Valjean, Cosette & a String Quartet

Join Tony Award Nominee Josh Young and his wife, Broadway Star Emily Padgett, as they celebrate the decade that gave us Les Miserables, Phantom of The Opera, and Cats – the decade where Stephen Sondheim and Sir Andrew Lloyd Webber reached the pinnacle of their creative mastery: the 1980’s. 

The lush music of the decade is presented with the beauty and majesty that only strings can produce accompanied by the sweet percussive harmonics of a piano and signature, award-winning vocals.

Artists

Josh Young

Prior to his Tony-nominated Broadway debut as Judas Iscariot in Jesus Christ Superstar, Josh had the distinction of playing the role of Marius in Cameron Macintosh’s Les Miserables and in more subsequent productions than any other actor. Josh also won the Theatre World Award for Best Debut Performance for his turn in Superstar. He went on to originate the role of John Newton on Broadway in the world premiere of Amazing Grace. Josh was awarded the Broadway World Award for Best Actor in a Musical for his turn as Che in the North American Tour of the Olivier Award-winning revival of Andrew Lloyd Webber’s Evita, directed by Michael Grandage. This was a reprisal of the role for Josh, having been awarded the same distinction by Broadway World Toronto for Gary Griffin’s production of Evita at The Stratford Shakespeare Festival.

Josh was a company member of The Stratford Festival for two seasons, the rare American to be given the opportunity at this world-renowned institution. It was Stratford’s production of the Des McAnuff re-imagined Jesus Christ Superstar that brought Josh back to the states. Josh toured Europe and Asia as Tony for the 50th Anniversary of Leonard Bernstein’s West Side Story. Also abroad, and most recently, he played Jerusalem as famed Rabbi Shlomo Carlebach in the biographical rock musical Soul Doctor.

Regionally, Josh’s performance as Tateh in Ragtime earned him the prestigious IRNE Award for Best Actor in a Musical. He’s performed in North America’s finest regional theaters including La Jolla Playhouse, Seattle’s 5th Avenue Theatre, Walnut Street Theater, St. Louis MUNY, Baltimore Center Stage, Ogunquit Playhouse, San Diego Repertory Theatre, Houston’s Theatre Under the Stars (TUTS), DC’s Shakespeare Theatre Company, and North Carolina Theatre. He’s been involved in new works with NYC’s Roundabout Theatre Company, The Transport Group, and The New York Musical Theater Festival.

As a concert artist, Josh has had the privilege of headlining for major symphonies across the globe, including the Toronto Symphony Orchestra, Detroit Symphony Orchestra, Carolina Philharmonic, Midland Symphony, Phoenix Symphony, Harrisburg Symphony Orchestra, and Sarasota Orchestra, to name a few. He is equally at home in more intimate venues, having written and performed no less than five one-man cabarets that have sold out venues from New York City to Ho Chi Minh City. Josh is also a frequent headliner on Crystal Cruises’ specialty voyage, “Crystal on Broadway,” where his self-written solo shows are a highlight.

Josh can be heard on numerous albums, including the original cast recording of Amazing Grace and on his two solo albums: Still Dreaming of Paradise and his self-titled debut album, Josh Young, several songs of which have been used by championship figure skaters, Megan Duhamel and Eric Radford. Both albums are available on iTunes and Amazon Music.

Josh is the co-founder of Cutting-Edge Composers, a concert and weekly web series on broadwayworld.com, created to give exposure to musical theatre’s next generation of songwriters. Josh is the Coordinator of Musical Theatre at Missouri State University, having just left Oakland University where he led the musical theater program for the past four years and was the 2022 recipient of Oakland University’s Faculty Recognition Award for Excellence in Teaching.

Josh Young

Prior to his Tony-nominated Broadway debut as Judas Iscariot in Jesus Christ Superstar, Josh had the distinction of playing the role of Marius in Cameron Macintosh’s Les Miserables and in more subsequent productions than any other actor. Josh also won the Theatre World Award for Best Debut Performance for his turn in Superstar. He went on to originate the role of John Newton on Broadway in the world premiere of Amazing Grace. Josh was awarded the Broadway World Award for Best Actor in a Musical for his turn as Che in the North American Tour of the Olivier Award-winning revival of Andrew Lloyd Webber’s Evita, directed by Michael Grandage. This was a reprisal of the role for Josh, having been awarded the same distinction by Broadway World Toronto for Gary Griffin’s production of Evita at The Stratford Shakespeare Festival.

