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    The CultureMap Interview

    Glee star jets into Houston for the Symphony's Centennial Ball, dishes on his wedding & lucky boots

    Joel Luks
    May 16, 2014 | 12:04 pm

    There was a time when the name of Glee character Will Schuester was more familiar to the public than the actor who portrayed him. Perhaps for some that's still the case. But you really can't blame anyone for that.

    Whether it's because viewers strongly relate to having one educator who helped shape their identities or because they wished they had such a positive role model in their lives, Mr. Schue is an archetype who inspires fans to follow their dreams.

    But the man who plays Mr. Schue is more than a symbol. Actor, dancer, musician and singer-songwriter Matthew Morrison is slated to headline the Houston Symphony's "Centennial Ball," scheduled for Saturday at Jones Hall. The fundraiser, chaired by Cora Sue and Harry Mach and Joella and Steven Mach, is a white-tie event that celebrates the curtain call of the orchestra's 100th anniversary season.

    Ahead of the glitzy musicale, CultureMap chatted with Morrison over the phone to learn more about his journey in show biz.

    CultureMap: We love Mr. Schue because he reminds us of that one high school teacher who really believed in us. Curious, did you have a role model like Mr. Schue growing up?

    Matthew Morrison: I actually did. My teacher, his name was Mr. Doran, was my ninth grade English teacher. He's an enthusiastic guy — I don't know if he taught me how to use a comma — but you couldn't help being captivated by him. He owned the room, had an infectious attitude and you could tell he loved teaching, and that's why he made you love being a student in his class. He made you feel like you wanted to be there because he obviously wanted to be there.

    I went to his classroom one day after I got Glee and said to him, "I am basing a lot of my character on you, and I would like to take something from your classroom to bring into my choir room." It's in probably almost every episode of Glee when you see the choir room. It's a porcelain wiener dog, a plant holder or something, that we switch around and put in different places. It's my homage to Mr. Doran.

    CM: What's the most important value he imparted in you?

    I think what I learned most from Cory was the power of dedication. He was so dedicated to getting better every single day.

    MM: To enjoy live. That was in him. His thing was carpe diem, and that's something that was instilled in me.

    CM: I'd like to think that everyone with whom we cross paths influences us in someway. Cory Monteith's death was tragic, a loss that affected everyone. What did you learn from Cory?

    MM: When we started Glee, Cory was our biggest project. He was the person who we didn't know would work because he hadn't sung before professionally. He was kind of the question mark.

    I think what I learned most from Cory was the power of dedication. He was so dedicated to getting better every single day. Throughout the years, I, as someone who was with him everyday, saw that growth. As a viewer you saw that, too, in his character, in his performance. I was really proud of him.

    He would have been a lifelong friend for me. He was probably the person whom I was most close to in the show. It was a tragic loss — for everyone.

    CM: Do you have a favorite Glee episode or one you watch the most?

    MM: I think I watch the pilot episode more than others probably because it was the first one out. You see a script, and we thought it was a good script, but we didn't know what it was going to evolve into. After a couple of screenings, we would get together at someone's house and watch it. We would take a dinner break and watch it again. We couldn't believe how it turned out. It was so amazing and beautiful. It really set the tone for the rest of the series.

    CM: How did you land the part of Mr. Schue in the first place?

    MM: I was doing South Pacific on Broadway at the time, and I just put myself on tape. The producer saw it, they auditioned me in New York and I guess they really liked me. They flew me out to Los Angeles and I got the part. Luckily, South Pacific was good enough to let me out for a month to shoot the pilot. And that's how it happened.

    I try to emulate the classic look of Frank Sinatra, Gene Kelly and Sammy Davis.

    CM: I hear there was lucky footwear involved. Is that true?

    MM: Ryan Murphy (Glee co-creator) is really into fashion. He was admiring my boots, a pair of beat up old motorcycle boots that he just absolutely loved. When I came into the audition, it wasn't about me. It was about the boots. We had a 15 minute conversation before I even got to audition.

    CM: For your shows, you seem to pull off the classic look of the 1960s. Where do you shop?

    MM: I do classic American standards. So I try to emulate the classic look of Frank Sinatra, Gene Kelly and Sammy Davis. Those are the people that I look to for style, but I put my own twist on it and modernize it with a bow tie or a little accessory that changes a whole outfit.

