Blog – andrewsellon.com

Remembering Costume Designer Michael McDonald

A life in the theatre is very much like a Dickens novel. People come into your life and go out again. Sometimes they reappear in a later chapter. Sometimes they are written out of the story far too soon. That was the case with the recent passing of talented costume designer and delightful soul Michael McDonald. It’s not that Michael and I were close friends. I met him in 2014 when he costumed me for the 30th Anniversary production of The Foreigner at the Maltz Jupiter Theatre, and I was thrilled to be reunited with him a couple of years later when he did costumes for the Cheers Live on Stage national tour. I always hoped to do more shows with him. His larger-than-life personality, infectious laugh, obsession with details, and commitment to character all made him unforgettable. Between gigs Michael and I remained in touch on social media to share our (frequently horrified) impressions of current theatrical events.

Michael was from Allentown, PA, like my dear friend Annmaria Mazzini, who first worked with Michael at Muhlenberg college when she was only 16, dancing in a production where Michael was both costuming and playing a role! He always spoke fondly of his many years designing there for a host of productions.

And of course he went on to have a wonderful career on Broadway and in regional theatres around the country, including many years at The Public Theater, and earning Tony and Drama Desk nominations for his truly magnificent designs for the 2009 revival of Hair.

Annmaria and I went to the beautiful celebration of Michael’s life and career at the Public the other night. There were many hysterical stories (Michael had a rapier wit and never minced words!), some lovely music provided by some of the cast members of the 2009 Hair, more than a few tears, and a lot of love. I was sorry that no actors were invited to speak, as any one of us could have added another perspective to Michael’s gifts as a designer: we actors always felt respected and heard and loved in his presence. He collaborated. He dished. The fact that a theatre full of people gathered in his name months after his passing to celebrate him says it all. You didn’t have to know him well to respect, admire, and love him. His passing is also a reminder to me as I grow older myself that nothing is guaranteed and every day is a gift. And every human being you meet in this challenging business is a potential kindred spirit and lifelong friend.

I’m grateful I was lucky enough to spend some of those days working (and laughing) with Michael McDonald. I raise a virtual toast to his memory. He will be missed by many. ❤️

Luke McDonough of the Public Theater pays tribute

A Rave Review for my Narration of “Nobody’s Fool”!

Thank you to Andy Paris at Voiceworks Audio, where I do a lot of my audiobook narrating, for sharing this rave review from AudioFile for my work on the fascinating book Nobody’s Fool by Daniel Simons and Christopher Chabris. The world needs a good book on identifying and avoiding scammers and con artists. It should be required reading before any election.

If you’re in the mood for a lively book that gives practical advice using truly amazing (and entertaining) real-world examples, I encourage you to give Nobody’s Fool a listen. It’s available at all your favorite audiobook retailers. Enjoy!

Broadway World Interview: Playing Hercule Poirot!

Gosh, I meant to share this while the production was running, but that train schedule kept me mighty busy. Still, if you want to know more about my lifelong love of Hercule Poirot and about this stunning production, here’s a link. We currently have two producers interested in a possible tour. Stay tuned and keep your fingers crossed!

Broadway World Interview: Playing Poirot in Murder on the Orient Express

Andrew Sellon as Hercule Poirot in Agatha Christie’s Murder on the Orient Express. Photo by Jim Cox.

Murder on the Orient Express Breaks Records at Old Globe!

“And so the case was over at last, and the passengers went their separate ways….”

It’s hard to believe our incredible train ride has already come to an end. After our initial four-week run, we were extended two more weeks due to demand for a total of six weeks, and we sold out every performance of this extraordinary theatrical production, with roaring standing ovations at the end of each performance. There is now interest from a couple of producers about a possible tour! I hope it happens; I want as many people as possible to see this terrifically entertaining piece of stage magic. I’m not ready to be done with Monsieur Poirot or this gorgeous production.

My heartfelt thanks again to our brilliant director Peter Amster, who took Ken Ludwig’s smart and highly entertaining adaptation and added another layer of emotional resonance that took the storytelling to another level that left audiences deeply moved. Peter and I truly dug even deeper this time (we did it together at the Maltz Jupiter Theatre in autumn of 2023), and our entire amazing cast matched us at every step. And all our hard work paid off: our production of Murder on the Orient Express became the best-selling non-musical in the Old Globe’s almost 90-year history! That simply blows my mind. Thank you to Barry Edelstein and Kim Heil for welcoming me to their spectacular theatre and for trusting Peter’s judgment in hiring me as his Poirot, and my deepest thanks to everyone onstage, backstage, and in the office at the Old Globe as well for being an absolute joy to work with start to finish. What a lovely company of talented humans we had! I certainly hope to return to the Old Globe sometime soon in another production.

