Eleanor's Very Merry Christmas Wish - The Musical

By Denise McGowan Tracy / Directed by Zach Gray

November 19 - December 29, 2019 / Greenhouse Theater Center 

"One of them, Sprinkle, is a little pistol prone to the cheeky. Scott Gryder, in the role opening night, knew exactly how to extract every ounce of goodness from his juicy character." Eleanor’s Very Merry Christmas Wish – The Musical, Has it All (Row G, Seat 1, Mitchell Oldham)


By Jonathan Tolins / Directed by Donterrio Johnson

April 11 – May 19, 2019 / Pride Arts Center – The Broadway

“...a superb performance by Gryder…” “A Chorus Line” shines at Porchlight Music Theatre; Scott Gryder’s One Man Performance in “Buyer & Cellar”at Pride Arts Center (WGN Radio, Paul Lisnek)


“...a marvelous show that could have been written expressly for him." PicksInSix Review: BUYER & CELLAR, (PicksInSix, Ed Tracy)


"...Gryder's complete command of the stage…” Buyer & Cellar explores Barbra Streisand’s (make-believe) basement shopping mall (Reader, Dmitry Samarov) 


“...simply cannot be missed.” "Buyer & Cellar” Review (Around the Town, Jeffery Leibham)


“...Gryder does lovely work…" Review “Buyer & Cellar” at Pride Films and Plays (PerformInk, Marie Warner)

WORTH FULL RETAIL VALUE: ‘BUYER & CELLAR’ The Broadway Blog, Becky Sarwate)

Scott Gryder is tremendously funny in Buyer and Cellar (ChicagoOnstage.com, Karen Topham)

Malibu Barbie – Pride Films & Plays (Chicago Theatre & Concert Reviews, Colin Douglas)

WOZ: A Rock Cabaret

By Kimberly Lawson / Directed by Scott Gryder 

July 19-20, August 1-2, 2014 / Victory Gardens Richard Christiansen Theatre.

"The entire cast deserves mention for their terrific performances...and last but most certainly not least Scott Gryder (Wizard). Scott pretty nearly steals the entire show in his two big numbers as the wizard, the earlier mentioned Man in the Mirror is definitely a highlight of the evening. Gryder’s gifts do not stop onstage as he is also the director of the madcap proceedings, where his offstage gifts certainly mirror his onstage presence." (Chicago Stage Standard, Rand Ringgenberg) 

"As this is a musical performance I must call out a few of the songs, The Wizard (Scott Gryder; who also directs) singing Michal Jackson’s “Man in the Mirror”, was divinity. The guy looks the Perfect Peewee Herman Nerd, and you cannot help but laugh, was a definite highlight." WOZ: A ROCK CABARET is Divinity Anthropomorphized (Showbiz Chicago, Dave McGuire)


LIFE IS A CABARET! The Music and Words of Kander & Ebb

Created by Scott Gryder & Nick Sula

July 20, 2013 / Auditorium Theatre Katten/Landau Studio

"But it is what the performer brings to this material that is golden here. Scott Gryder is one of those absolutely unique and inimitable performers that sends his audiences away murmuring “what a character!” How to describe him? He proves that good things sometimes come in small packages. He has a boy-like, you might say diminutive, figure but he is an absolute power-house as a performer. With a resonant tenor and superb musicianship, he starts off on a high (that’s where he seems to reside) and just goes higher and higher. But that’s not all. The “boy” sure can act! The performance ranges from pure show-biz pizzazz to the most searching and tender emotional territory.

It seems to me that Mr. Gryder is one of those artists who dances nimbly from character acting to singing. I’m tempted to call him a character singer. It may have been a “no brainer” for him to assay Cabaret since he is unquestionably able to “cover” the Joel Gray part at a high level of accomplishment. But who would have thought that he also brings the warmth and whimsy of Minnelli and the awesome energy of Rivera to the work.

This is one of the things that cabaret as an art form does best, melding the unique talents of performer and material. I think this act will be a signature for Gryder and Co. as long as they wish to pursue it and audiences will be richer for the experience. I know I am." "What a Character!" (Songs for the Season: Cabaret Programs for Hire, Daniel Johnson)

"Last Saturday night the full audience in attendance of Roosevelt University’s cabaret series was bid “Wilkommen” and treated to the charismatic exuberance that is Scott Gryder and his one-man cabaret, “LIFE IS A CABARET! The Music and Words of Kander & Ebb” accompanied by Nick Sula on piano and Phil Martin on drums. The show is a 50thanniversary tribute to the songwriters known for Broadway hits like Chicago, Kiss of the Spiderwoman, and many more.

