth and Norm Lewis.

www.claytoncraddock.com

Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

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This Substack is reader-supported. To receive new posts and support my work, consider becoming a free or paid subscriber.

I chatted with Rodney Howard in February of 2022. He was in his drum room — blue kit behind him, Meshell Ndegeocello shirt on — and what started as a podcast felt more like a conversation between two guys who just happened to both live in this world.

I had a great time revisiting this one.

The Lost Boys is now running at the Palace Theatre with 12 Tony nominations, including Best Musical. It’s the most Tony-nominated musical of 2026. Rodney is the percussionist on that show. Before that, he held the drum chair at Mrs. Doubtfire, subbed some of the hardest chairs on Broadway, and spent years on the road with Avril Lavigne, Gavin DeGraw, and Regina Spektor.

This episode is about how you build that kind of career. He started on saxophone. Switched to drums at 17. Moved to New York not thinking about Broadway at all. Then Jeff Campbell put his name in front of Chris Parker, and the rest is a masterclass in being ready when the call comes.

Two things from this conversation I almost forgot about that were really important. First, he said, take notes literally and broadly, but not too literally. He learned that the hard way at Lion King, following a sub-conductor’s shaky conducting because Tommy told him to follow the conductor. The notes you get points you somewhere, but it doesn’t replace your judgment.

Second, when you sub, use what the drummer uses for monitoring. Not your nice headphones. Not your in-ears. Whatever they use. The mix was built around that. He said he’s personally tanked a sub gig because he didn’t. Said it like a man who doesn’t enjoy repeating the experience.

The video drops this Friday. Go listen.

Originally released February 2022 on the Broadway Drumming 101 Podcast.

Clayton Craddock is the drummer for Cats: The Jellicle Ball on Broadway at the Broadhurst Theatre. He is also the founder of Broadway Drumming 101 and the author of Broadway Bound and Beyond: A Musician’s Guide to Building a Theater Career.

His Broadway credits include Memphis, Lady Day at Emerson’s Bar and Grill, Ain’t Too Proud, and Cats: The Jellicle Ball, with additional credits spanning tick, tick…BOOM!, The Hippest Trip: The Soul Train Musical, and subbing on Rent, Motown, Evita, Avenue Q, and the Hadestown tour.

Clayton has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the Tony Awards. He has performed with artists ranging from Chuck Berry and Ben E. King to Kristin Chenoweth and Norm Lewis.

www.claytoncraddock.com

Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

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Morgan grew up in a small town in Kansas. No blueprint for this. No obvious path to musical theater. She found her way to NYU, studied West African music under Valerie Naranjo — which rewired the way she hears everything — and started building relationships one sub at a time.

Now she’s 600 shows into the national tour of A Beautiful Noise: The Neil Diamond Musical. And the way she talks about this industry is the kind of honest I don’t always get on this podcast.

We got into some really cool things:

— What she does at the kit during the show that nobody expects, and why it actually works

— The subbing etiquette mistakes that quietly end reputations before they start

— A blacklist situation she handled with more integrity than most veterans twice her age

— What ego, patience, and sitting with uncertainty actually look like when you’re learning from the people ahead of you

Check out her site: https://www.morganparkernyc.com

This Substack is reader-supported. To receive new posts and support my work, consider becoming a free or paid subscriber.

This is why I started Broadway Drumming 101. Not to give people a checklist. But to share access with people who figured it out — and let you hear how they actually talk about it.

The video is embedded above. Audio is available on every podcast platform.

If this is your first episode…welcome! Stick around.

Clayton Craddock is the drummer for Cats: The Jellicle Ball on Broadway at the Broadhurst Theatre. He is also the founder of Broadway Drumming 101 and the author of Broadway Bound and Beyond: A Musician’s Guide to Building a Theater Career.

His Broadway credits include Memphis, Lady Day at Emerson’s Bar and Grill, Ain’t Too Proud, and Cats: The Jellicle Ball, with additional credits spanning tick, tick…BOOM!, The Hippest Trip: The Soul Train Musical, and subbing on Rent, Motown, Evita, Avenue Q, and the Hadestown tour.

Clayton has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the Tony Awards. He has performed with artists ranging from Chuck Berry and Ben E. King to Kristin Chenoweth and Norm Lewis.

www.claytoncraddock.com

Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

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Morgan is the drummer on the national tour of A Beautiful Noise: The Neil Diamond Musical. Six hundred shows in. Almost quit drumming in high school. Grew up in a small town in Kansas with no real map for any of this. Found her way to NYU, subbed MJ and Yiddish Fiddler simultaneously, and landed a tour that’s run nearly two years.

Her path is not the one anybody draws up. And the way she talks about trust, subbing, ego, and what actually gets you hired — it’s the kind of honesty you don’t hear enough of.

We also get into:

What she does at the kit during the show that nobody expects — and why it actually works
How studying West African music under Valerie Naranjo at NYU rewired the way she hears everything
The blacklist situation she handled with more integrity than most veterans twice her age
The subbing etiquette mistakes that quietly kill a reputation before it even starts
What she learned about ego, patience, and being comfortable with uncertainty from the people ahead of her

Episode #105 is out now. The video version drops this Friday on YouTube.

If this is your first time here — Broadway Drumming 101 is the podcast and resource built for drummers and musicians who want to work in musical theater. New episodes drop regularly. Subscribe so you don’t miss the next one.

Subscribe to Broadway Drumming 101 on Substack →

And if the podcast has helped you — even just one episode — leave a review on Apple Podcasts or wherever you listen. It takes two minutes and it’s the best way to help other drummers find this. It means more than you know.

Clayton Craddock is the drummer for Cats: The Jellicle Ball on Broadway at the Broadhurst Theatre. He is also the founder of Broadway Drumming 101 and the author of Broadway Bound and Beyond: A Musician’s Guide to Building a Theater Career.

His Broadway credits include Memphis, Lady Day at Emerson’s Bar and Grill, Ain’t Too Proud, and Cats: The Jellicle Ball, with additional credits spanning tick, tick…BOOM!, The Hippest Trip: The Soul Train Musical, and subbing on Rent, Motown, Evita, Avenue Q, and the Hadestown tour.

Clayton has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the Tony Awards. He has performed with artists ranging from Chuck Berry and Ben E. King to Kristin Chenoweth and Norm Lewis.

www.claytoncraddock.com

Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

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This is the video of last week’s podcast — and another one in the Broadway Drumming 101 Classic Episode Series.

This episode takes us back to January 2022 with one of the most respected drummers in both Broadway and jazz, Jared Schonig.

Since we recorded this conversation, Jared has moved into the drum chair for Just in Time at Circle in the Square Theatre, but this episode still holds up because Jared drops a lot of real information about what it actually takes to survive in this business.

We talked about:

How he went from jazz gigs and working at Apple to Broadway
Subbing on shows like Grease, American Idiot, and Next to Normal
Building Moulin Rouge from the ground up
Getting orchestration credit as a drummer
Broadway pit life, injuries, setups, pressure, and preparation
Why relationships and reputation matter more than people think

Jared has played with artists including Nicholas Payton, Chris Potter, John Patitucci, Cynthia Erivo, Kristin Chenoweth, and many others. He’s originated seven Broadway drum books and built one of the most versatile careers out there.

One thing I always appreciated about Jared is that he’s honest about the work. The preparation. The pressure. The physical demands. The stuff people don’t always talk about publicly.

