REFERENCES

“Jonathan Cerullo is an excellent citizen of the theatre. I hired him first as a professional dancer in my production of The Chocolate Soldier at Goodspeed Opera and happily watched his transition into a director and choreographer. As the Executive Vice President of SDC (Stage Directors & Choreographers Society), I know Jonathan to be a deeply committed and involved union member—supporting both SDC and its Foundation. Recently he served on the Off Broadway Negotiating and Board of Directors Nominating Committees. Also, he and I together created a video tribute to George Abbott. This piece was shown first at the most recent Mr. Abbott Awards and is to be used as an educational tool to expand the legacy of SDC’s founders. Jonathan was a strong contributor to this piece. For that and in general, I heartily recommend him.”

February 4, 2012

Larry Carpenter, Executive Vice President, SDC: Stage Directors & Choreographers Society

“I've had the pleasure of meeting with Jonathan to discuss a couple of projects of my own including a musical that draws inspiration from the commedia dell'arte. Jonathan is informed, articulate and perceptive regarding all dimensions of theatrical performance. Intuitive and creative, he is adept at visualizing how best to transform abstract written concepts into delightful physical expression on stage yet respectful of the author's intent. I would feel fortunate if I would have the opportunity of working with him.”

February 2, 2012

Carolyn Balducci, Freelance writer

“Mr. Jonathan Cerullo entrusted me with the part of Strindberg in a biographical adaptation based on August Strindberg, which Mr. Cerullo wrote and directed. As rehearsals progressed, it quickly became apparent that he possessed a skill, experience, knowledge, intuition and enthusiasm that has little competition. It was an absolute pleasure to work with him. It was also one of my theatrical career's highlights. Since then, we have worked on other projects, always with similar results. Mr. Cerullo is a one and only.”

February 1, 2012

William Beckwith, Dramatic Broadway and Film Actor

“Jonathan was one of the featured performers in the CATS touring company when I was its Company Manager. He has since moved on into directing and choreographing and I am currently collaborating with him on an upcoming production, of which he is the co-playwright. He is devoted and very talented and an asset to the entertainment profession. I highly recommend him.”

February 1, 2012

Brian Liddicoat, Company Manager, CATS National Touring Company 1986-87

“Jonathan does his homework. He researches in detail before approaching the work and comes prepared. I recommend him highly. Great Results, Good Value, Creative.

February 1, 2012

Paul Binder, Founder Big Apple Circus

I cannot recommend Jonathan highly enough. I found him to be patient, creative, and fun to work with, encouraging, knowledgeable, and talented.  It was a privilege to dance for him, and I would leap at the chance to work with him again.

Deborah Yates

2000 TONY Nominee

Best Featured Actress in a Musical

Girl in the Yellow Dress

CONTACT

November 29, 2006

From: John Carrafa

Re: Jonathan Cerullo

Remember the Equity Library Theater?  One of the first jobs I had in New York was to choreograph an ELT production of GIGI, directed by Gerard Allesandrini and starring Bob Cuccioli as Gaston! Those were the days.  But enough about good times. I’m writing because a young actor in that production, Jonathan Cerullo happened to also choreograph a musical number known at ELT as “The Pitch.”  “The Pitch” you may remember, was a production number performed at intermission of every ELT show in which the entire cast sang and asked the audience to “pass the hat.”  What I remember from that production was – “Damn! The choreography for “The Pitch” is better than the choreography for the show!  I knew I’d be seeing more of Jonathan, because he had an innate sense of classic musical theatre choreography and a great way of working with actors. It seemed to me he had the goods. He’s a great guy and a terrific choreographer.

John Carrafa

JOHN CARRAFA: Broadway credits include, Good Vibrations, Dance of the Vampires, Into the Woods [Revival], Urinetown, Dirty Blonde, Love! Valour! Compassion! Nominated for a 2002 Tony Award^® for Best Choreography Urinetown and Into the Woods as well as a 2001 Drama Desk Award Outstanding Choreography Urinetown.

Dear Jonathan,

Congratulations on a great evening …Your expertise made the rhythm a success! … it was perfect.

Truly,

Jacqulyn Buglisi

Executive Director

Buglisi Dance Theatre

Threshold Dance Projects, Inc., and Buglisi Dance Theatre, will be recognized globally as a flag bearer of American Contemporary Dance through the innovative choreography of its founding directors, performance excellence, worldwide collaborations, touring, and educational outreach.

