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2018-2019 Season

Mr. Burns, A Post-Electric Play

By Anne Washburn
Score by Ashleigh Stone
Lyrics by Anne Washburn

Directed by Isaac Byrne

Music Direction by Megan Pritchet

Choreographed by Elle Brooks

Scenic Design by Michelle Ney


Costume Design by Ryan Sozzi

Lighting Design by Sydney Rhiannon Smith

Sound Design by Flora McNabb & James Winnenberg

Production Stage Manager Holden Fox

Imagine That

By Audrey Webb

Directed by Alex Rodriguez

Lighting Design by Carson Beckman

Calling Stage Manager Sarah Hudson

Assistant Director Tripp Spires

The Crucible

Written by Arthur Miller

Directed by Michael Costello

Scenic Design by Cheri Prough DeVol

Costume Design by Madison Cagle

Lighting Design by Carlos Nine

Sound Design by John Michael Hoke

Production Stage Manager Hayes Richard

How I Learned to Drive

Written by Paula Vogel

Directed by Allison Price

Scenic Design by Abigail Van Scoy

Costume Design by Chanda Hawthorne

Lighting Design by Amy Evans

Sound Design by Ryan Middleton

Production Stage Manager Astrid A. Rangel


Book by Joe Masteroff
Based on the play by John Van Druten and Stories by Christopher Isherwood
Music by John Kander
Lyrics by Fred Ebb

Directed by Tom Delbello

Music Direction by Greg Bolin

Choreography by Jacob Burns and Beau Harmon

Scenic Design by Gary Thornsberry

Costume Design by Alexander Stearns

Lighting Design by Miriah D. Borden

Sound Design by Jason Taylor

Production Stage Manager Connor Feagin 

Emcee and the crew of the Kit Kat Club

Cabaret Reviews

    “Once again, Texas State dazzles with this remarkable production. Kudos to director Tom Delbello, who has meticulously rethought this classic and breathed fresh life into it.”

   “The icing on the cake of this amazing production lies, as is usual with the students of Kaitlin Hopkins, in the performances of these young artists….perhaps the finest, most rethought production of this classic I have ever had the privilege to watch.” Frank Benge /

"The classic musical Cabaret is a dark story, so what does a top-notch production of the show look like today? Positively brutal, in a vital and necessary way The new production from the Texas State  distinguishes itself by fully embracing the darker nuances of the text in a way that other versions shy away from."

"This hyper-sexuality is intimately tied to the choreography co-created by students Jacob Burns and Beau Harmon, a kinetic explosion that grows increasingly manic throughout the production. The Kit Kat Club performers are like robots on the verge of exploding, or puppets jerked to and fro on their strings; it is simultaneously engaging and disturbing, underlying the increasing threat of the oncoming storm." Andrew J. Friedenthal /

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Texas State University Cabaret

References to Salvador Dali Make Me Hot

Written by Jose Rivera

Directed by Alex Rodriguez

Scenic Design by Miriah D. Bored

Costume Design by William Ward


Lighting Design by Jesse Walser Castro

Sound Design by Timothy Norris

Original Music by Matthew Vo

Production Stage Manager Laura Gutierrez

The Tempest

By William Shakespeare
Music Composed by Laura Brackney

Directed by Bruce Turk

Choreography by Nicole Wesley

Music Direction by Myra Vassian

Scenic Design by Cheri Prough DeVol

Costume Design by Stacey Herrison

Lighting Design by Carlos Nine

Projection Design by Max Wallace

Sound Design by James Winnenberg

Production Stage Manager Hayes Richard

What We Scream Underwater When No One Can Hear Us

by C.E. Turnage

Directed by Allison Price

Lighting Design by Alexandra Thomas

Sound Design by Ryan Middleton

Assistant Director Kayla Hildebrand

Calling Stage Manager Connor Feagin


One girl looking at the other, while the other looks off in the distance

Reviews for What We Scream Underwater When No One Can Hear Us

"Director Allison Price did a stunning job leading her two actors into truly genuine performances....Having to watch the two struggle through presenting their truth while the other just has to stand there and watch was painful in the best was cathartic and full of joy as each woman decided that they would be true to who they really are."  Addison McKissack /


The Importance of Being Earnest

By Oscar Wilde

Directed by Jerry Ruiz

Set Design by Gary Thornsberry

Costume Design by Monica Pasut

Lighting Design by Sydney R. Smith

Sound Design by 

Production Stage Manager Holden Fox

Aunt meeting the boyfriend for the first time

The Importance of Being Earnest Reviews

"Director Jerry Ruiz was able to take a show that has been around since 1895 and breathe new life into it. Ruiz was able to immerse the audience into the world of the Victorian elite while heightening the comedic elements of the piece. What's funny is that Ruiz highlighted the comedy in the silent moments of this fantastic script-focusing on the small bits of physical comedy, which never failed to elicit a laugh."

"The set design by Gary Thornsberry was beautifully done and well thought out for theatre in the round. The elegant love seats were all upholstered in different colors of velvet, and the garden set extended to the area behind the audience with large painted flowers that would put Anthropologie to shame. Monica Pasut's costume design added to the grandeur of each of the characters. Pasut was able to mix elements of the upper-class Victorian style elements with modern pieces. Not to mention the hats for Gwendolyn and her mother were reminiscent of the best hats at the Royal Wedding(s)." Addison McKissack,

The Hunchback of Notre Dame

Music by Alan Menken
Lyrics by Stephen Schwartz
Book by Peter Parnell

Directed by Kaitlin Hopkins

Choreography by Cassie Abate

Music Direction by Stephanie Wells

Scenic Design by Court Watson

Costume Design by Brandon R. McWilliams

Lighting Design by Andrew McIntyre

Sound Design by Bailey Nance

Stage Managers Molly McCarville and Shannon Richey

The cast of Hunchback of Notre Dame

The Hunchback of Notre Dame Reviews

  • "...Hopkins’ musical theater program can fill a stage with finely burnished talents."

"..San Marcos has become a mecca for musicals."

"...Charismatic, full-voiced Daniel Z. Miller (Quasimodo) and Ana Yi Puig (Esmeralda) could easily be dropped into any Broadway cast." Michael Barnes /


  • "...You're unlikely to see a musical production of this scope and flourish on Broadway these days." Michael Meigs /


  • "Kaitlin Hopkins takes the medieval setting and recreates it in a high concept artwork in black, white, tones of gray and slashes of crimson. The effect is a feast for the senses."

"Choreography by Cassie Abate fills the stage with the vibrance of gypsy movement and the excitement of a Broadway-caliber musical."

"Daniel Miller as Quasimodo captures our hearts and fills our scenes with is clear tenor. This young man will be a star with his name in lights one day very soon."

"Kaitlin Hopkins’s direction elevates this material to [a] classic stratosphere." Lynn Beaver /