It’s still one of my favorite conversations I’ve had on Broadway Drumming 101.

Upcoming performances for Jared include shows at Sultan Room, Birdland, Zinc Bar, The Gin Mill, and dates with Brass Against.

I may go and check out this show! Let me know and we can all connect there:

Check out his site for more info! Click HERE

https://www.jaredschonig.com

Clayton Craddock is the drummer for Cats: The Jellicle Ball on Broadway at the Broadhurst Theatre. He is also the founder of Broadway Drumming 101 and the author of Broadway Bound and Beyond: A Musician’s Guide to Building a Theater Career.

His Broadway credits include Memphis, Lady Day at Emerson’s Bar and Grill, Ain’t Too Proud, and Cats: The Jellicle Ball, with additional credits spanning tick, tick…BOOM!, The Hippest Trip: The Soul Train Musical, and subbing on Rent, Motown, Evita, Avenue Q, and the Hadestown tour.

Clayton has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the Tony Awards. He has performed with artists ranging from Chuck Berry and Ben E. King to Kristin Chenoweth and Norm Lewis.

www.claytoncraddock.com

Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

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This is a clip from my upcoming Broadway Drumming 101 conversation with Morgan Parker, currently holding the drum chair for A Beautiful Noise: The Neil Diamond Musical.

Morgan dropped a lot of wisdom in this episode, but this part really stood out to me.

One of her mentors told her that you’re going to feel overwhelmed when the phone won’t stop ringing… but you’re also going to feel overwhelmed when the phone doesn’t ring.

That’s the reality of this business.

Morgan also talks about how dangerous it is to compare your path to other people’s careers, especially in the social media era. Some musicians land major gigs quickly. For others, it can take years or even decades. Everybody comes to music in their own time.

What matters is staying prepared, staying humble, keeping your ego in check, and continuing to grow.

Morgan’s career is a great example of that mindset in action. Along with Broadway and Off-Broadway credits, she’s also worked as a stage manager for The New York Pops and performed in everything from theater productions to television performances and concert halls.

Really great conversation. Full episode coming soon on Broadway Drumming 101.

Clayton Craddock is the drummer for Cats: The Jellicle Ball on Broadway at the Broadhurst Theatre. He is also the founder of Broadway Drumming 101 and the author of Broadway Bound and Beyond: A Musician’s Guide to Building a Theater Career.

His Broadway credits include Memphis, Lady Day at Emerson’s Bar and Grill, Ain’t Too Proud, and Cats: The Jellicle Ball, with additional credits spanning tick, tick…BOOM!, The Hippest Trip: The Soul Train Musical, and subbing on Rent, Motown, Evita, Avenue Q, and the Hadestown tour.

Clayton has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the Tony Awards. He has performed with artists ranging from Chuck Berry and Ben E. King to Kristin Chenoweth and Norm Lewis.

www.claytoncraddock.com

Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

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This Substack is reader-supported. To receive new posts and support my work, consider becoming a free or paid subscriber.

This is another one in the Broadway Drumming 101 Classic Episode Series.

This episode takes us back to January 2022 with one of the most respected drummers in both Broadway and jazz, Jared Schonig.

Since we recorded this conversation, Jared has moved into the drum chair for Just in Time at Circle in the Square Theatre, but this episode still holds up because Jared drops a lot of real information about what it actually takes to survive in this business.

We talked about:• How he went from jazz gigs and working at Apple to Broadway• Subbing on shows like Grease, American Idiot, and Next to Normal• Building Moulin Rouge from the ground up• Getting orchestration credit as a drummer• Broadway pit life, injuries, setups, pressure, and preparation• Why relationships and reputation matter more than people think

Jared has played with artists including Nicholas Payton, Chris Potter, John Patitucci, Cynthia Erivo, Kristin Chenowethand many others. He’s originated seven Broadway drum books and built one of the most versatile careers out there.

One thing I always appreciated about Jared is that he’s honest about the work. The preparation. The pressure. The physical demands. The stuff people don’t always talk about publicly.

It’s still one of my favorite conversations I’ve had on Broadway Drumming 101.

Upcoming performances for Jared include shows at Sultan Room, Birdland, Zinc Bar, The Gin Mill, and dates with Brass Against.

Check out his site for more info! Click HERE

https://www.jaredschonig.com

SUBSCRIBE to be notifed when the video of this episode will be released.

Clayton Craddock is the drummer for Cats: The Jellicle Ball on Broadway at the Broadhurst Theatre. He is also the founder of Broadway Drumming 101 and the author of Broadway Bound and Beyond: A Musician’s Guide to Building a Theater Career.

His Broadway credits include Memphis, Lady Day at Emerson’s Bar and Grill, Ain’t Too Proud, and Cats: The Jellicle Ball, with additional credits spanning tick, tick…BOOM!, The Hippest Trip: The Soul Train Musical, and subbing on Rent, Motown, Evita, Avenue Q, and the Hadestown tour.

Clayton has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the Tony Awards. He has performed with artists ranging from Chuck Berry and Ben E. King to Kristin Chenoweth and Norm Lewis.

www.claytoncraddock.com

Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

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Noah Hadland Is Subbing Seven Broadway Shows at Once.

He didn’t get there by sending cold emails and waiting.

He got there by running after a stranger with a stick bag outside the Book of Mormon stage door. By sight-reading act one of MJ on Broadway with 45 minutes of prep. By buying the right person a beer in 2019 and not asking for anything until 2023 — when that same person handed him a Broadway chair.

Noah is 30 years old. He’s subbing Ragtime, The Great Gatsby, Just in Time, Wicked, 25th Annual Putnam County Spelling Bee, Chess, and Death Becomes Her. And in this episode, he breaks down exactly how he built that — the networking, the touch problem of juggling multiple shows, how to take a conductor’s note without pushing back, and what he’d tell his 22-year-old self who came out of NYU convinced he should already be playing Hamilton.

Watch the full episode above.

Building a theater career and want the roadmap? I wrote the book. Broadway Bound and Beyond is at broadwayboundbook.com

Clayton Craddock is the drummer for Cats: The Jellicle Ball on Broadway at the Broadhurst Theatre. He is also the founder of Broadway Drumming 101 and the author of Broadway Bound and Beyond: A Musician’s Guide to Building a Theater Career.

His Broadway credits include Memphis, Lady Day at Emerson’s Bar and Grill, Ain’t Too Proud, and Cats: The Jellicle Ball, with additional credits spanning tick, tick…BOOM!, The Hippest Trip: The Soul Train Musical, and subbing on Rent, Motown, Evita, Avenue Q, and the Hadestown tour.

Clayton has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the Tony Awards. He has performed with artists ranging from Chuck Berry and Ben E. King to Kristin Chenoweth and Norm Lewis.

www.claytoncraddock.com

Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

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This Substack is reader-supported. To receive new posts and support my work, consider becoming a free or paid subscriber.

He came out of NYU convinced he should already be playing Hamilton.

He isn’t playing Hamilton.

He is subbing seven Broadway shows at once.

That didn't happen because he sent the right email. It happened because he ran after a stranger with a stick bag outside the Broadway stage door of Book of Mormon. That stranger was Dan Berkery.