Josh was a company member of The Stratford Festival for two seasons, the rare American to be given the opportunity at this world-renowned institution. It was Stratford’s production of the Des McAnuff re-imagined Jesus Christ Superstar that brought Josh back to the states. Josh toured Europe and Asia as Tony for the 50th Anniversary of Leonard Bernstein’s West Side Story. Also abroad, and most recently, he played Jerusalem as famed Rabbi Shlomo Carlebach in the biographical rock musical Soul Doctor.

Regionally, Josh’s performance as Tateh in Ragtime earned him the prestigious IRNE Award for Best Actor in a Musical. He’s performed in North America’s finest regional theaters including La Jolla Playhouse, Seattle’s 5th Avenue Theatre, Walnut Street Theater, St. Louis MUNY, Baltimore Center Stage, Ogunquit Playhouse, San Diego Repertory Theatre, Houston’s Theatre Under the Stars (TUTS), DC’s Shakespeare Theatre Company, and North Carolina Theatre. He’s been involved in new works with NYC’s Roundabout Theatre Company, The Transport Group, and The New York Musical Theater Festival.

As a concert artist, Josh has had the privilege of headlining for major symphonies across the globe, including the Toronto Symphony Orchestra, Detroit Symphony Orchestra, Carolina Philharmonic, Midland Symphony, Phoenix Symphony, Harrisburg Symphony Orchestra, and Sarasota Orchestra, to name a few. He is equally at home in more intimate venues, having written and performed no less than five one-man cabarets that have sold out venues from New York City to Ho Chi Minh City. Josh is also a frequent headliner on Crystal Cruises’ specialty voyage, “Crystal on Broadway,” where his self-written solo shows are a highlight.

Josh can be heard on numerous albums, including the original cast recording of Amazing Grace and on his two solo albums: Still Dreaming of Paradise and his self-titled debut album, Josh Young, several songs of which have been used by championship figure skaters, Megan Duhamel and Eric Radford. Both albums are available on iTunes and Amazon Music.

Josh is the co-founder of Cutting-Edge Composers, a concert and weekly web series on broadwayworld.com, created to give exposure to musical theatre’s next generation of songwriters. Josh is the Coordinator of Musical Theatre at Missouri State University, having just left Oakland University where he led the musical theater program for the past four years and was the 2022 recipient of Oakland University’s Faculty Recognition Award for Excellence in Teaching.

Emily Padgett

Emily Padgett-Young’s performance career spans two decades and six Broadway shows. Most recently, she played Mrs. Bucket in the musical adaptation of Roald Dahl’s “Charlie and The Chocolate Factory,” directed by Jack O’Brien. Emily also originated the role of Lucy Grant in Steve Martin and Edie Brickell’s, “Bright Star,” from its early performances at the Kennedy Center to its Tony-nominated Broadway run. Additionally, she starred as Daisy Hilton in Bill Condon’s reimagined revival of “Side Show,” from its development at The La Jolla Playhouse, where she won The San Diego Critics Circle Award for Best Actress in a Musical, to The Kennedy Center, where she received a Helen Hayes Award nomination, and finally Broadway’s St. James Theatre.

Emily was an original cast member of the most recent Broadway revival of “Grease” and played Sandy on its first National Tour. A true “triple threat” performer, she toured the U.S. and Mexico as Demeter in Andrew Lloyd Webber’s “Cats” and played the role of Alex in the musical adaptation of “Flashdance.” Dancing alongside Tony Award winner Sutton Foster as Helene in the revival of “Sweet Charity,” Emily earned a Chita Rivera Award nomination.

Emily has had the honor of performing with symphony orchestras across the nation, including the Toronto Symphony Orchestra, Detroit Symphony Orchestra, Carolina Philharmonic, North Carolina Symphony, Midland Symphony, Phoenix Symphony, and Harrisburg Symphony Orchestra. She regularly shares the stage with her husband, Tony Award nominee Josh Young. This November, Emily will star as Julie Jordan in “Carousel” with the Springfield Symphony.

In addition to her symphony performances, Emily has graced the stages of New York’s most prestigious cabaret venues, such as 54 Below and Joe’s Pub at The Public Theatre. She has also contributed her voice to several original cast albums, including “Side Show,” “Bright Star,” and “Charlie and The Chocolate Factory.” Most recently, Emily headlined performances with The Toronto Symphony Orchestra and The Detroit Symphony Orchestra under the musical direction of Steven Reineke, principal conductor of The New York Pops at Carnegie Hall.

