Taking a Bow: Broadway Producer Aaron Glick ’06 to Be Honored at Alumni Reunion
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Broadway producer Aaron Glick ’06 has no shortage of awards. In 2016, he won a Laurence Olivier Award for Gypsy; three years later, he took home his first Tony for The Boys in the Band. He would earn two more for 2022’s Kimberly Akimbo and 2025’s Purpose, while amassing nominations for What the Constitution Means to Me and Sweeney Todd (starring Annaleigh Ashford ’05). It’s no stretch to imagine his future holds even more of the industry’s top prizes. Glick, who has long collaborated with David Stone, one of theatre’s most influential producers, has had an enviable career that includes work on all productions of the blockbuster Wicked and projects from The 25th Annual Putnam County Spelling Bee to the upcoming A Wrinkle in Time.
This spring, however, he’ll receive an honor that carries a different weight, because it comes from the community that helped him discover his path. On May 8, Glick will receive MMC’s Sister Judith Savard Award, presented to alumni for outstanding contributions to the creative arts. He is one of six alums who’ll be honored at the College’s Alumni Awards ceremony, held during the 2026 Alumni Reunion and open to the community. (RSVP!)
Sister Judith Savard, RSHM, was an accomplished artist and professor who taught in MMC’s Art program for nearly 40 years, leaving behind a legacy that touched generations of students. We spoke with Glick about the message he hopes his own career will send, how the MMC community still shows up in his life, and what he’s looking forward to next.
Congratulations, Aaron. What does this recognition mean to you?
It means a great deal—it’s important to stay grounded in the community that helped you get your start. The unique nature of Marymount and what it offers, especially in the arts, enabled me to have the career that I’ve had.
I grew up doing theatre and always assumed that I would be an actor, but when I enrolled at MMC as an Acting major, I began to have doubts and eventually realized it wasn’t my path. I was so grateful that my professors and advisors made it easy for me to switch my focus from a performance concentration to my minor, Theatre Studies. The support and flexibility made the transition feel really seamless.
MMC also helped me realize there were other careers in theatre I could pursue. After switching majors, I explored directing but ultimately felt drawn to producing. The College helped me get professional internships, so by the time I graduated, I felt like I was a year ahead of most of my peers because I was immediately ready for the workforce.
What initially attracted you to MMC?
Two things, really. It was the flexibility of a liberal arts education—knowing that I could study acting, singing, and dancing alongside Russian literature and astrology. Living in New York was also a big draw. I’m from Lafayette, Indiana, and being in the home of theatre was really important to my decision. Even after I’d switched majors, being able to use our proximity to so many businesses in NYC, especially on Broadway, was everything.
Sister Judith Savard was known as a pioneer who incorporated digital design technologies into her art and advocated for classroom innovations, such as team teaching. What do you hope people will say about your career and legacy one day?
As a theatre producer, I integrate business and art, which I feel really prepared to do because of Marymount. As a liberal arts school, Marymount made you feel, even in your non-Theatre classes, that you were in the arts. But if there’s one thing I would emphasize, it’s that being a producer is being an artist. You’re a member of the creative team, you’re a member of the artistic community—even though, as a young person starting out in theatre, it often feels like if you’re not an actor or a stage manager, you’re not a part of things. I hope I’ve shown in my career that you can be an artist without being an actor or a director.
People might also be surprised that a Theatre major prepares you for business and many other fields beyond acting.
Yes—Theatre teaches you how to communicate. It teaches you how to collaborate. It teaches you how to work well on a team, because when you’re doing theatre, you’re always working in groups. Those are all important skills that you can transition over to any kind of business that involves teamwork, which most businesses do.
What excites you most about the theatre world right now?
That we are AI-proof. It’s the only business that you can’t replace any part of with a computer program or with a website. It is the ultimate distillation of human experience: groups of strangers sitting in a dark room together watching a live experience.
Looking back over your career, what projects have you worked on that felt especially meaningful or transformative?