They talked, stayed in touch, and built a real relationship. So years later, when MJ on Broadway had an emergency — the sub tested positive for COVID 90 minutes before curtain and nobody else was available — the call went to Dan. Dan was already booked. But he knew exactly who to pass the name to. Noah ran to H&M in Times Square to grab black clothes, got to the theater with 45 minutes to spare, flipped through the charts, and sight-read act one of MJ on Broadway in front of a live audience. One conversation outside a stage door changed everything.

Over time, his name got around. Now he's one of the busiest subs on Broadway — currently covering seven shows, and by the time you read this, maybe eight or nine. The seven: Ragtime, The Great Gatsby, Just in Time, Wicked, 25th Annual Putnam County Spelling Bee, Chess, and Death Becomes Her. That's not luck. That's years of showing up, staying ready, and never burning a bridge.

He’s still learning. Still building. And I have no doubt that his own Broadway chair is coming — it’s just a matter of time.

In this episode, Noah breaks down exactly how he built his career.

We get into the networking — not the theory of it, the actual mechanics of how relationships in this industry form and pay off years later. We talk about the touch problem: what it actually takes to juggle seven shows without dropping any of them. How to take a conductor’s note without pushing back. And what he’d tell the 22-year-old version of himself who came out of school thinking he was already behind.

He wasn’t behind. He just hadn’t started yet.

Noah Hadland: https://www.instagram.com/noahhadland/

If You’re Not Subscribed Yet, I’m Asking You Now

If you’re already a subscriber — thank you. You’re the reason this show keeps going.

If you’re not, I’m asking you to subscribe today. Free or paid. Every subscription helps cover the production of this podcast and keeps it alive. This is an independent show built for working musicians and people who want to become one. That only works if people show up for it.

Subscribe. It matters more than you know.

Two Resources If You’re Serious About This

The first is free.

The How to Land a Broadway Gig Roadmap breaks down how the industry actually works — the key players, how sub lists function, how to build relationships that lead somewhere. Grab it instantly at broadwayboundbook.com/roadmap when you subscribe.

The second is The Broadway Sub Playbook — $7.99 at signaturebrandworks.com.

From the moment you get the call to show day. How to study the score, build your sub book, take the conductor’s notes, and walk into that pit like you belong there.

Want the full picture? Broadway Bound and Beyond is available everywhere books are sold online. Signed copy at signaturebrandworks.com.

Clayton Craddock is the drummer for Cats: The Jellicle Ball on Broadway at the Broadhurst Theatre. He is also the founder of Broadway Drumming 101 and the author of Broadway Bound and Beyond: A Musician’s Guide to Building a Theater Career.

His Broadway credits include Memphis, Lady Day at Emerson’s Bar and Grill, Ain’t Too Proud, and Cats: The Jellicle Ball, with additional credits spanning tick, tick…BOOM!, The Hippest Trip: The Soul Train Musical, and subbing on Rent, Motown, Evita, Avenue Q, and the Hadestown tour.

Clayton has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the Tony Awards. He has performed with artists ranging from Chuck Berry and Ben E. King to Kristin Chenoweth and Norm Lewis.

www.claytoncraddock.com

Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

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Noah Hadland on the Broadway Drumming 101 podcast, saying the thing I wish someone had told me when I was coming up.

He was hungry. Eager. Doing everything right — and still couldn’t figure out why Broadway wasn’t happening faster. What he landed on isn’t a hack or a contact or a shortcut.

It’s this: our careers are long.

Play your first Broadway show at 50? That’s still a Broadway show. There’s no path you’re behind on. No clock running out. No single way to get there.

Keep your chops up. Stay available. Trust that things will happen.

The full episode with Noah drops soon.

Thanks for reading! This post is public so feel free to share it.

If you like this and want more, subscribe free to Broadway Drumming 101 — you’ll get the PDF roadmap How to Land a Broadway Gigstraight to your inbox. Already have it? Pick up the full book on Amazon, Barnes & Noble, or direct from me at broadwayboundbook.com.

Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

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In this clip from my conversation with Noah Hadland on the Broadway Drumming 101 Podcast, we get into something most drummers don’t think about.

I asked him what the hardest part is about subbing multiple shows at once. Most people would say the music.

It’s not.

If you’ve done the work, the notes aren’t the problem. The real challenge is touch.

Every drummer you sub for plays differently. Some dig in. Some are right on the click. Some lean with the conductor. Some lay back. Some push.

When you’re bouncing between shows — sometimes in the same day — you have to carry all of that with you. Not just the parts. The feel. You’re not covering a book. You’re covering a person.

That’s where most drummers fall short. They learn the notes and think they’re ready. But they don’t sound like the drummer they’re subbing for.

Stay tuned for Noah’s GREAT interview. Make sure you’re subscribed to be notified when the episode is released:

Clayton Craddock is the drummer for Cats: The Jellicle Ball on Broadway at the Broadhurst Theatre. He is also the founder of Broadway Drumming 101 and the author of Broadway Bound and Beyond: A Musician’s Guide to Building a Theater Career.

His Broadway credits include Memphis, Lady Day at Emerson’s Bar and Grill, Ain’t Too Proud, and Cats: The Jellicle Ball, with additional credits spanning tick, tick…BOOM!, The Hippest Trip: The Soul Train Musical, and subbing on Rent, Motown, Evita, Avenue Q, and the Hadestown tour.

Clayton has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the Tony Awards. He has performed with artists ranging from Chuck Berry and Ben E. King to Kristin Chenoweth and Norm Lewis.

www.claytoncraddock.com

Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

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Like I said I would, I want to show you what it’s really like to build a Broadway show. Not the opening night photos, the red carpet, or the reviews. I’m talking about the early days. The first speeches. The moment when everyone realizes what they’ve actually signed up for.

On the first day of Cats: The Jellicle Ball at New 42 Studios, we had our official meet and greet. The cast, creative team, and producers all came together for the first time. The energy was high. It was great to see many of the same cast and band members from our time at the Perelman Arts Center near the World Trade Center. There was a sense of history, but also a feeling that something bigger was about to happen.

During the meet-and-greet, Matthew Harrison stood up and read a letter he had written to Andrew Lloyd Webber. Matthew is part of Lloyd Webber Harrison Musicals, the producing team of Andrew Lloyd Webber and Michael Harrison. He’s spent his whole life around big productions. He’s not someone who gets impressed easily.

Then he said something that made everyone pause and pay attention.

“In nearly 40 years of theatre going, I have never experienced a reaction from an audience like it.”

He talked about sitting in the audience and watching the people around him. There was a 19-year-old nearby, two men in their 50s, a straight couple on a date, a couple in their 60s with their 20-year-old son, and a group of young women who see every Broadway show. People of different ages and backgrounds, but everyone reacted the same way.

People were pointing at the stage, crying, then cheering. They sang “Jellicle Cats” as if it were their own anthem. Some got out of their seats because they couldn’t contain themselves. He counted five standing ovations during the show. Not just at the end, but throughout.

He also admitted that he used to roll his eyes when people called the theater a religious experience. He never believed that before. But that night, he understood it.

This wasn’t just marketing. He was trying to describe something that truly surprised him.

I felt something similar the night I took a night off from playing the show downtown and watched it from the audience. I thought it was fantastic. Seriously. I was cheering like everyone else in the audience, and I was part of the rehearsal process before. But seeing it in full bloom was really special. I never liked the original Cats, but this version makes sense.

Matthew put it simply. This isn’t just a revival. It’s a reinvention. It feels new, like Cats is the most relevant musical in New York right now.