Barry Harman

Fort Lauderdale, FL

November 14, 2004

It is my pleasure to recommend Jonathan Cerullo.

       I am an author/lyricist and director (member of The Dramatists Guild and SSDC), with credits on Broadway (ROMANCE/ROMANCE) and off Broadway (OLYMPUS ON MY MIND). My credits as an Emmy winning TV writer range from prime time TV (THE CAROL BURNETT SHOW) to PBS (GREAT PERFORMANCES). For several years, I co-owned a small firm that produced and toured small, original musical shows and produced industrials around the country.

       I first met Jonathan Cerullo while working on a 50’s musical revue entitled HOW SWEET IT WAS, for which he was hired to assist the director. Because I seek out people who are bright, inventive, focused, prepared and able to work in a collaborative environment, I responded to Jonathan at once. I admired his sense of humor and implicit understanding of musical theater, plus how he encouraged the young performers - most of whom were appearing in their first Equity production. He clearly understood the style of the 50’s, and the director wisely relied on him to keep true to period.

       I recommended Jonathan for a subsequent job, as choreographer on a children’s theater production of a country-western version of Aesop’s Fables entitled FABLE COUNTRY. The show utilized a Story Theater approach to the fables, and while the director’s work was far from seamless, Jonathan’s numbers were all highlights. He got the style, the sly country western humor, as well as the pathos, and greatly enhanced the final product.

       For a million reasons – as happens in our business – our professional paths did not cross for some time. I got out of producing, busy with writing and directing various projects of my own and Jonathan moved on to other endeavors. The next time we saw each other, he was assisting Pat Birch on a musical at Circle in the Square.

       It was not until a year ago, while doing a production of a new musical at the Fringe Festival, that we had the chance to work together again. Jonathan was hired to choreograph a new piece, which involved actors playing several roles in a very involved and purposely convoluted plot. I was delighted to see that my early instincts about Jonathan’s sense of story, staging, character and style had really blossomed. He took several numbers, using mostly non-dancers, and turned each one into a delightful divertissement that added immeasurably to the impact of the piece. His choreography and musical staging was clear, organic, intelligent, endlessly inventive, always character-oriented, true to period (Victorian) and a joy to watch. One particular number, which covered a large period of time with endless plot permutations, went from being what I had considered a minor throwaway to one of the standouts of the entire show.

       All this was accomplished in the allotted rehearsal time of a week or so – meaning Jonathan had to be fully prepared, able to command an impressive cast and convey precisely what he intended to achieve, and yet not tax the performers with more than they could handle in so short a period. He handled the balance masterfully. He was also extremely helpful in seeing that characters remained true to period in their book scenes in terms of posture, deportment, handling of props and wearing of costumes. This last particularly impressed, because it reflected a great deal of research on his part and a desire to make the project work as a whole. In his passion, focus, and commitment, he often reminded me of another choreographer colleague – the late Chris Chadman.

       I know that Jonathan has done numerous other projects outside of New York, including staging a full circus production, all to great acclaim   I thought he was a talented man when I met him years ago; I think he is even more so now.

I believe many more in the industry would share my assessment if they became better acquainted with his talent. I recommend him highly, and without reservation.

Sincerely,

BARRY HARMAN

Barry Harman, has two Tony nominations, three Outer Critics Circle Awards, and three Drama Desk nominations. His works include Romance/Romance, Olympus On My Mind. For television he has won three prime time Emmy Awards and a Writer’s Guild Award. He started his career writing for All In The Family, The Jeffersons and The Carol Burnett Show.

I have known Jonathan Cerullo since he was about 16 years old. His devotion and commitment to the musical theater has only deepened and matured over the years and he is a terrific talent. I recently had the pleasure of working with him on a new musical project. He was called in to help us and from the moment he arrived in the rehearsal room, I felt relieved. He immediately set to establishing an improved working atmosphere and his enthusiasm and creativity were completely infectious. The cast of seasoned professionals rallied around him and we quickly began to get excellent work done. It was a joy to work with such a pro.