    For my shows, I love Brooks Brothers. They've been around for a long time; they were around in that period. It's a classic American company. Especially in the past two years, because they did the Great Gatsby movie, they have many great pieces.

    CM: From your albums and singles, what's the song that has the most personal meaning for you?

    MM: There's a song called "My Name." It's a very personal song that I wrote with this English guy named Eg White. The song represents what I was going through at the time. It was a time when I would walk down the street and people would yell, "Mr. Schue, Mr. Schue!" That's how people identified me. No one really knew my name.

    CM: Are wedding plans still on for next year? Where are you and Renee Puente getting married?

    MM: They sure are. We've had a great time doing it, too. You hear all these horror stories about wedding planning, but we have this great wedding planer, his name is Kevin Covey. He's done a lot of weddings nationally and he's someone who's made life really easy for us. It's going to be a very small wedding in Hawaii.

    I wanted to take a departure from Mr. Schuester. He's a dark character, a guy who's been running away from life.

    CM: I hear you're about to start filming a new movie?

    MM: That is true! It's called After the Reality. It's a script that I came across and I wanted to do it. I decided to executive produce it as well as star in it. It's a great indie flick. I've put a lot of work into reworking scenes.

    For my role, I wanted to take a departure from Mr. Schuester. He's a dark character, a guy who's been running away from life. He and his sister, who's played by a great actress, Sarah Chalke, they are dealing with the death of their father so they have to come back home and rekindle things with their family. It's a great movie with a lot of twists and turns. We've assembled a great cast so expect a lot of fun cameos in it.

    CM: What do you have planned for your Houston Symphony performance?

    MM: I will be finishing up a long day on Friday with the movie and flying just in time for Saturday. I am excited also because Steven Reineke is conducting. He's someone with whom I just worked a couple of weeks ago for my Carnegie Hall debut. He's a fantastic conductor. He's already familiar with a lot of my songs, but I am going to throw in a few new songs that I haven't done before as well.

    CM: Have you been to Houston before?

    MM: My dad and I took a road trip years ago from New York to California. We drove through Houston but didn't stop there. Unfortunately I have to fly in and fly out.

    CM: If you can, get in some barbecue while you are here.

    MM: I will do that. Sounds like a great plan.

    ___

    Matthew Morrison will star in the Houston Symphony's Centennial Ball, set for 6 p.m. Saturday at Jones Hall. Individual tickets start at $3,000 and be purchased by calling 713-238-1485 or by emailing specialevents@houstonsymphony.org. Doors to Jones Hall open at 6 p.m.; the performance begins at 7 p.m., with no late seating. An after party starts at 10:30 p.m.

    Actor, dancer, musician and singer-songwriter Matthew Morrison is better known as Will Schuester from Glee.

    Matthew Morrison
    Courtesy of the artist
    Actor, dancer, musician and singer-songwriter Matthew Morrison is better known as Will Schuester from Glee.
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    fall theater preview

    Sneak peek at the 2026 fall performance slates for 15 Houston companies

    Tarra Gaines
    Aug 18, 2026 | 1:00 pm
    Theatre Under the Stars presents The Music Man
    Photo courtesy of Theatre Under the Stars
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    For theater and performing arts lovers, late summer is the most wonderful time of the year, as stage companies across the city begin their new 2026-2027 seasons. But before the curtains rise, most of those companies also give us the gift of Houston Theater Week and all those buy-one-get-one-free discounts.

    To get ready, CultureMap has put together this fall theater guide with the opening shows and dates for each company, as well as taking an early look at what the rest of the fall and holidays will bring. So grab those discounted tickets for a fall filled with blockbuster musicals, dramas, comedies, as well as lots of classics and audience favorites.

    A.D. Players opens with Holly Street (August 19)
    The spiritual and family friendly theater company began its season a bit early with a poignant world premiere set in small town Kentucky in the 1940s after World War II. Holly Street tells the story of two sisters at Christmas time and two unexpected guests.

    The company takes a break for a month and then offers one of the funniest, yet heartwarming holiday plays for all ages withThe Best Christmas Pageant Ever, the beloved comedy about a children’s play that goes wrong.

