For Liz Muller, it’s never been about following the status quo.
Music has been a part of her life since childhood. She learned to play instruments such as piano, saxophone, trombone, and bassoon, and participated in the marching band and choir at church. Liz also played Dorothy in her fourth-grade production of The Wizard of Oz, but her passion for theater didn’t truly ignite until later.
“Really, in high school is where I was like, ‘Oh, I think this suits me. I think this is what I want to be as a grown-up,’” Liz recalls. “And I just kind of kept doing as much theater as humanly possible in every way possible—and haven’t stopped.”
When it came time to audition for college programs, Liz faced setbacks. Despite her efforts, she wasn’t getting the acceptance she wanted. Frustrated, she stumbled upon a flyer for the American Musical and Dramatic Academy (AMDA) and decided to give it a shot. During her audition, she received surprising feedback from the staff: “You sound like you might have trauma.”
Stunned, Liz explains how that moment “changed my whole life vocally… It opened my eyes to what vocal health is, because we’re talking decades ago, and it wasn’t discussed the way it is now. Obviously, there wasn’t social media, and people weren’t sharing all these wonderful vocal health tips. I could always sing—I was always a loud, proud singer—but I didn’t have any proper technique until after high school. That’s when I really gained a lot of strength and knowledge. I’m so grateful for all the people who helped me on my vocal journey to make sure I’m a healthy singer.”
AMDA accepted Liz into their program, providing the guidance she needed to begin her career. Since then, she has “been working in theater ever since, in some capacity.”
Liz’s impressive resume includes credits as a director, lyricist, actor, and performer. She has written 13 musicals, the first of which came about unexpectedly with her music and life partner, C.E. Simon.
“We were working for a small private girls’ high school on Staten Island, and he’d been writing music for years in California for small movies and things like that. We were still in our twenties, and this high school wanted to do A Christmas Carol, the Alan Menken version. They applied for the rights, announced the show, and then got denied the rights. They’d already promoted this big, beautiful musical and suddenly couldn’t do it.”
Disappointed, the school turned to Liz and C.E. to see if they could create something to save the production.
Liz and C.E. initially planned to stitch together some traditional carols with dialogue to make the performance passable. “But by Sunday, we had written three songs, and it just kept going,” Liz says. They wanted the students and parents to feel the show was legitimate, so they fabricated a story. “We lied. We said we had a friend in California named Jessica Schlesinger—a made-up person—who was faxing us this music as part of her new version of the show.”
The ruse didn’t last. “The kids figured it out instantly,” Liz admits. “They were like, ‘This is you and C.E., right? You’re writing this every night at home.’ And I was like, ‘No, what are you talking about?’”
That show eventually became Three Ghosts, which has been produced over a dozen times, including an off-Broadway run at Theatre Row. “During the pandemic, we overhauled the entire show—rewrote the music, lyrics, and orchestration. We employed 50 people from six continents to create a fully immersive, 3D podcast version of Three Ghosts, which is really fun to listen to during the holidays.”
Liz describes her creative process as highly organic. “Sometimes it’s as ridiculous as, ‘This hat is awesome—how do we get it into a show?’” she says. “I can see where we are now and the big picture in my mind. I know how to travel to get there, even if I’m not great at perfect outlines.”
Liz co-founded Pipe Dream Theatre, which produces shows and musical podcasts. She has worked as the music director and supervisor for Genting SkyWorlds theme park, associate musical supervisor for Six, and music supervisor and vocal arranger for Six Flags Over Texas. She also wrote Prohibition for Norwegian Cruise Lines, which has been dubbed “the Hamilton of the High Seas.”
In 2024, Center Stage Theater in Shelton announced Liz as their new Creative Director. “I’ve directed or helped with about a dozen shows at Center Stage over three years, which is crazy,” she says. “Now, as Creative Director, I get to shape the overall direction of the theater—helping other directors, working on education programs, and contributing creatively.”
Liz emphasizes the importance of community theater as a source of entertainment, connection, and growth. “It’s not about training people to be Beyoncé. Music is about feeding the soul, society, and community. Singing is healthy—it oxygenates you. Just because you don’t make a living at something doesn’t make you any less of an artist.”
In 2025, Center Stage will celebrate its 20th anniversary with productions of Guys and Dolls, The Last Five Years, Avenue Q, Sister Act, Little Women, and a yet-to-be-announced “spectacular Christmas Extravaganza.” Liz will also continue writing music for Valleyfair amusement park in Minnesota.
With such varied and impressive credits, Liz Muller’s creativity and passion are sure to continue inspiring audiences.
Get tickets at centerstageshelton.org and follow Liz’s career at lizmullerdirects.com. Our full episode with Liz will premiere on January 30th on Channel 10 in Connecticut and our Crossover Music Magazine YouTube channel.
