We recently had the chance to connect with April Alsup and have shared our conversation below.
April, we’re thrilled to have you with us today. Before we jump into your intro and the heart of the interview, let’s start with a bit of an ice breaker: What makes you lose track of time—and find yourself again?
Music has always been my time machine. I can curl up with my piano for hours and completely forget what day it is. Writing for musical theatre pulls me even deeper in, it’s this dance between storytelling and composition, where I move back and forth from the piano to researching a character’s history or motivation. At some point, the line between past and present disappears. You’re not just writing about someone; instead, you’re with them. That’s when time becomes irrelevant, and in that space, I always seem to find myself again.
Can you briefly introduce yourself and share what makes you or your brand unique?
I’m April Alsup, a composer and producer of original musical theatre. My latest project, Broadside, reimagines the years leading up to the American Revolution through the lens of Paul Revere and the early printers who used art and satire to spark change. What makes my work unique is how it blends historical research with modern storytelling. I’m drawn to the human side of history, the emotional truths behind the dates and documents. I like to say, “I don’t write stories, I find them,” stories that echo the past while speaking directly to the present. Broadside is part of a larger journey to celebrate the 250th birthday of the country I love and continues a pattern of creating shows that explore freedom, faith, and resilience, from Eigg the Musical in Scotland to Absurd Hero here in the States. Every project is my way of asking timeless questions in a modern voice and inviting audiences to sing along.
Thanks for sharing that. Would love to go back in time and hear about how your past might have impacted who you are today. Who saw you clearly before you could see yourself?
That would be my high school drama teacher, John Lee. He was the first person to really see my talent for storytelling and to recognize that theatre was where I belonged. After I graduated, he introduced me to Craig Martin, a technical theatre professor who became another key influence. Craig invited me to join him on a trip to New York City, where we visited Broadway, his alma mater, the prestigious Yale Repertory Theatre, and even spent a weekend with the legendary lighting designer George Izenour. That experience opened my eyes to the magic of live performance and the craft behind it. The rest, as they say, is history.
If you could say one kind thing to your younger self, what would it be?
I’d tell my younger self to find a team of A-plus people who believe in the work and in each other. Creating excellence takes so many different talents, and no one person can do it all. Surround yourself with people who lift you up, who challenge you, and who bring their own magic to the table. Root out toxicity early, because good people do their best work when they’re trusted to do what they do best. And most of all, remember that there’s so much more we can accomplish together than we could ever do alone.
Next, maybe we can discuss some of your foundational philosophies and views? Is the public version of you the real you?
Yes. I’ve learned, perhaps a little later in life, to simply be who I am and not hide anything. That doesn’t mean wearing every emotion on my sleeve; it means celebrating the uniqueness we each bring into the world. For a long time, I tried to balance between what I thought people wanted and who I really was, and I’ve learned that one of the hardest places to live your life is on the fence. These days, I show up as myself, whole, imperfect, and genuine and that authenticity has made all the difference.
Okay, so let’s keep going with one more question that means a lot to us: When have you had to bet the company?
In musical theatre, you bet the company every time you put on a new show. You’re only as good as your last production, and every project is a leap of faith. I’ve learned to trust my instincts, if I don’t believe in the work, I won’t put it out there. Creating something new always carries risk, but that’s the nature of art. History is full of composers whose premieres were met with lukewarm reviews, only for those same works to later be called masterpieces. You can’t control how people will respond, but you can control your commitment to the truth of what you’re creating. Every show is a gamble, but it’s also an act of belief.
Contact Info:
- Website: https://www.alsup.org/
- Instagram: https://www.instagram.com/aprilalsup
- Twitter: https://x.com/aprilalsup
- Facebook: https://www.facebook.com/4alsup
- Youtube: https://www.youtube.com/@alsupcreative
- Soundcloud: https://soundcloud.com/aprilalsup
- Other: https://www.dramatistsguild.com/members/aprilalsup
