Talking to Phoenix native Sam Primack, who starred in DEAR EVAN HANSEN on Broadway, about appearing in the upcoming concert version of RAGTIME at Arizona Musicfest

Sam Primack

By Gil Benbrook

Phoenix has seen numerous perfomers who got their start in youth theatre in the Valley go on to star on Broadway, appear in national tours, and even, in the case of  Emma Stone, winning Oscars. Sam Primack is one of these individuals who grew up in Phoenix and appeared at various theatres in town and who has now found a career that has already spanned Broadway, regional theater, and national tours. 

Primack made an impressive Broadway debut in Dear Evan Hansen, playing Evan in the national tour, and ultimately came full circle by starring in the title role during the show’s closing performances, a milestone that speaks not only to his talent but to his persistence and growth as an artist. He's now back in town in rehearsals to play the role of Younger Brother in a concert staging of the Tony winning musical Ragtime for Arizona Musicfest, with performances at the Herberger Theater Center April 24-26.

Primack’s journey began in the Phoenix theater community, where he developed his craft through both youth and adult productions before stepping onto larger stages across the country. He played lead and supporting roles at many theatres in town, including shows at Valley Youth Theatre, Spotlight Youth Theatre, TheaterWorks, the Phoenix Theatre Company, and Arizona Broadway Theatre. 

Even before many of his leading roles in town, he toured as Pugsley in The Addams Family, and his recognition as a finalist at The Jimmy Awards when he was in high school underscores the promise he showed early on. After his run in Dear Evan Hansen, credits like Henrik in A Little Night Music, Judas in Jesus Christ Superstar, We Had a World Off Broadway, and Maggie: The Musical at Goodspeed consistently demonstrated his emotional depth and vocal strength. Grounded by the support of his family, teachers, and collaborators, Primack continues to build a career defined by curiosity, commitment, and a willingness to take on challenging material.

Now, as he prepares to take on the role of Younger Brother in Ragtime, Primack brings that same passion to one of musical theater’s most sweeping and socially resonating works. In between rehearsals, Primack sat down to answer some questions to reflect on the complexities of the role, the unique demands of concert performance, and his experiences, from Phoenix stages to Broadway, that have shaped him. He also shares insight into a long-term film project of The Last Five Years and what he hopes audiences will carry with them after experiencing Ragtime’s powerful story.

 

What excites you most about stepping into Ragtime, especially in a staged concert format where the music and storytelling take center stage?

"I’m so excited to step into this true ensemble piece with such an incredible cast. I’ve been listening to the cast recording for years, and getting the chance to finally sing this score feels surreal. Ragtime has one of the most powerful musical scores ever written for the theatre, and performing it with a full orchestra and alongside so many talented friends is going to be an unforgettable experience."

“Younger Brother” undergoes such a profound transformation over the course of the show. What aspects of his journey are you most looking forward to exploring?

"I’m really excited to explore his journey toward allyship and what that truly meant during that time period. Younger Brother represents a generation that, in many ways, resembles my own. He begins the show sheltered and disconnected from the realities of the world around him, but through the people he meets and the experiences he has, his worldview begins to expand. I think there are a lot of qualities in Younger Brother that I recognize in myself, and that makes the journey feel very personal to explore."

How does approaching a character in a concert setting differ from a fully staged production for you as an actor?

"At its core, it really doesn’t change much for me. I approach every role in a similar way, I try to do as much research as I can and learn the material as thoroughly as possible before rehearsals begin. The biggest difference with a concert presentation is the speed of the rehearsal process. There’s much less time to settle into the role, so a lot of the preparation has to happen ahead of time. That’s the phase I’m just beginning now, diving into the score and the character so I can arrive as prepared as possible."

Ragtime is known for weaving together multiple perspectives on American identity. What themes in the show feel especially relevant to you in our current environment?

"As a Jewish American whose family descends from immigrants, Tateh’s story feels more alive and relevant than ever to me. Even though Younger Brother and Tateh don’t really intersect in the show, that storyline resonates deeply. The experience of immigrants coming to America with hope and ambition, while facing enormous obstacles, is a story that continues to echo in our society today. Ragtime has always reflected America’s struggles with identity, opportunity, and equality, and those themes feel just as urgent now."