Grant Sturiale

Conductor / Music Director / Composer

Radio City Music Hall

Grant Sturiale: Outer Critics’ Circle Award Nomination; Olympus On My Mind, Composer; Kiki Baby at the Eugene O’Neill Theatre Festival, 10 years Conductor Radio City Music Hall, Assistant Conductor 2004 New York Philharmonic’s Candide

I am so happy to be able to assist such fabulous people in the industry like yourself and Deborah. You are the real heroes. You both are still out there entertaining, making people’s lives more enjoyable. I’m grateful that I am able to be a function in the process.

Best,

Phil LaDuca

LaDuca Shoes

I have known Jonathan for many years, first as an assistant to Pat Birch when I was musical directing (and co-starring, but this is not about me) in Cy Coleman's "Exactly Like You" up at Goodspeed. Many times, either when Pat came across a roadblock, (rare) or simply was unavailable during a day's rehearsal, Jonathan took over both as choreographer and director, without a bump. He immediately earned my respect, and that of those around us and in the cast, with his quick thinking, intelligent problem solving, and wry humor. He is inventive, personable, and pro-active.

He has recently been directing several readings and off Broadway showcases, and is destined to become a star faster than anyone will realize - now is the time to snag him as your own!

Sincerely,

Doug Katsaros

Composer  / Conductor

DOUG KATSAROS: has a lengthy theatre résumé that includes writing the opening theme and special material for the Tony Awards. For Broadway he conducted Footloose, vocal and dance arranged The Life, orchestrated The Rocky Horror Show, co-starred in and musical directed Cy Coleman’s Exactly Like You, starred as Berger in Hair, served as composer/lyricist for Jackie Mason’s Laughing Room Only. For Off-Broadway he composed and directed Abie’s Island Rose, composed Just So, co-composed and orchestrated A...My Name Is Alice and co-composed Hal Prince’s Diamonds. He has written the original symphonic and rock scores for the Macy’s NBC July 4th Fireworks Extravaganza since 2003, wrote a season of music for the Ringling Brothers Circus and was composer/lyricist/co-star in the Broadway Project for PBS. Mr. Katsaros co-hosted and musical directed VH-1’s Stand-Up Spotlight and was the subject of a documentary on TV Nation. His band Balance had 2 Billboard hits, and he has played keyboards, sung and orchestrated on CDs for Judy Collins, Donny Osmond, Cher*, Diane Schuur, Kiss*, Live*, Peter Frampton, Bon Jovi*, Gloria Estefan*, Sinéad O'Connor, Richie Havens, Peter, Paul & Mary, Raul DiBlasio, Frank Sinatra*, B. B. King and Todd Rundgren among others and arranged several tunes for Rod Stewart's American Songbook.* (* Platinum) Mr. Katsaros has scored and conducted 6 films, including Sandra Bullock’s Me and the Mob, Sarah Jessica Parker’s If Lucy Fell and the sci-fi classic Star Crystal, and has written thousands of TV themes and commercials including Elton John's "Diet Coke" spots, the new ABC Saturday Night Movie theme, Mancuso FBI, The Tick, The Jim Henson Hour and the immortal "By Mennen".

Montréal, Thursday November 11^th, 2004

Object: Mr. Jonathan Stuart Cerullo

To Whom It May Concern:

       I have co-conceived and directed four productions with the Big Apple Circus, as of 1999, working with various choreographers, namely Mr. Jonathan Stuart Cerullo, during our last production: Picturesque.

The creative process adopted by the Big Apple Circus is based on a theme inspiring and being developed in every given production. This method implies research on the various aspects of this theme, visual, musical and movement. The designers for set, costumes, lighting, the composer, and the choreographer are involved early in the development of the show submitting their specialties input in the content. This method demands team work involving creativity, flexibility, and quick-wittedness.

Then comes the rehearsals where, with all of our tools sharpened, we concretize our ideas. As we all know, we always confront those ideas with time, technical and budget limitations. Deadlines have to be met; problems have to be solved without compromising the artistic vision, which requires an energy consuming passion for the work.

Mister Cerullo’s work is one of a high professional level, exceeding my expectations in the process described above. His collaboration provided inspired choreography, delivered, with a commanding drive and a care for details, to a cast of acrobats with limited dance experience. He managed to improve by large the choreographic skills of our cast, making it an important part of the success of Picturesque.

Therefore, I would strongly recommend Mr. Cerullo. I am sure the profession will benefit from his remarkable artistic contribution.