    Houston Ballet opens with Pecos Bill (September 11)
    HB says howdy to a great fall season with a mixed rep program that holds something for all dance tastes. The performance includes Stanton Welch’s rollicking ballet version of cowboy folklore, Pecos Bill’s adventures. Performances also feature George Balanchine’s elegant and dynamic Symphonie Concertante, and an HB debut, Meadow, a work by celebrated choreographer Lar Lubovitch.

    For the first full story ballet of the fall (September 24), HB brings the opulence of Sir Kenneth MacMillan’s now classic and tragic Mamon, the doomed love story between an irresistibly beautiful femme fatale and impoverished student. Of course, in November, it wouldn’t be the holidays without Stanton Welch’s version of The Nutcracker Ballet that brings the story’s focus back to the adventurous Clara.

    4th Wall Theatre opens with Proof (September 11)
    The first of several Pulitzer Prize-winning plays produced this season comes from this intimate stage. Playwright David Auburn’s Proof is the story of the daughter of a genius mathematician who might have inherited both his aptitude for math and his mental instability. The play travels back and forth through the present and past to study the formulas of family, loss, and love

    Over the years, 4th Wall has produced several wild and moving adaptations of Jane Austen novels. This year, it will present Are the Bennet Girls Ok? This new version of the Pride and Prejudice story, that had a recent Off-Broadway debut to much critical praise, tells the Bennet girls’ marriage quests from their mother’s point of view.

    Main Street Theater opens with Cold War Choir Practice (September 12)
    Also earning lots of recent off-Broadway buzz, this genre-defying comedy with music is one of the most intriguing picks for the fall. In Reagan’s America, a young girl is embroiled in intrigue when her estranged uncle, a prominent Black conservative, brings his mysteriously ill, white wife home for the holidays and forces long-simmering tensions within the family to boil.

    From Victorian England to a fast food joint, theaters across the world and certainly in Houston have put Dickens’s Christmas Carol into a multitude of settings. For the holidays, MST invites Houstonians to a Dublin pub for An Irish Carol, where rich owner David has lost touch with his own humanity in the interest of self-protection and material success. Now on Christmas Eve, a voice from the past will ask David to look at his relationships in the past, present, and possible future to perhaps change his life for the better.

    Theatre Under the Stars opens presenting The Music Man (September 15)
    TUTS changes its usual mix of more self-produced shows than touring shows, leaning in on presenting this season. The season begins with this classic musical comedy about a charming con man who gets conned himself by small town sincerity and love.

    The touring hits continue in October with Mrs. Doubtfire, the musical based on the Robin Williams comedy about a divorced man who disguises himself as a British nanny to take care of his kids. Then for the holidays, TUTS brings back its own leviathan-sized production of Disney’s The Little Mermaid for under the sea family fun with a cast filled with Houston singing sensations, including students from the TUTS schools.

    Rec Room opens with Amadeus (September 17)
    The east-ish downtown theater company decided to take some time off after last year's productions of Angels in American to switch from a calendar year season to the traditional fall/spring season that most Houston companies use. Now they’re back and celebrating their 10 year anniversary with plays Houstonians haven’t seen in quite a while, or ever, on a local professional stage. The season begins with the now classic 20th century play about the (mostly one-sided) rivalry between composers Antonio Salieri and Wolfgang Amadeus Mozart, and its exploration of jealousy and the nature of genius.

    For the ultimate holiday show counter programming, Rec Room will produce a new adaptation of Nobel Prize-winning Italian playwright Dario Fo’s The Accidental Death of an Anarchist. It’s Christmas time at the police station, as Rec Room reimagines Fo’s groundbreaking political farce of the 1970s as a contemporary American satire infused with detective noir, Cold War paranoia, and sharp absurdity.

    Ensemble Theatre opens with Purpose (September 18)
    Ensemble celebrates its 50th season with this recent Best Play Tony and Pulitzer Prize winner by Brandon Jacobs-Jenkins about a prominent and political Black family, the Jenkins. While the patriarch was a leader in the Civil Rights movement, the adult sons are having trouble living up to their father’s legacy. Generational aspirations come to a comic clash for one particularly awkward but purposeful family dinner.

