Artistic Director

Paul Hope, the Artistic Director for Bayou City Concert Musicals, is a native Houstonian and an Alley Theatre Company member, who has appeared on the Alley stages for 18 seasons in a wide range of roles, including Gavin in HOUSE AND GARDEN, Richard in HAY FEVER, Arthur in LOVE! VALOUR! COMPASSION!, Serge in ART, Miles Gloriosus in A FUNNY THING HAPPENED ON THE WAY TO THE FORUM, Malvolio in TWELFTH NIGHT, Barrymore in I HATE HAMLET, Frederick in NOISES OFF and Sgt. “Froggy” Le Seuer in THE FOREIGNER, among many others. His musical theatre roles include Rohna in GRAND HOTEL (with Cyd Charisse and Liliane Montevecchi) and Col.

Lockert in DODSWORTH (with Hal Linden), both at Casa Mañana in Fort Worth; and Beauregard in MAME (with Juliet Prowse), Bienstock in SUGAR (with Robert Morse), and M. Renaud in LA CAGE (with Lee Roy Reams) all at Theater Under the Stars. He has also performed as Steve Baker in SHOWBOAT (with Eddie Bracken) at Houston Grand Opera. As Artistic Director for BCCM, he has directed concert stagings of FOLLIES, FALSETTOS, A LITTLE NIGHT MUSIC, SHE LOVES ME, 70 GIRLS 70, ASSASSINS, FIORELLO!, SECRET GARDEN, PAL JOEY, ON THE TOWN, GENTLEMEN PREFER BLONDES and most recently, FINIAN’S RAINBOW.

Board of Directors

Noel B. Cowart, Chair
Linda Holter, Secretary
Lydia Baehr
R. Ray Battin, Ph.D.
Lisa Bunse
Jim Connor
Julie Cotton-Hearne
Jeffrey Hopkins
Willda S. Jackson
John S.W. Kellett
Sylvia Froman Thompson
Coleman Tucker
Susie Works

Sharon Williams, President/Executive Director, ex officio
Paul Hope, Artistic Director, ex officio

Major Milestones

Bayou City Concert Musicals has built a reputation for presenting quality musical theatre. BCCM’s production of FOLLIES was called a “stirring testament to the depth of talent found in the Bayou City” by Outsmart Magazine. Houston Chronicle critic Everett Evans called the 2005 production of ASSASSINS “darkly brilliant” and the Houston Press said the 2006 production of FIORELLO! was “a landslide victory for everyone.”

The 2008 production of PAL JOEY was equally well received. Houston Press critic D. L. Groover called the production an “unbeatable rendition of the classic 1940 show…it will be hard to forget.” Critic Everett Evans of the Houston Chronicle wrote “…the fabled but seldom-seen PAL JOEY was a blast for nostalgia buffs – snappy in dialogue, snazzy in song and dance.”

The 2009 production of ON THE TOWN drew the largest audience in BCCM’s history. More than 1,200 Houstonians attended the five performances in the 300-seat theater. The Houston Press said BCCM’s production “brought us as close as we’re probably going to get to what all the excitement was about” (referring to the original Broadway production). Critic Groover also wrote that Krissy Richmond gave this seminal work a coherent dance plot that actually kissed the score.”

About the 2010 production of GENTLEMEN PREFER BLONDES, Everett Evans of the Houston Chronicle commented: “Move over, diamonds, Bayou City Concert Musicals is the new best friend of GENTLEMEN PREFER BLONDES. It’s the sparkle of the cast, led by Carolyn Johnson’s innocently predatory Lorelei and Krissy Richmond’s vivacious Dorothy that sells the endeavor.”

The 2011 production of FINIAN’S RAINBOW received arguably the best reviews in BCCM’s short history. D.L. Groover in The Houston Press called the show “an absolute delight.” He wrote that BCCM’s production was “its own rainbow: rare, bright and magical to behold.” The Chronicle’s Everett Evans felt much the same way, calling the show “genuinely enchanted, and enchanting.” The only negative he found was “that the run is so brief.”

About Us

Inspired by New York’s City Center Encores, Bayou City Concert Musicals produces unabridged concert stagings of under-performed musicals for Houston audiences, while casting local professional actors and musicians in the performances. The concert musical form is unique, and BCCM is the only theatre group in Houston to perform exclusively in this concert musical format. We perform award-winning classic musicals that were produced on Broadway from the 1940s to the 1980s.

At a BCCM concert musical, audience members see a fully-staged and choreographed production of the original script. All performers are costumed and off-book. There are no elaborate sets. Chairs and small tables (and maybe an occasional ladder) simulate the settings with no loss of enjoyment by the audience. A full orchestra playing the original orchestrations is positioned on the stage behind the actors.

BCCM’s annual concert musical is performed at the Heinen Theatre on the central campus of the Houston Community College. The historic Heinen, which is listed on the National Registry of Historic Places, is a jewel of a theatre. Originally a synagogue, the Heinen accommodates 300 with exceptional sight lines and comfortable seats.

Audience members must use their imagination to “fill in” the scenery. This format allows the story, the music and the performances to shine. Many BCCM patrons have reported that they didn’t miss the sets; in fact, they found themselves even more drawn into the substance of the work.

Proceeds from the annual concert musical go to small local charities, usually those that support the local arts community. Currently, BCCM is supporting the Tim Harris Memorial Fund, a philanthropic arm of the Houston Professional Musicians Association. The Tim Harris Fund provides financial resources to local musicians who have suffered catastrophic illness or injury.

BCCM also presents two cabarets each year, one in February and another in May. Each cabaret is presented on three consecutive Monday evenings. The cabarets are performed at The Performance Centre at The Ensemble Theatre.
Each cabaret focuses on the music of a specific American composer.

BCCM is committed to casting only local Houston talent for both the concert musical and the cabarets. The talent pool in this city is exceptional, but local performers have little opportunity to perform in the masterworks of the American musical stage. BCCM provides that opportunity.



FOLLIES (2000)

“…a multi-faceted gem…sparkled with personality and talent. [Paul] Hope worked wonders adapting the ambitious show.” — Everett Evans, Houston Chronicle

“…as richly realized as any in recent memory. …stirring testament to the depth of talent found in the Bayou City, as well as their matchless star wattage.” — D.L. Groover, OutSmart Magazine


“…a fresh, intimate look at this 1992 Tony Award® winner. …everything a contemporary musical should be, but rarely is.” — Everett Evans, Houston Chronicle


“…everything a musical should be… a talented and personable company…” — Everett Evans, Houston Chronicle

70, GIRLS, 70 (2004)

“…many standout numbers and comic bits… Joshua Wright brings supple voice and live moves to Go Visit Your Grandmother, teamed with Nancy Taylor’s spry Granny, matching Wright’s taps on her walker for a show-stopping duet.” — Everett Evans, Houston Chronicle


“…darkly brilliant… potent, goosebump raising moments, not only in the material, but the performances…” — Everett Evans, Houston Chronicle

“…exceptional, knockout cast under Paul Hope’s uncomparably fluid direction…” — D.L. Groover, Houston Press

FIORELLO! (2006)

“…classy, clever, beautifully put together… incredibly cast by a who’s who of Houston musical glitterati…a landslide victory for everyone.” — D.L. Groover, Houston Press

CENTERStage News from BCCM – July 2007

CENTERStage News from BCCM – July 2008

CENTERStage News from BCCM – July 2010