It was a chance meeting and a bright idea, hatched at a summertime party in Madison celebrating a baby’s birth. Voice professor Mimmi Fulmer, former UW Opera director Karlos Moser, and Nathaniel Stampley and proud papa Jamie Schmidt, two alumni now with successful careers on Broadway, got into a lively chat. Mimmi had a thought: how about a reunion concert this fall?
It was vintage Fulmer: enthusiastic and lively, said Stampley. “She’s been that way since I first met her when I was 16 years old” as a teenager from Whitefish Bay attending the Summer Music Clinic, he said. “She’s an amazing person. Nothing much has changed! Next thing I knew, I was coming to Madison in September,” he added, laughing.
Over the past fifteen years, Stampley (BM, voice, 2008) and Schmidt (BMusEd & piano, 1996; MM, conducting, 1998) have risen to the top of their professions, Schmidt as a pianist and conductor for singers and musical theater, Stampley as a Broadway singer and actor. Stampley, fresh off a run as the understudy to Norm Lewis’s “Porgy” in the New York City show, “The Gershwin’s Porgy and Bess,” was scheduled to play that lead part in the national tour this fall. And Schmidt, who hails from the Madison area, was beginning his third year as the associate conductor for the national tour of “The Lion King.” He could fly in from Pittsburgh, taking a couple of days off from the Lion King. The timing was perfect. They agreed to come.
So it’s a date. On September 22 and 23, the duo of Stampley and Schmidt will perform a show of Broadway tunes at Mills Hall at the UW-Madison School of Music. It’ll be a reunion of two close friends who first met each other as singers in the former Prof. Robert Fountain’s UW Concert Choir in the mid-1990s, and continued on campus for over three years, Nate singing, Jamie accompanying him on piano. That’s the plan for this one-time show, and they’ll follow the next day with a master class in Music Hall offering tips about music, singing, and careers.
Mimmi Fulmer has many fond memories of the two young men. “I first heard Nate sing when he was 16 years old, when he was auditioning for a Summer Music Clinic scholarship,” she said, in an email. “His star power was all there, even at that age: a glowing presence, warm and musical phrasing, and that voice! He brought that same vitality to his studies at Madison. I can remember clearly every performance he did in Opera Workshop and with University Opera–you don’t forget that kind of electricity.”
Jamie, who studied piano under Professors Todd Welbourne and Howard Karp, wound up conducting opera almost by accident after former opera director Karlos Moser offered Jamie a fellowship to pursue a masters degree with him. “It was the chance of a lifetime,” said Jamie. He said yes.
“Jamie did something invaluable to a career: recognize an opportunity and make the most of it,” Prof. Fulmer said. “When he graduated, he had the skills and experience to start his professional career as the founding Music Director for American Girl Place Theaters in Chicago. Since then, his career has taken him everywhere, as he remains the consummate musician and colleague that we all loved during his student days.”
Jamie and Nate shared a few thoughts about UW-Madison and the world of show business.
Jamie, who had intended to design cars as a mechanical engineer, changed his mind during his senior year of high school: “By this point, I had missed most audition deadlines to many music schools. The last place I wanted to go was UW-Madison, because I had spent my entire life in Madison, and wanted to get away and be free and be my own man. Fortunately, I had not missed the deadline to audition here, and my piano teacher at the time correctly thought that Todd Welbourne would be the right teacher for me. It was a fortunate, happy accident.”
Nate, on how he wound up in musical theater, as UW offers only opera: “I sort of fell into musical theater. It definitely was not the original plan.” But after graduating and returning to Milwaukee, he received an offer to return to perform in UW’s show, “Lost in the Stars,” by Kurt Weill, with Jamie conducting. One thing led to another, and he wound up in Chicago doing a variety of shows. “A couple years later, I got a random call for the national tour of ‘Ragtime,'” he said. “They asked, ‘Can you fly to New York?’ I did, and I got the job, in the ensemble. From that show, I got an agent.” By 2005, he was on on Broadway in “The Color Purple.”
Jamie, on his teachers at the School of Music: “My first four years of undergrad, I studied piano with Todd Welbourne; my final two years of undergrad I studied with Howard Karp, both wonderful teachers who gave me a solid technical and musical foundation at the keyboard. Karlos Moser was the Director of Opera, and he was the sole reason that I stayed on for my graduate work: he secured a Bolz Fellowship which funded my masters degree. His guidance was, and remains, invaluable to me, a true mentor and friend for life. My conducting studies during graduate work were with Jim Smith, one of the more thoughtful, seeking and accomplished musicians I have had the fortune to know and learn from.”
Nate, on how he manages to sing eight shows a week and still preserve his voice: “The biggest thing is rest. You have to get your rest, in order to have a quick turnaround, especially on a two-show day. We literally use our instrument all the time; we don’t have the luxury of putting it in a case. So the equivalent is just to be quiet. But what works for me may not work for everyone. Some people can go out and drink, and sound like a million bucks the next day.”
Jamie, on what it’s like to work on Broadway: “When I first began subbing shows on Broadway, I felt like a kid going on the big rollercoaster at Great America for the first time. It is not a university atmosphere, so there is no safety net, no excuse of being a student. You must nail it, or you are not asked to play again. So many things are learned on the fly: how to play a synthesizer with volume and patch change pedals (instead of a piano); how to follow the conductor through a video monitor (and adjust for latency); how to play as a rhythm section member rather than a soloist; and on and on. There are so many talented musicians in New York, of course– it is the ultimate destination for theater. Every time you play is an audition for someone, somewhere, perhaps years down the road. This was my path to my current position as Associate Conductor with the Lion King national tour; I was associate conductor for the Kennedy Center’s production of Ragtime, and did a lot of vocal coaching with the woman cast as Sarah. A couple of years later, I received a call to interview for Lion King. It turned out that her husband was the former Music Supervisor for Lion King worldwide. The circle of life, truly…”
Jamie, on how he wound up working with the likes of Liza Minnelli and Bernadette Peters, and how they keep going after so many years on the stage: “I conducted the Kennedy Center Spring Gala in 2010, and Liza was the emcee. We hit it off, and she hired me to conduct her symphonic tour shortly therafter, which led me to conduct the St. Louis, Atlanta, San Diego, Richmond, Indianapolis and Dallas Symphony Orchestras. She is a born entertainer, and I was excited for the chance to make music with her, especially with orchestras of that caliber. What keeps people like Liza and Bernadette going? I cannot presume to know them intimately, but it seems performing and entertaining is what they know, what they have spent their lives doing. Not to do it would be like not eating, it is what keeps their internal gears running smoothly.”
Asked what advice he’ll offer to aspiring performers, Nate replied: “I honestly believe we all get a shot at making it. The biggest thing is knowing what you want, even if it’s pie in the sky, even if it’s ‘I want to be the lead in a Broadway musical,’ or ‘I want to sing at the Met in ten years.’ Go for it!”