If you want to work on Broadway, you need to understand this part of the process. Big moments don’t just happen. They start with conviction in a rehearsal studio, long before critics arrive. They begin with producers willing to take risks and artists giving their all before anyone knows how the show will turn out.

Sitting there on day one and hearing those words, I felt the weight of it all. It was motivating and grounding. Once the speeches are over, the real work starts: long days, lots of details, adjustments, repetition, and precision.

That was just the beginning of week one. We’re in week two now. There’s downtime. There are short sections repeated ad nauseam. It’s fascinating to watch something take shape in real time.

Next, I’ll write about the piano vocal book you get on the first day of a Broadway show, especially when there isn’t a drum score yet, and what that means for you as a working musician.

If you’re interested in how Broadway shows are really built, keep following. Share this with anyone who wants to learn about the process. And if you want everything explained step by step, that’s why I wrote Broadway Bound and Beyond.

You can get it from signaturebrandworks.com or from any other place you buy books online.

Clayton Craddock is the drummer for the upcoming Broadway musical Cats: The Jellicle Ball, opening at the Broadhurst Theatre on April 7th. He is also the founder of Broadway Drumming 101 and the author of the forthcoming book Broadway Bound and Beyond: A Musician’s Guide to Building a Theater Career.

His Broadway and Off-Broadway credits include tick, tick…BOOM!, Memphis, Lady Day at Emerson’s Bar and Grill, Ain’t Too Proud, and The Hippest Trip: The Soul Train Musical, along with extensive subbing on shows such as Rent, Motown, Evita, Avenue Q, and the Hadestown tour.

Clayton has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the TONY Awards, and has performed with artists ranging from Chuck Berry and Ben E. King to Kristin Chenoweth and Norm Lewis.

www.claytoncraddock.com

Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

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Thank you for being a longtime listener of Broadway Drumming 101.

I’ve been thinking about doing more solo episodes for a while, and I’m finally starting today.

Over the past week, I’ve been deep in rehearsals for Cats: The Jellicle Ball, and this version is even stronger than what we did at PAC. Everything feels sharper and more focused. We officially open on April 7th, and I’m excited for people to see it.

READ: Two Icons of New York, Ready for Broadway’s ‘Jellicle Ball’

At NAMM, I brought up a topic that doesn’t get talked about enough:

How careers really begin.

For me, it wasn’t Broadway. It wasn’t some audition. It was a hotel gig in New Rochelle, playing the same 20 songs every other Friday night.

A connection from that gig led me to a tour.That tour opened the door to subbing.And subbing eventually brought me to Broadway.

In this new solo episode, I break down:

• Why saying yes early in your career matters• Why showing up beats just posting• How small gigs compound over time• And how to know when it’s time to start saying no

If you caught my talk at NAMM, this episode goes even deeper into that topic.

READ:

And if you’re serious about building a real career in theater, get my book:

Broadway Bound and Beyond: A Musician’s Guide to Building a Theater Career.

You can order it right now on Amazon or Barnes and Noble.If you want a signed copy, go to SignatureBrandWorks.com.

Listen to the new solo episode.Pick up the book if you’re interested.And I hope to see you at the Broadhurst!

Clayton Craddock is the drummer for the upcoming Broadway musical Cats: The Jellicle Ball, opening at the Broadhurst Theatre on April 7th. He is also the founder of Broadway Drumming 101 and the author of the forthcoming book Broadway Bound and Beyond: A Musician’s Guide to Building a Theater Career.

His Broadway and Off-Broadway credits include tick, tick…BOOM!, Memphis, Lady Day at Emerson’s Bar and Grill, Ain’t Too Proud, and The Hippest Trip: The Soul Train Musical, along with extensive subbing on shows such as Rent, Motown, Evita, Avenue Q, and the Hadestown tour.

Clayton has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the TONY Awards, and has performed with artists ranging from Chuck Berry and Ben E. King to Kristin Chenoweth and Norm Lewis.

www.claytoncraddock.com

Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

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Guest: Elena Bonomo, drummer for SIX. Originally released January 14, 2022.

This is one of those conversations that still holds up years later.

In this episode, Elena Bonomo talks through what it actually looks like to build a career in theater music from the ground up. Elena shares how early musical experiences with her family shaped her connection to music, why drums always felt like fun instead of work, and how getting her first drum set set everything in motion.

We also talk about her early pit experiences, reading music at a young age, and how playing school musicals laid the foundation for what she does now.

She breaks down her time at Berklee, why versatility mattered to her more than locking into one lane, and how musical theater work at school mirrored the real expectations of Broadway life.

Elena also gets honest about touring right after school, making very little money, and learning the realities of life on the road. From there, she talks about cruise ship work, adaptability, and how every gig, even the unglamorous ones, added tools to her toolbox.

If you’re trying to understand how Broadway careers are actually built over time, this episode is full of perspective that’s still relevant today.

https://www.elenabonomo.com

This Substack is reader-supported. To receive new posts and support my work, consider becoming a free or paid subscriber.

If you want to go deeper into this world, Broadway Bound and Beyond: A Musician’s Guide to Building a Theater Career, is available now on Amazon.com.

If you’d like a signed copy by Clayton, along with Broadway Drumming 101 merchandise, head to signaturebrandworks.com.

The book lays out the mindset, preparation, relationships, money realities, and long-term thinking behind real theater careers.

Clayton Craddock is the drummer for the upcoming Broadway musical Cats: The Jellicle Ball, opening at the Broadhurst Theatre on April 7th. He is also the founder of Broadway Drumming 101 and the author of the forthcoming book Broadway Bound and Beyond: A Musician’s Guide to Building a Theater Career.

His Broadway and Off-Broadway credits include tick, tick…BOOM!, Memphis, Lady Day at Emerson’s Bar and Grill, Ain’t Too Proud, and The Hippest Trip: The Soul Train Musical, along with extensive subbing on shows such as Rent, Motown, Evita, Avenue Q, and the Hadestown tour.

Clayton has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the TONY Awards, and has performed with artists ranging from Chuck Berry and Ben E. King to Kristin Chenoweth and Norm Lewis.

www.claytoncraddock.com

Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

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Joe Bergamini on Subbing, Broadway Reality, and Building a Real Music Career

In this episode of the Broadway Drumming 101 Podcast, I sit down with Joe Bergamini—drummer, educator, author, and one of the most thoughtful voices in the drum world.

Joe has subbed on more than 15 Broadway shows, toured nationally, taught for decades, and written some of the most respected drum books out there. But what really stands out is how clearly he talks about what it actually takes to build a sustainable life as a working musician.

We dig into what subbing on Broadway is really like, how learning music note-for-note early on prepared him for theater work, and how teaching, touring, rock bands, and saying yes to the right gigs quietly shaped his career. Joe also shares stories from his early club days and why preparation, curiosity, and relationships matter more than hype or shortcuts.

This is an honest, practical conversation for drummers who care about longevity.

Here are just a few books he has written:

Speaking at NAMM – January 24

I’ll be expanding on many of these ideas in person at NAMM:

Building a Career in Theater MusicSaturday, January 2411:30 AM – 12:00 PMHilton California A

If you’re attending NAMM and curious about Broadway, touring, subbing, networking, contracts, and the real financial side of being a working musician, I hope you’ll stop by.