Gryder has a knockout act put together, balancing high energy numbers like “Ring Them Bells,” funny bits (the audience went nuts for “Sara Lee,”) and ballads such as the beautifully performed “Sometimes A Day Goes By.” He’s a superb tenor, incorporating many songs actually written for female roles, and he is full of personality with a ridiculous level of stamina—as the night progressed he seemed to only acquire more energy, wrapping up with a fantastic Chicago finale.

Yet this kind of evening requires more than a great voice and a set list of favorites to be a success. Dressed in tails, Gryder walked us through the history of the show’s repertoire, providing a brief narrative before each piece and even a Liza Minnelli impression. These introductions keep us engaged throughout the concert, and some numbers like “Bobo’s” are given a fresh perspective with background stories in mind. The songs of Kander and Ebb offer more than entertainment; they lend themselves to an interesting journey through the evening with Gryder as our guide.

Although this particular performance was a one-time affair, if you’re looking for a cabaret, look no further than the expressive, funny Scott Gryder. He’s got a powerhouse voice, many schticks and sentimental moments, and an enjoyable, engaging evening perfected." “Say Yes” to Scott Gryder and His Cabaret (Chicago Theatre Review, Darcy Darcy Rose Coussens)

LIFE IS A CABARET! The Music and Words of Kander and Ebb

October 19, 2012 / Davenport's, Chicago, IL


"Though Scott Gryder is a wiry little guy, when it comes to delivering cabaret, the Gryder key word is BIG! He offers a strong, supported tenor voice having noteworthy range. His physical energy seems boundless as he moves constantly around Davenport's cozy stage. Gryder often visits that thin line between high energy and the frenetic. His big delivery choices are especially well suited to Kander and Ebb's boffo numbers, like "But the World Goes 'Round" and "Colored Lights." It is in "Mister Cellophone" where Gryder provides his best interpretative skills. He finds Mister Cellophane's heart-bruised, a little confused, yet understanding why he is worthy of respect. By having us wait for that one mega-money note, Gryder takes us on a  journey not about vocal gifts, but about the vulnerable heart of a man. And that is why we come to the cabaret."

(Cabaret Scenes
Magazine, Carla Gordon)



March 5, 2012 / 3160 Piano & Cabaret


"I am not big into cabaret or show tunes, but the best of anything is always something to see. A prime example of this would be seeing Scott Gryder's hilarious act, including the rock steady accompaniment of Nick Sula on piano and occasional vocals. Gryder spins his web of comedy, quirky song choices and a finely tuned tenor voice that evokes Mandy Patinkin at his best. The Scott Gryder ( http://www.thescottgryder.com/ ) is able to switch gears from over the top schtick, ad libs that any improv pro would be proud of, kitschy show tunes to poignant love songs smoother than a Maserati... Seeing him and Nick perform at 3160 N. Clark in Chicago last night was like seeing a show on Broadway. Oh, what a night!" 

Life is The Scott Gryder's Cabaret, Old Chum… (The Secret Virtual Life of Florence Yoo, Florence Yoo)


NOT AT MY AUDITION: My Half-Latin Life Onstage So Far 

July 26, 2009 / 3160 Piano & Cabaret


"On the young side of twenty-something, Scott Gryder is better grounded in cabaret than many boasting double his lifespan. His debut solo cabaret, Not at My Audition, tells with wit and heart Gryder’s struggles to become a performer. Shows about singers’ quests often resonate self-indulgent and may be avoided like swine flu. However, Gryder’s journey does not convey that: we relate to the knot in the stomach as we wistfully leave home to risk dreams. We understand the goal-ascending experience of two steps forward and one step back. Team Gryder chose well in mixing standards and new songwriters and minimizing reprises. The hour-long show seemed shorter. Gryder brings an excellent, supple tenor yet gets that cabaret is foremost about words and emotions. He’s known as a belter but in the intimate performance deck within Club 3160, he instinctively knew to step on the pedal less. The story of his professional seduction of A+ musical director Nick Sula with “On a Slow Boat to China” is especially charming. Gryder’s version of his Latina mother’s pep talk in an over-accented “Everything’s Coming Up Roses” rings as true as it does bigtime funny. Keep an eye on this one; he’s gonna be Gryding high." (Cabaret Scenes
Magazine, Carla Gordon

© 2019 by Scott Gryder