With due respect,

Michel G. Barette

MICHEL G. Barette: A native of Montreal, Canada, Michel graduated from his hometown's Ahunstic Professional College with a degree in Cinema, which led him (not quite naturally) to study mime at Etienne Decroux's legendary school in Paris, and also trombone, voice and acrobatics in Montreal. He joined the original company of Cirque du Soleil in 1984, where he performed in its first two productions, before directing its third, Et la Magie continue (1989). Then Michel set up his own production company, Zakouski, which creates, produces and stages circus-related corporate shows in North-America and Europe. He has also conceived and staged several major events for the City of Montreal's 350th anniversary celebration; directed Variété, a circus-variety show at the Museum of Contemporary Arts in Montreal and the National Arts Center in Ottawa; staged a special circus and dance performance for the APEC meeting hosted by Canada's Prime Minister; and conceived and directed Cirque Parasol, a contemporary circus show in Vancouver. From 1991-96, Michel was artistic director of La Bourse Rideau, Quebec's annual entertainment showcase, and is programming consultant for Quebec City's International Summer Festival. Michel was also casting and technical adviser for Bolero, a show featuring circus performers with the Montreal Symphony Orchestra, and technical adviser for Life Without Zoe, part of Francis Ford Coppola's New York Stories. This is Michel's fourth collaboration with the Big Apple Circus: he co-wrote and directed Bello & Friends (1999), Big Top Doo-Wop (2001), and Dreams of a City (2002).

Evening at POPS

November 10, 2004

RE:  Jonathan Stuart Cerullo

I enthusiastically endorse Jonathan Cerullo.

We worked together in 2003 with the Boston Pops Orchestra when Grandma the Clown was invited to perform with the Pops for one of our PBS television specials. I am both the Ex. Producer and TV director for these programs.

Jonathan accepted the challenge of creating a Can Can from Offenbach’s, Orpheus in the Underworld Overture, for Grandma the Clown of The Big Apple Circus and some professional Can Can dancers. This was done to live orchestral accompaniment at Symphony Hall, Boston. The choreography and staging was excellently prepared for both a live audience and for camera. Rehearsal time was limited.

Jonathan skillfully and creatively captured Grandma’s special character as she learned and finally danced the Can Can with the professionals. More than that, Jonathan shaped a story for Grandma who finds herself at Symphony Hall about to take center stage with this very large orchestra. Jonathan’s clear direction and speedy work made this project possible.

Respectfully submitted,

William N. Cosel

Ex. Producer and Director

William Cosel has produced EVENING AT POPS for 30 years, capturing a new appeal for every year of performance. Cosel is a freelance producer-director with a rich history in prestigious events of culture. His experience includes: Andrea Bocelli: Sacred Arias from the Basilica of Santa Maria Sopra Minerva in Rome, Italy; In Performance at the White House hosted by James Naughton, with Patti LuPone, Brian Stokes Mitchell, and Jennifer Holliday; My Favorite Broadway: The Leading Ladies, a gala evening at Carnegie Hall hosted by Julie Andrews, featuring Liza Minnelli, Rosie O'Donnell, and the Rockettes; and The Three Tenors with Jose Carreras, Placido Domingo, and Luciano Pavarotti from Giant's Stadium.

Patricia Birch
To Whom It May Concern,

I am more than happy to write a letter supporting Jonathan Cerullo.

Jonathan has worked with me as an assistant, as an associate (choreographing full numbers in shows we have done together), and even as a producer. I know his independent work as well. There are many good choreographers out there. There  are, I feel, very few who really understand,  and know how to stage and make dances that are really appropriate for the demands of story telling in our musical theater world. Jonathan has that knowhow and is always ready to put show off and ego driven work aside in order to serve the project. He also knows how to get a big hand when called for.

What more can I say?