Broadway Bound and Beyond

My upcoming book, Broadway Bound and Beyond: A Musician’s Guide to Building a Theater Career, goes deeper into many of the topics we talk about here—how musicians actually get hired, how careers are sustained, and what no one explains when you’re starting out.

Get on the list at:www.broadwayboundbook.com

Subscribe and Stay Connected

If you’re getting value from these conversations, make sure you’re subscribed to Broadway Drumming 101 so you don’t miss future episodes and articles.

If you know a musician trying to figure out their next move, share this episode with them. Subscriptions and reviews help more working players find the show.

Thanks for listening and for supporting the Broadway Drumming 101 community.

This Substack is reader-supported. To receive new posts and support my work, consider becoming a free or paid subscriber.

Clayton Craddock is the drummer for the upcoming Broadway musical Cats: The Jellicle Ball, opening at the Broadhurst Theatre on April 7th. He is also the founder of Broadway Drumming 101 and the author of the forthcoming book Broadway Bound and Beyond: A Musician’s Guide to Building a Theater Career.

His Broadway and Off-Broadway credits include tick, tick…BOOM!, Memphis, Lady Day at Emerson’s Bar and Grill, Ain’t Too Proud, and The Hippest Trip: The Soul Train Musical, along with extensive subbing on shows such as Rent, Motown, Evita, Avenue Q, and the Hadestown tour.

Clayton has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the TONY Awards, and has performed with artists ranging from Chuck Berry and Ben E. King to Kristin Chenoweth and Norm Lewis.

www.claytoncraddock.com

Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

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This is a Broadway Drumming 101 Classic.

Originally released in December 2021, this episode features Rich Rosenzweig, recorded on the very day Companyofficially opened on Broadway. The timing alone makes it special. Rich was stepping into an opening night shaped by grief, history, and pressure, following the passing of Stephen Sondheim, while carrying the responsibility of yet another major Broadway chair.

But what makes this episode endure is not the moment. It is the honesty.

Rich and Clayton dig into the parts of Broadway drumming that rarely get talked about clearly. Reviews. Word of mouth. Why some shows with mediocre press run for years while others with praise disappear. Rich explains how the power of critics has shifted, and why storytelling, audience response, and momentum now matter more than ever.

From there, the conversation goes deep into subbing. This is one of the most detailed discussions anywhere about what chair holders actually look for in a sub drummer. Not flash. Not ego. Preparation, consistency, psychological trust, and the ability to make a conductor feel safe. Rich explains why subbing can be more stressful than holding a Broadway chair full time, and why even great drummers struggle if they miss these non-negotiables.

They also talk candidly about career reality. Getting fired. Losing gigs. Being passed over. How to assess whether feedback is something to grow from or simply a mismatch. Rich shares stories from Beauty and the Beast, Cats, Rent, Memphis, and more, showing how longevity in this business often comes down to adaptability and self-awareness, not perfection.

This episode is essential listening if you are serious about musical theater, Broadway, or touring at a high level.

Not motivational quotes. Not shortcuts. Just real talk from someone who has lived it.

If you are trying to understand how Broadway actually works, this one belongs in your library.

Support Broadway Drumming 101 and unlock exclusive content at BroadwayDrumming101.com.

Clayton Craddock is the drummer for the upcoming Broadway musical Cats: The Jellicle Ball, opening at the Broadhurst Theatre on April 7th. He is also the founder of Broadway Drumming 101 and the author of the forthcoming book Broadway Bound and Beyond: A Musician’s Guide to Building a Theater Career.

His Broadway and Off-Broadway credits include tick, tick…BOOM!, Memphis, Lady Day at Emerson’s Bar and Grill, Ain’t Too Proud, and The Hippest Trip: The Soul Train Musical, along with extensive subbing on shows such as Rent, Motown, Evita, Avenue Q, and the Hadestown tour.

Clayton has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the TONY Awards, and has performed with artists ranging from Chuck Berry and Ben E. King to Kristin Chenoweth and Norm Lewis.

www.claytoncraddock.com

Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

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This Classic episode goes back to 2021 with drummer Rich Rosenzweig. At the time, he was playing the drum chair for Company. Today, he is the drummer for Ragtime at Lincoln Center. Part One focuses on his early years, his training, and his path into the Broadway world.

What we cover in this episode

How Rich transitioned from piano lessons to drums.
Growing up in a home filled with music and support for the arts.
Group snare drum lessons in grammar school and early practice habits.
Playing in the basement, practicing with records, and discovering big band.
Hearing Buddy Rich, Basie’s band, and how those experiences shaped his sound.
Getting into jazz as a teenager and forming his first jazz groups.
Studying at UNC Chapel Hill and balancing music with a liberal arts education.
His obsession with film, film scores, and composers like Bernard Herrmann and Ennio Morricone.
Moving to New York with pianist Frank Kimbrough and building a freelance life.
Playing weddings, club dates, and the slow grind toward professional theater work.
Watching Ray Marchica play The Will Rogers Follies and learning what Broadway drumming really requires.
Subbing under conductor Eric Stern and facing a click track for the first time.
Landing his first Broadway chair on State Fair and what he learned from that experience.
Why Broadway drumming demands consistency, reading skills, groove, and a full understanding of the storytelling behind the music.

This Substack is reader-supported. To receive new posts and support my work, consider becoming a free or paid subscriber.

Why this episode matters

It gives a clear picture of how a Broadway drummer builds a career from scratch.
It highlights the mix of training, influences, timing, and relationships that shape a long career on Broadway.
It shows how jazz, film music, and classical Broadway scoring all feed into a drummer’s approach and musical identity.
It offers practical insight for anyone who wants to pursue theater drumming at a high level.

Part Two will be released next week.

Clayton Craddock is the drummer for the upcoming Broadway revival of Cats: The Jellicle Ball, opening at the Broadhurst Theatre on April 7th. He is also the founder of Broadway Drumming 101 and the author of the forthcoming book Broadway Bound and Beyond: A Musician’s Guide to Building a Theater Career.

His Broadway and Off-Broadway credits include tick, tick…BOOM!, Memphis, Lady Day at Emerson’s Bar and Grill, Ain’t Too Proud, and The Hippest Trip: The Soul Train Musical, along with extensive subbing on shows such as Rent, Motown, Evita, Avenue Q, and the Hadestown tour.

Clayton is currently on tour with The Rock Orchestra and has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the TONY Awards, and has performed with artists ranging from Chuck Berry and Ben E. King to Kristin Chenoweth and Norm Lewis.

www.claytoncraddock.com

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I went back to one of my classic Broadway Drumming 101 conversations this week, and it reminded me why I started this series in the first place. Years ago I sat down with Rich Rosenzweig when he was holding the drum chair for the revival of ‘Company.’ Now he’s driving the bus for Ragtime at Lincoln Center, and revisiting this talk brought everything back. We got into the real work of subbing on Broadway, the pressure of matching the regular drummer’s feel, and the quiet connection with the conductor that determines whether you get asked back.

In the clip, Rich breaks down the truth every serious drummer needs to hear. Subbing isn’t about chops or showing what you can do. It’s about matching the show so well that the conductor can close their eyes and feel the same pulse, the same sound, the same flow they get from the regular drummer. They’re not looking for surprises. They want stability. If you’re not giving accuracy, presence, and attention to detail, they feel it immediately.

