🎶 Connection to the Phil
You’ve performed with orchestras across the country—what stands out to you about working with the Phil and Steven Karidoyanes specifically?
We love working with Steven. He brings such joy and passion—not just to the music, but to the singers, the musicians, and the audience. He’s incredibly versatile and comfortable in every genre, which is rare. Many orchestras bring in different conductors for different styles, but Steven can do it all—and do it well.
And Plymouth itself is such a special setup. The tables, the three-quarter surround—it creates this really unique, intimate experience that you don’t find everywhere.
🎤 The Art of Blockbuster Broadway
Blockbuster Broadway isn’t just a concert—it’s an experience. When you’re building a show like this, where do you start: the music, the story, or the audience?
It really starts with what excites me. I’m always thinking about how to create something that speaks to multiple generations—so parents, grandparents, and younger audiences can all connect to it. Every show has an underlying story that ties everything together.
There’s always a reason the material is chosen. My brain is constantly working—there are usually 15 or 20 projects happening at once, whether it’s theater, concerts, or even children’s books. It’s all about finding new ways to package and present material in a way that feels fresh and meaningful.
Your shows feel very personal and connected, even in large symphonic settings. How do you create that sense of intimacy with a full orchestra behind you?
A big part of it is the people we bring in. We work with performers who are not just great singers, but great storytellers—people who are comfortable being themselves on stage.
When you share the stories behind the songs—how they were written, what they mean—it creates a connection. The audience isn’t just hearing music; they’re understanding it on a deeper level.
🎬 Behind the Scenes
What’s something audiences would never guess goes into making a show like this come together with a symphony?
The biggest challenge is often securing the rights to the music. Publishers don’t operate the way they used to, so there are a lot of hoops to jump through.
And then there’s the process of building a program and finding the right orchestra partner. Sometimes you’re creating something new, and you don’t know how it’s going to land. That’s part of the excitement—you’re taking a risk and hoping it connects.
🎠Personal Reflections
What’s a moment in your career that felt like a turning point—but maybe didn’t seem like one at the time?
There have been a few. About 15 years ago, I was asked to direct a symphonic version of A Christmas Carol with the Baltimore Symphony. I had never done anything like that before. They asked if I would also star in it, and I said yes.
That project ended up being filmed for PBS and was nominated for a Primetime Emmy. Saying “yes” to something I wasn’t sure I could do turned out to be pivotal.
But an even earlier moment really shaped me. I left a Broadway audition convinced I had gotten the job—and then I never heard back. Nothing.
That was the moment I decided I was never going to wait for someone else to give me an opportunity. It was tough, but also empowering. I thought, “Watch this. I’ll create my own.”
🌟 Collaboration & Mentorship
You’re known for mentoring and elevating other performers. What do you look for when bringing artists into your shows?
Years ago, I was doing a show in the Berkshires when Stephen Schwartz came up to me afterward and asked who I was. That led to years of working and traveling with him, and his generosity really stayed with me. I’ve tried to pay that forward ever since.
I look for individuality. We live in a world where it’s easy to become cookie-cutter, but the artists who stand out are the ones who embrace what makes them unique.
I love finding people who have that spark—sometimes they don’t even realize it yet—and helping them discover it.
What advice would you give to young performers who might be sitting in the audience at this concert?
If you wake up in the morning and feel like you have to sing, or dance, or play—that’s your answer. It has to be all-consuming. You are the engine that drives it.
Say yes to opportunities, even when you’re unsure. And embrace what makes you different. The world doesn’t need more copies—it needs originality.
I always tell singers: sing in the key of you.
🎶 A Plymouth Perspective
If someone is coming to see the Phil for the first time, what would you want them to take away from this experience?
I’d want them to feel something—to leave joyful, energized, maybe even a little awed.
And hopefully they walk away thinking, “Why haven’t I been here before?” and “How soon can I come back?”
If we’ve done our job, their world feels just a little bit bigger.
🎤 Quick Hits
Pre-show ritual?
We take a group selfie, stand in a circle, hold hands, and go “weeeeee!” It’s all about getting on the same energy level.
Favorite Broadway song to perform—and one you’d never attempt?
I love performing The Sound of Music. I’ll leave “Gaston” from Beauty and the Beast to someone else.
Most unexpected place you’ve ever performed?
A gala in a brewery in Charlotte, North Carolina.
Dream show with the Phil?
The music of Cher—so much variety, and just pure feel-good energy.
đź’ˇ Final Thought
After all the miles, all the shows, and all the stages—what keeps you saying “yes” to the next one?
I’ve never wanted to do anything else. This is my oxygen—it’s what fuels me. It’s my heart.
To learn more about Scott and Spot-On Entertainment go to: https://spot-onentertainment.com/about/