Sincerely yours,

Pat Birch

Sent via Email (hence no signature)

PATRICIA BIRCH (Director/Choreographer) has earned two Emmy Awards, four Tony nominations, Drama Desk, Billboard, Barrymore and MTV awards for work in all media. Most recent Broadway projects include Band in Berlin, the story of the Comedian Harmonists and Parade at Lincoln Center with Harold Prince, Alfred Uhry and Jason Robert Brown. In the past, choreography for original Broadway, Off-Broadway and Opera: You're A Good Man Charlie Brown, The Me Nobody Knows, Grease, A Little Night Music, Candide, Over Here, Pacific Overtures, They're Playing, Our Song, Gilda Radner Live from New York, Zont Suit, ROSA, Street Scene, The Mikado, The Cradle Will Rock, Happy End etc. Direction as well for: I Sent a letter to My Love (Melissa Manchester/Jeffrey Sweet), Really Rosie, (M. Sendak/Carole King) Raggedy Ann, Elvis, American Enterprise, Bernstein's Mass, What About Luv? (Jeffrey Sweet, Howard Marren, Susan Birkenhead) at York, The Snow Queen (Adrian Mitchell, Richard Peaslee) premiered at NYSTI and played London's Arts Theatre last season. Film: Grease, Grease II, The Wild Party, Roseland, Big, Awakenings, Working Girl, Sleeping With the Enemy, Stella, Billy Bathgate, First Wives Club, In and Out, etc. Videos: directed and choreographed for Cyndi Lauper, Rolling Stones, Carly Simon, etc. TV direction: Natalie Cole: Unforgettable; Celebrating Gershwin (Emmy awards for both); Dance in America, and the concertized On the Town, in collaboration with Michael Tilson Thomas with both London Symphony and San Francisco Philharmonic. Ms Birch spent six years staging numbers for Saturday Night Live, for stars including Gilda Radner, Steve Martin, Bill Murray, etc. Performance: Soloist with Martha Graham, revivals with Agnes DeMille, West Side Story (Broadway).

November 4, 2005

It is my great pleasure to recommend to you Jonathan Stuart Cerullo. Jonathan choreographed two productions of the Big Apple Circus, in 2003 Carnevale and in 2004 Picturesque. Each production was unique and required imagination, creativity, and preparation. Jonathan took the challenge in both cases and brought his intensive research early in the process which allowed us to imagine the shows in far greater context than otherwise would have.

In the rehearsal process his prodigious energy was vital. He has a knack for creating vignettes through movement. He brings a demand for precision and a very supportive attitude to the performers with whom he works. He has my enthusiastic recommendation.

Paul Binder: Born and raised in Brooklyn he graduated from Dartmouth College and earned an M.B.A. at Columbia University. While at Dartmouth, he worked as an actor with the Dartmouth Players and the Hopkins Center Repertory Theatre, an experience that led him to start his professional career in an environment closer to show business than corporate finance. Paul worked at WGBH-TV in Boston (stage-managing for Julia Child's "The French Chef"), and as a talent coordinator for Merv Griffin, before heading West and learning juggling with the San Francisco Mime Troupe — where Paul met Michael Christensen. Together, they traveled through Europe and earned their living by juggling on street corners. Their act landed them on the legendary stage of the Casino de Paris, on French television and, eventually, in the ring of Annie Fratellini's Nouveau Cirque de Paris. Paul returned to New York with a dream — to create an American circus with the same dedication to theatrical excellence and artistic intimacy that he and Michael had experienced in Europe. He found the people who would share his dream and implement his vision and, in 1977, the Big Apple Circus was born. Paul has received Honorary Doctorate Degrees in Fine Arts from his alma mater, Dartmouth, the Pratt Institute, and Rhode Island College, and an Honorary Doctorate of Humane Letters from Long Island University; and he has been designated a Living New York Landmark by the New York Landmarks Conservancy.

Peter Howard

New York City

October 26, 2001

I have known Jonathan and worked with him for eight years during which time he has shown remarkable choreographic talent. His ability to teach and communicate with professional dancers is excellent and the work we did with a program called Singers On Stage was remarkable.

In addition, he has wonderful dance vocabulary learned over the years and readily available when he has been called upon to create new dance projects.

As someone who has been involved with numerous choreographers involved with Broadway shows I can clearly see that Jonathan should be given every opportunity to fulfill the talent he has shown thus far.

Very Truly Yours,

Peter Howard

PETER HOWARD: Dance Music Arranger Composing, conducting, arranging or pianist credits include My Fair Lady, The Sound Of Music, Carnival, Hello, Dolly!, 1776, Chicago, Annie, Barnum, Baby, My One and Only, Crazy For You and Swingin' on a Star. Film: Indiana Jones and the Temple of Doom, Zelig, 1776, Mame, Annie, and Stepping Out. He performs his one-man show throughout the United States.