    For the holidays, the company brings back an audience favorite, the joyful and soulful A Motown Christmas, which melds Motown hits and choreography with traditional holiday classics.

    Stages opens with Come From Away (September 19)
    Based on the true story, this poignant and hopeful musical tells the story of a small town in Newfoundland that rallied together to host thousands of stranded international travelers after planes were grounded September 11, 2001. It’s been a few years since Come From Away toured nationally, so Houstonians are definitely looking forward to seeing Stages begin its season with an intimate and homegrown production.

    In October, Stages jumps from a musical with a large cast of characters to The Roommate, the Jen Silverman comedy about two 50-something women with very different personalities and life experiences who begin living together. For the holidays, it brings back another audience favorite with all the music, fun, and wild plots found in The Great American Trailer Park Christmas Musical.

    Alley Theatre opens fall with Romeo and Juliet (September 25)
    While technically the thrilling Girl on the Train began its 26-27 season, the Alley heats up the fall with the play that originated the term star-crossed lovers and is arguably the greatest romantic tragedy in literature. The entire resident acting company will take the stage in Shakespeare’s wrenching tale of young lovers crushed between their warring families.

    In October, the Alley leaps from a classic of world literature to a world premiere satire with Uhuru. This play explores very contemporary themes of access and identity as it follows a group of climbers up Mount Kilimanjaro. Uhuru was developed as part of the Alley All New play reading season. For the holidays, look for both Alley artistic director, Rob Melrose’s, lovely adaptation of A Christmas Carol as well as its very contemporary Texas version of The Night Shift Before Christmas.

    Broadway at the Hobby Center opens with The Sound of Music (September 29)
    Musical lovers might want to see if the Hobby Center will rent a room this fall, because the TUTS and Broadway combined schedules will fill Sarofim Hall with the sound of music almost every week, including the actual Sound of Music. One of the most beloved musicals of all time, Richard Rodgers and Oscar Hammerstein’s story of the von Trapp family and the woman who brought music into their lives tours the country again with new direction from three-time Tony Award winner Jack O’Brien (Hairspray).

    Then, just in time for spooky season, the ghost-est with the mostest, the irrepressible Beetlejuice, returns to haunt Houston after being a surprising comic hit a few seasons ago. Then, the Tony Award-winning Buena Vista Social Club arrives. Depicting the backstage story of the Grammy-winning album of the same name, the show transports audiences into the heart of Cuba, beyond the glitz of the Tropicana into the soul of the music.

    Houston Grand Opera opens with Susannah (October 23)
    Continuing its centenary celebration for the great American composer Carlisle Floyd, HGO opens its season with this tragic beauty of an opera inspired by Floyd’s childhood as a minister’s son. With a score infused with revival hymns and Appalachian folksong, the opera depicts life in a small Tennessee town and the gossip, judgement, and hypocrisy that leads to the ruin of one innocent woman.

    HGO elevates spooky season with upGounod’s masterpiece Faust in late October. This production from acclaimed Scottish director David McVicar reimagines Faust as a tormented composer in Belle Époque Paris, before making a deal with the devil for youth and earthly pleasures.

    Other fall debuts

    While it might only be producing one show this fall, Houstonians still have these plays from some of the city's mid-sized and smaller companies on their must-see lists. In early September, Mildred’s Umbrella gets mad with Jen Silverman’s Collective Rage: A Play in 5 Betties, a sharp comedy with its synopsis in the title as it depicts the lives of five very different women all named Betty. The recently announced Catastrophic Theatre season scheduled the majority of its shows in 2027, but in September the company will revive Eugene Ionesco’s epic absurdest play, Rhinoceros, about a small town whose citizens begin to transform into a herd of giant horned mammals.

    In mid-October, Dirt Dogs presents one of those great dinner parties from hell plays with Donald Margulies’ Pulitzer Prize-winning Dinner with Friends about one couple’s divorce that leads their best friends to question their own marriages. Also in October, Classical Theatre opens its season with one of George Bernard Shaw’s wittiest works from his “Plays Pleasant” collection, Arms and the Man, about a young woman who has romanticized war until she decides to shelter a war-weary enemy soldier.

    Theatre Under the Stars presents The Music Man
    Photo courtesy of Theatre Under the Stars

    Theatre Under the Stars presents The Music Man

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