Rich also talks about how conductors watch the monitor even when they say they don’t. They’re looking for someone who is locked in and communicating clearly. Plenty of great drummers have fallen short because they didn’t prepare the book with real precision or didn’t read the conductor the way the regular drummer does. Most people never hear that part of the job. Subbing is consistency, connection, and trust.

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This conversation is one of my favorites, and I’m bringing it back. Subscribe to Broadway Drumming 101 so you’re notified when the re-release goes live. If you’re trying to get into Broadway or looking to sharpen your subbing skills, this episode will show you what the job really demands.

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Rich Rosenzweig has played more than a dozen Broadway shows and appeared on multiple cast recordings. He’s been the drummer for the Kennedy Center Honors orchestra for more than a decade, toured nationally and internationally, and has been the regular drummer for City Center’s Encores! series. He performs in progressive jazz ensembles, including his own East Down Septet, teaches privately, and has written several feature screenplays.

More episodes like this are coming. Stay tuned.

Clayton Craddock is the drummer for the upcoming Broadway revival of Cats: The Jellicle Ball, opening at the Broadhurst Theatre on April 7th. He is also the founder of Broadway Drumming 101 and the author of the forthcoming book Broadway Bound and Beyond: A Musician’s Guide to Building a Theater Career.

His Broadway and Off-Broadway credits include tick, tick…BOOM!, Memphis, Lady Day at Emerson’s Bar and Grill, Ain’t Too Proud, and The Hippest Trip: The Soul Train Musical, along with extensive subbing on shows such as Rent, Motown, Evita, Avenue Q, and the Hadestown tour.

Clayton is currently on tour with The Rock Orchestra and has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the TONY Awards, and has performed with artists ranging from Chuck Berry and Ben E. King to Kristin Chenoweth and Norm Lewis.

www.claytoncraddock.com

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In this episode, I sit down with drummer Tom Jorgensen. He’s been playing drums on the Beetlejuice national tour for the last three years. Tom talks about what makes the Beetlejuice drum book one of the most physically demanding on the road and how Shannon Ford’s original approach set the tone for everything that followed.

We dig into:

The sheer physical challenge of playing Beetlejuice eight times a week and how Tom reworked his setup and grip to survive it.
The philosophy he learned from jazz legend Michael Carvin — “It’s not about what you’re playing, it’s about what you’re doing” — and how that mindset keeps every performance fresh.
His time touring with Postmodern Jukebox, cutting his teeth on cruise ships, and what those experiences taught him about endurance, posture, and musical adaptability.
Lessons from working with Rich Mercurio and Nadia DiGiallonardo on Waitress, and the moment that turned a sub gig into his first big break.
The balance between consistency and creativity on tour — how to avoid burnout, stay healthy, and keep the show locked in night after night.
Why gratitude and discipline are non-negotiable for musicians who want longevity on the road.

Tom’s story is a reminder that Broadway drumming isn’t just about chops — it’s about mindset, focus, and knowing how to serve the show every night.

For more: https://www.tomjorgensensound.com

Listen now wherever you get your podcasts.

Subscribe at BroadwayDrumming101.com and pre-order my new book Broadway Bound and Beyond: A Musician’s Guide to Building a Theater Career at BroadwayBoundBook.com.

Mentioned in this episode:

Beetlejuice National Tour
Shannon Ford
Michael Carvin
Rich Mercurio
Nadia DiGiallonardo
Postmodern Jukebox
Waitress First National Tour

Clayton Craddock is the drummer for the upcoming Broadway revival of Cats: The Jellicle Ball, opening at the Broadhurst Theatre on April 7th. He is also the founder of Broadway Drumming 101 and the author of the forthcoming book Broadway Bound and Beyond: A Musician’s Guide to Building a Theater Career.

His Broadway and Off-Broadway credits include tick, tick…BOOM!, Memphis, Lady Day at Emerson’s Bar and Grill, Ain’t Too Proud, and The Hippest Trip: The Soul Train Musical, along with extensive subbing on shows such as Rent, Motown, Evita, Avenue Q, and the Hadestown tour.

Clayton is currently on tour with The Rock Orchestra and has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the TONY Awards, and has performed with artists ranging from Chuck Berry and Ben E. King to Kristin Chenoweth and Norm Lewis.

www.claytoncraddock.com

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Coming Soon: The Tom Jorgensen Broadway Drumming 101 Podcast Episode

There’s a line that’s stuck with Tom Jorgensen ever since he first heard it from jazz legend Michael Carvin:

“It’s not about what you’re playing — it’s about what you’re doing.”

It sounds simple. But as Tom explains in the upcoming episode of the Broadway Drumming 101 Podcast, that one sentence completely changed how he approaches music, performance, and storytelling on stage.

For those who don’t know Tom: he’s the drummer on the North American tour of Beetlejuice The Musical, which returned to Broadway in a limited 13-week engagement at the Palace Theatre beginning October 8, 2025 and running through January 3, 2026.

In this episode, Tom opens up about how Carvin’s philosophy guided him through every stage of his career. From late nights on cruise ships to the bright lights of Broadway. He shares how mentors like Rich Mercurio and Nadia DiGiallonardo helped him realize that playing music isn’t just about perfect notes or flawless grooves, it’s about listening, intention, and being part of the story.

This episode goes beyond chops and technique. It’s about presence, purpose, and what it truly means to serve the music.

If you’ve ever found yourself going through the motions—counting bars, chasing perfection, or just trying to “get through” a gig—this conversation will hit home.

It’s a reminder that every note, no matter how small, can help tell the story.

Clayton Craddock is the drummer for the upcoming Broadway revival of Cats: The Jellicle Ball, opening at the Broadhurst Theatre on April 7th. He is also the founder of Broadway Drumming 101 and the author of the forthcoming book Broadway Bound and Beyond: A Musician’s Guide to Building a Theater Career.

His Broadway and Off-Broadway credits include tick, tick…BOOM!, Memphis, Lady Day at Emerson’s Bar and Grill, Ain’t Too Proud, and The Hippest Trip: The Soul Train Musical, along with extensive subbing on shows such as Rent, Motown, Evita, Avenue Q, and the Hadestown tour.

Clayton is currently on tour with The Rock Orchestra and has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the TONY Awards, and has performed with artists ranging from Chuck Berry and Ben E. King to Kristin Chenoweth and Norm Lewis.

www.claytoncraddock.com

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Broadway Drumming 101 Podcast — Episode: Larry Lelli

Larry Lelli has done just about everything a Broadway drummer can do. From marching snare in Wisconsin to playing The Producers on Broadway, his story is about hard work, timing, and versatility. In this conversation, Larry talks about his early days growing up in the Midwest, his years in drum corps, the Nashville country scene, and how he built a lasting career in New York City’s theater world.

Larry’s been behind the drum kit for shows like The Producers, Jekyll and Hyde, Les Misérables, Wicked, and The Full Monty. He’s also a respected educator and clinician whose experience bridges jazz, pop, and orchestral playing.

This episode breaks down how he made the jump from the road to Broadway, what it takes to earn a chair, and why learning from others is one of the smartest moves a drummer can make.

Key Moments and Topics Covered

00:03 – Early Years in the MidwestLarry talks about growing up in Chicago, Wisconsin, and Minnesota. He shares how he started on trombone before switching to drums and getting his first kit — a red Slingerland jazz set from the 1960s.