Here’s a look at the sizzle reel created by the Old Globe’s Marketing Department:

This was one for the books. And I hope I will don my signature mustache and ride this train again soon! For now, I will just say au revoir!

To all the family and friends who came to see the show (some traveling from other parts of the country!): THANK YOU!! Your support and encouragement mean the world to me. It was a joy sharing this wonderful production with you all. ❤️🙏

Murder On The Orient Express at The Old Globe!

Catching up here; been busy onstage! Somehow we are already halfway through the run of this amazing production and this is my first post. I am so honored and grateful that Peter Amster once again asked me to be his Hercule Poirot in this absolutely stunning production. And I am grateful to Artistic Director Barry Edelstein and everyone at The Old Globe for giving me such a warm welcome.

Peter’s direction is simply incredible, equally masterful at the subtle and broad comic moments, as well as the serious and moving moments he brings out of Ken Ludwig’s wonderful adaptation thanks to a simple and stunning coup de theatre not found in the script that he introduces at the end of the play. It elevates the storytelling to a whole new level, and has left audiences deeply moved. You will not see this element in any other production of this play. And the design work from all involved is simply the finest I have ever encountered in my career. This production is simply gorgeous. The acting ensemble is a true team; we are there for each other every night, every moment, and the audience feels our commitment to each other and to the story.

So far every performance has sold out, and the thunderous standing ovations at the end of each show are both thrilling and humbling. The critics have been similarly enthusiastic. This is one of those rare productions where everything has fallen into place to create remarkable live theatre storytelling.

We have now been extended twice due to demand for tickets, but we must close on October 20th. If you are anywhere near the San Diego area, I urge you to buy a ticket for this production. I am so grateful to have had friends flying in from all over the country to see it; every one of them has said it was well worth the trip. In this production Peter and I dug even deeper into Poirot’s moral/personal crisis than we did in our prior production together, and the results are resonating with our audiences. I would love to share this production with you. If you are coming, let me know so I can say hi afterwards!

Andrew Sellon MURDER ON THE ORIENT EXPRESS Review Sheet Download

And here are some images from Opening Night and the Old Globe Gala! I was so grateful to have my husband Tim and sister-in-law Peg in the audience for our fabulous opening!

New Audiobook: Is Your Work Worth It?

I’m late posting, but this fascinating audiobook is now available from Hachette Audio through Audible, Amazon, and your other favorite audiobook retailers. Authors Christopher Wong Michaelson and Jennifer Tosti-Kharas combine their areas of expertise (philosophy and psychology, respectively) to take a deep and thoughtful look at how we can re-evaluate the place of work in our daily lives. Drawing on lessons learned from 9/11 to Covid, and without claiming to have all the answers, they invite you to take a look at your life and your priorities, and ask yourself Is Your Work Worth It? Christopher and Jennifer narrate the Preface and the last few pages themselves, as this is a deeply personal work for both of them. And I was honored they chose me to represent them for the rest of the book. That they are so pleased with my narration is the cherry on top of the sundae. If you listen and enjoy it, please do leave a positive review on Audible and Amazon: it really helps other listeners find the audiobook! Thanks.

Recording a New Audiobook for Hachette!

I’m excited to share that next week I’m going back into the studio to record another interesting audiobook, on a topic that just happens to really resonate with me. I’ll tell you more when I can!

Thanks as always to Andy Paris and his team at Voiceworks Audio. I’m looking forward to being back in the audiobook saddle!

More Images From a Spectacular “Murder on the Orient Express”

This is a gratitude post, and a chance to share some more images from the truly spectacular production of Ken Ludwig’s adaptation of Agatha Christie’s classic mystery Murder on the Orient Express at the beautiful Maltz Jupiter Theatre last fall.