There are two that I can really single out. How lucky I was to start working on Wicked 20 years ago, and to work for David Stone, the lead producer. The show has been running continually on Broadway, in London, and all over the world. It’s given me job security in a business where that’s so rare and allowed me to take on riskier projects. It enabled me to be one of the lead producers of What the Constitution Means to Me, which was such a formative piece of work. The play, by Heidi Schreck, was not only a hit on Broadway and on tour but also the most-produced play in the country for two years in a row. It was astounding for a small personal play about what the Constitution means vis-à-vis women’s rights, immigrants’ rights, and abortion rights. And so, the two really go hand in hand, having the incredible success of Wicked support the artistic risk of something like What the Constitution Means to Me.
Are there any upcoming projects you’d like to share?
I’m thrilled that The 25th Annual Putnam County Spelling Bee is running at New World Stages and has been extended twice. It’s an extraordinary musical that I’m so, so proud of. And I actually got to work on the original production 20 years ago as an assistant. To be one of the lead producers of it now is an incredible full-circle moment. The show is funny, emotional, and heartfelt, and kind of the antidote to the national mood.
What career advice would you share with MMC students eager to shine in the arts?
Don’t be afraid to ask for advice from the people you admire. One of the amazing things about Marymount and its proximity to business and art in New York City was the amazing caliber of people who just happened to be around. There’s this famous story from my time at MMC about how the actress and comedian Elaine Stritch would sometimes show up in class. Chita Rivera also came in and taught one day.
Pat Simon, who had been a professor in the Musical Theatre program and also my advisor, was well-connected and would ask people to come and watch our classes. At one point, she and other professors got Hal Prince and Stephen Sondheim to give a live lecture. Then there was Lewis Frumkes, the director of the Writing Center, who would have famous authors just show up. I mean, it was the Upper East Side, and it was New York. But the generosity of these people, taking the time to talk to younger artists, to talk to students, was astounding. And being near those giants was galvanizing.
As we prepare to celebrate the 2026 Alumni Reunion—and your 20th class anniversary—what favorite memories come to mind when you think of your time as an MMC student?
Oh gosh. A few of us started a student theatre club—we called ourselves the Mob Marymount Off Broadway—and the school helped us put on two shows. One was a production of Hair that we performed on the 8th floor, where the swimming pool used to be, but, at the time, was a huge, empty room with skylights. Marymount let us build our own stage there. And we were able to do the first student production of Hedwig in New York City at the Producers’ Club, which is now right around the corner from my office.
It was truly amazing and gave many students opportunities to perform outside the main stages. And, of course, as I mentioned, we were always so grateful for the people who would stop by. I remember Betty Buckley coming to our production of The Mystery of Edwin Drood. Galt MacDermot, who wrote the music for Hair and The Human Comedy, which we also performed, actually played piano for one of our shows. So again, it was these amazing moments when these artistic giants were just kind of around and supportive. It really made you feel like part of New York and like a professional at 18, 19, 20 years old.
On a funny note, I also recall that in my freshman year, Marymount was one of like 20 schools on Facebook, back when it was a college networking site. At the time, you had to have a .edu address to join, and there was a dropdown menu with schools like Harvard, Yale, NYU, and us—this small college on the Upper East Side. If you talked to anyone from that era, they’ll remember it.
How have the friendships and connections you made here impacted your life personally?
To be perfectly honest, all of my best friends are still the people I met in week one of freshman year. And there are a number of people from Marymount with whom I work incredibly closely—probably most famously Annaleigh Ashford, who was one of my first Musical Theatre scene partners. I was not only a producer on Sweeney Todd, which she just did on Broadway, but last year we did a play together, The White Chip, which she produced and asked me to executive produce. That relationship has been so meaningful and important, both professionally and personally. But, again, we’re on a 12-person text thread of people we met in the first week of freshman year. It fills me with gratitude—and disbelief that 20 years can go by so fast.
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Published: April 27, 2026
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