00:05 – Marching Band and Drum CorpsHe describes how marching band led him to drum corps, playing snare with the Blue Stars. Those years shaped his reading, discipline, and love of ensemble playing.

00:09 – The High School Metal BandLarry formed a heavy-metal band called Fallen Angel, later Perfect Stranger, influenced by Motley Crüe, Poison, and Ozzy Osbourne. That mix of rock energy and groove became part of his foundation.

00:10 – Discovering Studio LegendsHe recalls studying the session greats — Steve Gadd, Jeff Porcaro, Hal Blaine, and JR Robinson — and how copying their records taught him to listen, absorb, and reproduce other players’ feel. That skill later helped him sub successfully on Broadway.

00:13 – Choosing Music Over a “Backup Plan”Despite warnings from family about the risks of a music career, Larry stayed focused. A mentor told him, “If it’s the thing you must do, then you have to do it.” That advice stuck.

00:16 – University of Wisconsin–Eau ClaireHe studied jazz performance, percussion, and conducting, earning a Bachelor of Music degree. He credits conductor Robert Baca and professor Ron Keiser for turning Eau Claire into a respected jazz program.

00:19 – Nashville YearsLarry moved to Nashville in the early 90s and toured with the country-comedy duo Pinkerton Bowden and later with country balladeer Doug Stone. He shares what life on the road was really like and why he eventually grew tired of touring.

00:24 – The Call of New YorkAfter meeting jazz players on a cruise, he decided to explore Broadway. They told him his versatility would fit New York’s theater scene. His first exposure to a pit was watching Ray Marchica play Damn Yankees — a life-changing moment.

00:28 – Starting Over in NYCHe saved $10,000, moved to the city, and started sitting in on shows. Early on, he learned that “no one cares what you’ve done anywhere else — they only care what you’ve done in New York.” That lesson shaped how he built credibility.

00:33 – Miss Saigon: The BreakthroughMichael Hinton gave Larry a shot at subbing the massive percussion book for Miss Saigon. The score had originally been written for three percussionists. Larry practiced daily for a month and nailed his first show — instantly building a reputation as someone who could handle the hardest gig in town.

00:37 – From Subbing to a ChairLarry began subbing at Beauty and the Beast, Les Misérables, and other productions, eventually holding nine different sub books at once. His first full Broadway chair came with Jekyll and Hyde.

00:42 – Landing The ProducersWhen Jekyll and Hyde closed, a referral led to an audition with legendary conductor Paul Gemignani for a new show. Although that production closed quickly, the connection opened doors. A few years later, Larry joined The Producers, which became a long-running hit.

00:46 – Lessons on LongevityLarry emphasizes professionalism: showing up prepared, treating every sub date like an audition, and understanding that reliability and attitude matter as much as chops. Every gig, even the short-lived ones, builds your reputation.

00:48 – Teaching and Passing It OnHe now teaches drummers how to approach theater work with discipline and respect for the craft — reading, listening, blending, and adapting.

Key Takeaways

Learning by listening prepares you for the realities of Broadway.
Every show, even a short run, can lead to future work.
Versatility is a drummer’s greatest asset — orchestral, rock, jazz, and pop all show up in modern theater books.
Reputation is everything. People hire musicians who make their lives easier.
Keep the joy. The best drummers never lose that excitement they had as kids hitting their first kit.

Connect with Larry Lelli

Website: larrylelli.comInstagram: @larrylelli

About Broadway Drumming 101

Broadway Drumming 101 is the leading platform for drummers and musicians working in theater. Subscribe to our YouTube channel for full interviews and clips, or join the membership at BroadwayDrumming101.com for behind-the-scenes videos, real-world training, and exclusive articles.

Learn more about our upcoming book Broadway Bound and Beyond: A Musician’s Guide to Building a Theater Career at BroadwayBoundBook.com.

Clayton Craddock is the drummer for the upcoming Broadway revival of Cats: The Jellicle Ball, opening at the Broadhurst Theatre on April 7th. He is also the founder of Broadway Drumming 101 and the author of the forthcoming book Broadway Bound and Beyond: A Musician’s Guide to Building a Theater Career.

His Broadway and Off-Broadway credits include tick, tick…BOOM!, Memphis, Lady Day at Emerson’s Bar and Grill, Ain’t Too Proud, and The Hippest Trip: The Soul Train Musical, along with extensive subbing on shows such as Rent, Motown, Evita, Avenue Q, and the Hadestown tour.

Clayton has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the TONY Awards, and has performed with artists ranging from Chuck Berry and Ben E. King to Kristin Chenoweth and Norm Lewis.

www.claytoncraddock.com

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I’m excited to share that a new Broadway Drumming 101 podcast episode with Larry Lelli will be re-released soon. I originally sat down with Larry back on December 16, 2021, and since then, his career has kept growing in remarkable ways.

Larry isn’t just a veteran Broadway drummer—he’s now also a Broadway producer. He’s gone on to co-produce Water for Elephants (opened March 21, 2024), Gutenberg! The Musical! (opened October 12, 2023), and most recently Waiting for Godot (opened September 28, 2025).

Before stepping into producing, Larry built a career most musicians dream of. He’s played drums and conducted for over 40 Broadway shows, including The Producers, Assassins, How To Succeed In Business, and Million Dollar Quartet. His list of collaborations is just as impressive—Melissa Etheridge, Josh Groban, Audra McDonald, Patti LuPone, Bernadette Peters, Nick Jonas, Vanessa Williams, Jerry Lee Lewis, and even the New York Philharmonic.

Larry is also a clinician with Yamaha Drums and Sabian Cymbals, and you can currently catch him performing in the Tony Award-winning hit Come From Away.

In our conversation, we dug into:

Growing up in the Midwest playing in baton and drum corps
Touring with country star Doug Stone after moving to Nashville
How a jazz cruise changed his life and led him to New York City
Why subbing for Michael Hinton on Miss Saigon was his big break
Learning from legends like Paul Gemignani
How he approaches learning an entire Broadway show

Larry’s story is a masterclass in building a long, versatile career in music—and now he’s added producing to his list of achievements.

Stay tuned for the re-release of this edited Broadway Drumming 101 episode. It’s one you won’t want to miss.

https://www.larrylelli.com

Clayton Craddock is the founder of Broadway Drumming 101 and the author of the forthcoming book Broadway Bound and Beyond: A Musician’s Guide to Building a Theater Career. His Broadway and Off-Broadway credits include tick, tick…BOOM!, Memphis, Lady Day at Emerson’s Bar and Grill, Ain’t Too Proud, Cats: The Jellicle Ball, and The Hippest Trip: The Soul Train Musical, along with extensive subbing on shows like Rent, Motown, Evita, Avenue Q, and the Hadestown tour. He has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the TONY Awards, and has performed with artists from Chuck Berry and Ben E. King to Kristin Chenoweth and Norm Lewis. www.claytoncraddock.com

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Today’s guest is a little different. Usually, I feature drummers on this podcast, and we’ve had some incredible ones—plus music directors like Nate Patten and music coordinators like Michael Aarons and Michael Keller. But this time, I wanted to bring on someone I’ve known and played with for the past ten years, a true “Piano Man” and multi-instrumentalist who has made his mark on Broadway and beyond: Matthew Friedman.