You’ve had the chance to play some incredibly complex roles already. How does Younger Brother compare to characters like Evan in Dear Evan Hansen or Judas in Jesus Christ Superstar?

"Younger Brother feels like a new and exciting challenge because of the scale of his transformation. He begins the show as a privileged, sheltered young man, and through heartbreak, encounters with other characters, and a growing awareness of the world around him, he experiences a profound awakening. Both Evan and Judas were vocally and emotionally intense roles with huge arcs, and I’m always drawn to characters that ask a lot of you as a performer. Younger Brother definitely fits into that category and feels like another really exciting challenge."

Sam Primack in Dear Evan Hansen on Broadway
photo by Matthew Murphy

Having returned to Dear Evan Hansen on Broadway to play the title role at its closing performances, after being the alternate Evan on the national tour and understudying the role on Broadway, what did that full-circle moment mean to you personally and professionally?

"It was truly an honor to be the final Evan Hansen on Broadway after being part of the company for so long. I joined the cast when I was just 17 years old, so in many ways I grew up with those people. The love and support they showed me throughout that journey was incredibly meaningful. The closing performance itself was a whirlwind, but being surrounded by so many people who had helped me along the way made it incredibly special. It was one of those moments where you really feel the full circle of a journey."

You are part of a unique long-term project filming The Last Five Years over five years with another Valley favorite who has found success outside of Arizona, Sarah Pansing. What did that experience teach you about storytelling and character development over time, and what details can you share with us about this project?

"Yes! In August of 2020, deep into the pandemic, Sarah Pansing and I were looking for ways to stay creative together. We had the idea to start this passion project filming The Last Five Years in a really unique way. It began very simply, just us and a group of friends who wanted to create something during a time when live theatre wasn’t possible. Every 10–12 months we would reunite to film two more songs, allowing us to track the characters’ emotional journeys while we ourselves were growing and changing over time. In August of 2025 we filmed the final material, completing what became one of the most special artistic experiences of my life. Watching the project now and seeing how much we’ve all matured over those five years is pretty incredible, and I can’t wait for people to see it."

You worked across a wide range of theaters in the Valley before you turned 18, both in youth and adult productions. How did your early work in Phoenix shape you as a performer?

"I would absolutely be nowhere without the support of the Arizona theatre community and regional theatre scene. One of the special things about Ragtime is that I get to return to the Herberger Theatre Centre, where I performed in shows with Valley Youth Theatre from the time I was eight years old until I left for New York. I have countless memories from my time both backstage and onstage there, and it will be a real full-circle moment to perform in that space again."

Beyond your early shows in Phoenix, looking back at other career highlights, including being a finalist at The Jimmy Awards, touring as Pugsley in The Addams Family, and other projects, what moments stand out as especially formative?

"The Jimmy Awards was definitely a life-changing experience for me. So many of the friends and collaborators I have in New York today are people I first met through that experience, and I’m incredibly grateful for the community that came from it. More recently, I had the opportunity to work on a show Off-Broadway called We Had a World at MCC Theater, which was another really special project. Getting to work alongside artists like Joanna Gleason and Andrew Feldman was such an incredible learning experience, and I gained so much from being in the room with performers of that caliber."

When audiences walk away from this concert version of Ragtime, what do you hope they take with them, about the story, the music, or even about Younger Brother himself?

"I hope audiences walk away seeing a reflection of the world we’re living in today and the very real struggles our country continues to face. The dreams and tensions that existed in America 100 years ago still echo in our society now perhaps even more clearly. Ragtime is one of those rare musicals that feels timeless in its message, and producing it in 2026 feels incredibly meaningful. I hope people connect with the characters, their struggles, and their hopes, and that they’re moved by how epic and beautiful this music becomes when sung by such an extraordinary group of performers."

CLICK HERE for more information on Ragtime, running April 24-26