As a teen, I read ALL the Hercule Poirot novels. In some ways, I felt I’d found a soulmate. I so admired his passion for truth and try to pursue it in my acting. I will forever be grateful to Producing Artistic Director Andrew Kato at the @maltzjupitertheatre and brilliant director Peter Amster for the opportunity to play my hero in a truly stunning production last fall. I hope my journey with M. Poirot is not yet over, but I wanted to take a moment to reflect on my gratitude and share some more images. This was one for the books. ❤️ #MurderOnTheOrientExpress #AgathaChristie 📷: @benjaminrusnak

2023: The Year of Big Hats and Big Drama!

Wow, 2023 was a remarkable year career-wise. Around the lengthy SAG-AFTRA strike (I spent a lot of time on the picket lines when not working!), I was flat-out offered four truly wonderful projects that brought me a lot of exciting challenges and rewards as an actor, and the joy of meeting a lot of wonderful new performers while also reuniting with old friends. I’m grateful for each and every moment of it all. In between all that, I recorded another audiobook, too!

As you can see from the photo below, 2023 was a year of big hats and big drama. My projects included:

R.E.S.T.—I played multiple versions of my leading character Sylvester in this super cool pilot for a sci-fi series shot entirely in 360 degree VR for brilliant writer/director/producer Charles Huddleston, with dear friend Michele Martin and an all-round fabulous cast.

Arsenic and Old Lace—Playing hapless Dr. Einstein at venerable Barnstormers was an unexpected treat and an absolute joy. I had heard about Barnstormers since my time in high school in New England; what a magical place it is! And being directed by old friend Clayton Phillips only made it even better. To top it all off, I received a Broadway World Awards nomination for Best Supporting Actor in a Play! So grateful.

Romeo and Juliet—Playing Friar Laurence in our COVID-delayed production was a long time coming, and worth the wait. What a wonderful cast and production, all helmed by the amazing Sean Hagerty of The Curtain theatre company (formerly Shakespeare@). It was a hit with critics and audiences alike.

Murder on the Orient Express—This one really was a dream come true: finally playing Hercule Poirot, directed by my amazing friend Peter Amster, at my beloved Maltz Jupiter Theatre, in the most physically stunning production of my career to date. And a sold out run, which the theatre hadn’t had since before lockdown. A huge thank you to Peter and to Producing Artistic Director Andrew Kato for entrusting this production to me.

I don’t know what acting gigs will come my way in 2024, but I can share that I’m hard at work on a number of my own writing projects and am insanely excited about them: a 12-character LGBTQ rethinking of Shakespeare’s Twelfth Night, and a new 5-character musical for which I wrote not just book and lyrics but music too! And I’m prepping to write another solo show very dear to my heart this April. I’ll share more when I can. In the meantime, happy new year! ❤️

All Aboard This Stunning Murder on the Orient Express!

As someone who devoured Agatha Christie’s novels when I was a teen, I’m still pinching myself that at last I have stepped into the stylish shoes of her legendary Belgian detective Hercule Poirot to star in Ken Ludwig’s adaptation of Dame Christie’s masterpiece Murder on the Orient Express at the gloriously expanded Maltz Jupiter Theatre. It’s a dream come true for me.

This is my fifth show at the Maltz Jupiter Theatre, and my second there directed by the brilliant Peter Amster (we did The 39 Steps together here in 2011). It’s a dream production in every sense: Peter’s uncanny ability to balance (as he calls it) “schtick and stakes” creates a production that allows Ken Ludwig’s humor to pepper the proceedings while never losing sight of the very real tragedy that lies underneath the story (which was inspired by the kidnapping of the Lindbergh baby). The design elements are nothing less than cinematic and truly breathtaking; it’s the most visually stunning production I have ever been part of during my long career. The cast is fabulous start to finish. And Peter’s production ends with a quiet visual coup de theatre that is leaving audiences both haunted and moved. I am confident Dame Christie would have approved.

We have been playing at 91% capacity every night, and have only one week of performances left. I can’t tell you how sorry I will be to see this magnificent and moving production close on 11/12, and to give up my signature Poirot mustache—for now. But I will relish every single moment on board this stunning Orient Express. If you are anywhere near the Jupiter, FL area: you really don’t want to miss this thrilling ride.

Set Design: Paul Tate DePoo III
Costume Design: Tracy Dorman
Lighting Design: James Lawlor
Sound Design: Mathew Parker
Projections: Greg Emetaz
Original Score: Gregg Coffin
Assistant Director: Creg Sclavi

Photos: Benjamin Rusnak and Jason Nuttle