Matthew isn’t just a pianist—he’s a singer, a bandleader, a composer, and yes, even a drummer. He was “The Piano Man” in the national touring company of Movin’ Out and has performed with the legendary Lords of 52nd Street, Billy Joel’s original band. He’s also been part of Broadway productions like Jersey Boys and Smokey Joe’s Café, while leading his own group, Matthew Friedman & Stiletto.

In this episode, we talk about:

His early start in music and the influences that shaped him.
How he made the leap from being an attorney to a full-time musician.
The highs and lows of touring life—from first-class gigs to rough bus-and-truck runs.
Stories from his time on Broadway, including connections to past podcast guest Jon Berger and future guest Joe Bergamini.
What it means to be more than just a player in the pit—how to lead, adapt, and thrive as a versatile instrumentalist.

Matthew has great stories, big insights, and a unique perspective on what it takes to succeed in this business—not just as a drummer, but as a full-fledged musician and bandleader.

Some clips of me playing a fun gig with him several years ago:

Clayton Craddock founded Broadway Drumming 101, an in-depth online platform offering specialized mentorship and a carefully curated collection of resources tailored for aspiring and professional musicians.

Clayton’s Broadway and Off-Broadway credits include tick, tick…BOOM!, Altar Boyz, Memphis The Musical, Lady Day at Emerson’s Bar and Grill, Ain’t Too Proud – The Life and Times of The Temptations, Cats: The Jellicle Ball, The Hippest Trip: The Soul Train Musical, and The Gospel at Colonus (featuring Kim Burrell). As a skilled sub, he has contributed his talents to notable productions, including Motown, Evita, Cats, Avenue Q, The Color Purple, Rent, SpongeBob SquarePants: The Musical, and the national tour of Hadestown, among many others. He has also appeared on major shows including The View, Good Morning America, Jimmy Fallon, The Today Show, and the TONY Awards. He has performed with legends like The Stylistics, The Delfonics, Mario Cantone, Laura Benanti, Kristin Chenoweth, Kerry Butler, Christian Borle, Norm Lewis, Deniece Williams, Chuck Berry, and Ben E. King.

Clayton is the author of the forthcoming book Broadway Bound and Beyond: A Musician’s Guide to Building a Theater Career, the only guide you’ll need to succeed in the competitive world of musical theater.

Sign up to be the first to know when the book drops: www.BroadwayBoundBook.com

He proudly endorses Ahead Drum Cases, Paiste Cymbals, Innovative Percussion drumsticks, and Empire Ears.

Learn more about Clayton Craddock at www.claytoncraddock.com

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Originally posted December 2021

In this episode of Broadway Drumming 101, I sit down with Dena Tauriello, the drummer for Little Shop of Horrors at the Westside Theatre. From her first sparkle kit inspired by Karen Carpenter to a career that’s taken her from rock arenas to Broadway pits, Dena shares a powerful story about perseverance, adaptability, and passion.

Dena spent nearly two decades with the all-female rock band Antigone Rising, logging more than 260 shows a year, signing with Lava/Atlantic Records, and sharing bills with bands like Aerosmith, the Rolling Stones, and The Bangles. Along the way, she learned the grind of life on the road, the frustration of being pigeonholed as “girl music,” and the discipline that comes from playing night after night. Those experiences became the foundation for her eventual move to Broadway.

Her first Broadway chair came in Head Over Heels, the Go-Go’s jukebox musical that featured an all-female band. From there, Dena’s career expanded into multiple productions, including Kristin Chenoweth: For the Girls, The Cher Show (as a sub), Magic Mike the Musical (Broadway Lab), and her current run in Little Shop of Horrors. She also subs on Hamilton, Six, and at the origial run of Beetlejuice.

In our conversation, Dena opens up about the realities of the pit:

Why no two shows are ever the same and why you can never “phone it in”
The discipline it takes to stay fully present eight times a week
How playing in Antigone Rising prepared her for the demands of Broadway
What she looks for when hiring subs and why paying it forward matters
The role of Ableton, click tracks, and sound cues in modern Broadway drumming
Her full gear setup: Pearl drums, Zildjian cymbals, Evans heads, Promark sticks, and custom in-ears
Why she always keeps charts in front of her—even after memorizing the show

Dena also talks about the surreal moment of playing on stage with the Go-Go’s, interviewing Gina Schock for Modern Drummer, and what it feels like to see the Head Over Heels Playbill now preserved in the Rock & Roll Hall of Fame.

This is a conversation filled with honesty, humor, and hard-won lessons for any drummer dreaming of breaking into Broadway—or simply learning how to thrive in the unpredictable world of live performance.

For more about Dena: https://www.denatauriello.com

Clayton Craddock founded Broadway Drumming 101, an in-depth online platform offering specialized mentorship and a carefully curated collection of resources tailored for aspiring and professional musicians.

Clayton’s Broadway and off-Broadway credits include tick, tick…BOOM!, Altar Boyz, Memphis The Musical, Lady Day at Emerson’s Bar and Grill, Ain’t Too Proud – The Life and Times of The Temptations, Cats: The Jellicle Ball, and The Hippest Trip: The Soul Train Musical. As a skilled sub, he’s contributed his talents to Motown, Evita, Cats, Avenue Q, The Color Purple, Rent, SpongeBob SquarePants: The Musical, Hadestown (tour), and many more. He has also appeared on major shows, including The View, Good Morning America, Jimmy Fallon, The Today Show, and the TONY Awards, and performed with legends like The Stylistics, The Delfonics, Mario Cantone, Laura Benanti, Kristin Chenoweth, Kerry Butler, Christian Borle, Norm Lewis, Deniece Williams, Chuck Berry, and Ben E. King.

Clayton proudly endorses Ahead Drum Cases, Paiste Cymbals, Innovative Percussion drumsticks, and Empire Ears.

Learn more about Clayton Craddock here: www.claytoncraddock.com

This Substack is reader-supported. To receive new posts and support my work, consider becoming a free or paid subscriber.

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In this episode, I talk with Michael Manasseh, the drummer for the current Hadestown national tour. Michael shares his unique path from studying economics at Columbia University to landing gigs on Broadway tours, and how his early training shaped the versatile musician he is today.

We talk about:

How growing up in Boston, church music, and early jazz studies shaped his drumming identity
His college years at Columbia, balancing academics with student theater, and realizing music could become a career
The turning point of joining Muse (Musicians United for Social Equity) and mentorship with John Clancy, which led to his first big break on the Shrek tour
What it’s like playing Hadestown night after night—the mental and physical demands, the freedom to improvise, and why it feels like “jazz theater”
Stories from the road, including near-misses with quick costume changes, learning directly from orchestrators, and pulling influences from Art Blakey to Mark Guiliana
His perspective on the business side of Broadway, the economics of touring shows, and why relationships—not transactions—drive opportunities for drummers

Michael’s story highlights not just the technical side of playing drums on a major tour, but also the importance of balance, community, and adaptability in building a long-term career in theater.

If you’re a drummer looking to break into Broadway—or just want to hear what life is really like behind the kit on a national tour—you won’t want to miss this conversation.

More about Michael: https://www.michaelmanassehmusic.com/

If you want to understand how to make a lasting career in this business — not just play the music — my upcoming book Broadway Bound and Beyond: A Musician’s Guide to Building a Theater Careerdives deep into both the art and the industry.

Subscribe to Broadway Drumming 101 so you don’t miss Michael’s episode and other conversations that go beyond the notes.