Emily serves on the voice faculty for the School of Music at Missouri State University, bringing her extensive professional experience to the next generation of performers.

Emily Padgett

Emily Padgett-Young’s performance career spans two decades and six Broadway shows. Most recently, she played Mrs. Bucket in the musical adaptation of Roald Dahl’s “Charlie and The Chocolate Factory,” directed by Jack O’Brien. Emily also originated the role of Lucy Grant in Steve Martin and Edie Brickell’s, “Bright Star,” from its early performances at the Kennedy Center to its Tony-nominated Broadway run. Additionally, she starred as Daisy Hilton in Bill Condon’s reimagined revival of “Side Show,” from its development at The La Jolla Playhouse, where she won The San Diego Critics Circle Award for Best Actress in a Musical, to The Kennedy Center, where she received a Helen Hayes Award nomination, and finally Broadway’s St. James Theatre.

Emily was an original cast member of the most recent Broadway revival of “Grease” and played Sandy on its first National Tour. A true “triple threat” performer, she toured the U.S. and Mexico as Demeter in Andrew Lloyd Webber’s “Cats” and played the role of Alex in the musical adaptation of “Flashdance.” Dancing alongside Tony Award winner Sutton Foster as Helene in the revival of “Sweet Charity,” Emily earned a Chita Rivera Award nomination.

Emily has had the honor of performing with symphony orchestras across the nation, including the Toronto Symphony Orchestra, Detroit Symphony Orchestra, Carolina Philharmonic, North Carolina Symphony, Midland Symphony, Phoenix Symphony, and Harrisburg Symphony Orchestra. She regularly shares the stage with her husband, Tony Award nominee Josh Young. This November, Emily will star as Julie Jordan in “Carousel” with the Springfield Symphony.

In addition to her symphony performances, Emily has graced the stages of New York’s most prestigious cabaret venues, such as 54 Below and Joe’s Pub at The Public Theatre. She has also contributed her voice to several original cast albums, including “Side Show,” “Bright Star,” and “Charlie and The Chocolate Factory.” Most recently, Emily headlined performances with The Toronto Symphony Orchestra and The Detroit Symphony Orchestra under the musical direction of Steven Reineke, principal conductor of The New York Pops at Carnegie Hall.

Emily serves on the voice faculty for the School of Music at Missouri State University, bringing her extensive professional experience to the next generation of performers.

Reviews

“Broadwayworld”

Josh and Emily (who would excel at singing any song from any musical in any decade) just seem to have a knack for this material, an innate sense of understanding of how to get into these songs, how to, instantaneously, turn on the characters from whence cometh the journey, and how to deliver the whole story in each three to four minute composition, and they both do it with voices that, at times, make a person shake their head in wonder.

 

Broadwayworld

Josh and Emily (who would excel at singing any song from any musical in any decade) just seem to have a knack for this material, an innate sense of understanding of how to get into these songs, how to, instantaneously, turn on the characters from whence cometh the journey, and how to deliver the whole story in each three to four minute composition, and they both do it with voices that, at times, make a person shake their head in wonder.

“Broadwayworld”

Padgett and Young are two world-class singers with unbelievable vocal instruments and more: they can act, too. You don’t really appreciate the effort of a true singing actor until you really see it, before your very eyes, and get the sneaking notion that much of the time what we are looking at is people singing songs and sounding pretty

 

Broadwayworld

Padgett and Young are two world-class singers with unbelievable vocal instruments and more: they can act, too. You don’t really appreciate the effort of a true singing actor until you really see it, before your very eyes, and get the sneaking notion that much of the time what we are looking at is people singing songs and sounding pretty

“Theater Pizzazz”

Ms. Padgett’s versatility and vocal range is absolutely thrilling. But then, to hear the voice of Josh Young is to see the face of god. With these two exciting voices and impressive actors sharing the performance duties, the evening is the kind of entertainment that theater-hungry youths once trolled PBS looking for, hoping just to get some Broadway and culture in their lives.

 

Theater Pizzazz

Ms. Padgett’s versatility and vocal range is absolutely thrilling. But then, to hear the voice of Josh Young is to see the face of god. With these two exciting voices and impressive actors sharing the performance duties, the evening is the kind of entertainment that theater-hungry youths once trolled PBS looking for, hoping just to get some Broadway and culture in their lives.

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