Biographies and Reviews
John Wilkerson received his Bachelor of Music Education from the Shenandoah Conservatory of Music (now Shenandoah University.) He completed his graduate work in vocal performance at the State University of New York and placed third in the Metropolitan Opera competition. At the college, high school, and grade school levels, he taught voice classes, private voice, music theory, music appreciation, choir and band. He wrote curriculum, served as head of the Music Dept., and directed many theatrical productions. As an athlete who also coached tennis and football, he instills in all of his students the discipline and drive to attain their personal best. In professional theatre, he has produced, directed and designed numerous musicals and plays. As a performer, John is not only known for his vocal prowess, but for his acting skills and ability to convey the emotion and meaning of a piece with amazing subtlety. Broadway: a starring role in "Abby's Song," "State Fair" with John Davidson, Andrea McArdle and Donna McKechnie, and "Peter Pan" with Cathy Rigby. National tours: "Brigadoon" with John Schneider, "Man of La Mancha" with Ed Ames, "State Fair", and "Peter Pan." In the national tour of "South Pacific" he understudied Michael Nouri, and Robert Goulet in the role of "Emile" and was privileged to play the role many times, receiving standing ovations and critical acclaim. John was also noted for his portrayal of the President of the United States in the political drama "Conflict of Interest" at the much-honored New Federal Theatre in Manhattan. He has enjoyed starring roles in several world premieres and in many regional productions including "Don Quixote" in "Man of La Mancha." "Frederick" in "A Little Night Music," "Daddy Warbucks" in "Annie," "Henry Higgins" in "My Fair Lady," "Ben Stone" in "Follies," and "Tevye" in "Fiddler on the Roof." He is very proud to have played "Emile" in the Dallas Theatre Center production of "South Pacific" which was nationally acclaimed. He has appeared in numerous operas and operettas, with philharmonics and chamber orchestras, in the City Center Encores! Series and on the Original Cast Recording of Rodgers and Hemmersteins's State Fair. He has founded successful theatre companies and has guided students to fulfillment in the arts for many years.
Margaret Shafer is originally from Dallas. She appeared in the Broadway revival of "The Sound of Music" with Richard Chamberlain (and was fortunate to meet several of the real Von Trapp children!) She was in the First National Touring company of "Kiss Me, Kate" with Rex Smith, in which, she played the title role many times and in a national tour of "South Pacific" with husband John Wilkerson and Robert Goulet. New York credits include City Center's prestigious "Encores! Series" productions of "Out of This World," "Sweet Adeline" and "New Moon," under the supervision of renowned conductor, Rob Fisher. She was invited by Mr. Fisher to sing on Prairie Home Companion's Salute to Broadway, performed live on NPR. Some favorite regional roles include "Lalume" in "Kismet" - Lyric Stage, "Maria" in "The Sound of Music" - Yorktown Stage, NY, "Betty Blake" in "Will Rogers Follies" - Surflight Theatre, "Christine" in "Phantom" - Papermill Playhouse, "Lady Jaquie" in "Me and My Girl" - Casa Manana, "Fay Templeton" in "George M" - Lyric Theatre of Oklahoma, "Dolly" in "Hello, Dolly" - Surflight, "Margaret" in "Oh, Coward!" and 'Pamela" in the British farce "Out of Order" - Centennial Theatre Fest, CT, "Emily" in "State Fair" - It's About Time Productions, "Agnes" in "I Do, I Do!" - Labyrinth Theatre, and so many more. She has been thrilled to work with Tony and Emmy award-winning directors and choreographers and with many of the most talented American and British theatre performers from whom she learned so much. Margaret has appeared in Las Vegas and Laughlin, Nevada, a Republican National Convention, at Goodspeed Opera House and the Dallas Summer Musicals, in Tokyo and as soloist with the Dallas Symphony Orchestra. She can be heard on the cast recordings of The Sound of Music (Broadway Revival), Out of This World (City Center), Tip-Toes (Gershwin Trust) and Simple Gifts, a holiday CD by the Broadway Nuns. She has guided students to fulfilling and prestigious performance programs, and to finding the best application of their talent, skills and desires.
"Savor John Wilkerson's masterful rendition of "Some Enchanted Evening"...on the number's final note, Wilkerson nudges his richly deep voice up to an exquisite, high pianissimo. It's one of those moments when you don't know whether to burst into bravos or just sit there in silent appreciation."
-Perry Stewart, Ft. Worth Star Telegram
(Dallas Theatre Center's South Pacific)
"(Wilkerson's) strong baritone voice was unmatched during the performance. I think many audience members, after hearing his first sung notes, were just waiting for what was sure to be a gorgeous version of "Some Enchanted Evening." They were not disappointed. However, he actually outdid himself with his stunningly beautiful interpretation of "This Nearly Was Mine." The applause for that number actually stopped the show
-La Monte E. Clegg, Detroit (National Tour of South Pacific)
"... This is a more ordinary, more vulnerable human being lucky enough to find the love of his life and terrified at the prospect of its slipping away."
-Lawson Taitte, (Dallas Theatre Center's South Pacific)
"John Wilkerson was striking as Emile precisely because he lacked matinee-idol looks. Balding and stout, Wilkerson lent Emile's plight tremendous poignance."
-Jerome Weeks, American Theatre Mag, DTC South Pacific
"John Wilkerson's Tevye boasted a strong, deep vocal quality and evenly executed range. He gives a fine performance, letting both the humor and sorrow in the man shine through."
-Keith Gushard, Tribune
New Federal Theatre's production of "Conflict of Interest" proved an intense political drama with a solid cast of actors. Jay Broad's 1971 play crackles with fiery dialogue and confrontational exchanges between powerful figures. Al Freeman, Jr. portrayed an embattled Supreme Court judge as a man of integrity and conscience reluctant to surrender to political control....on the other side of this political battlefield stands the President of the United States, played with consummate authority and self-importance by John Wilkerson.
-Jeanette Toomer, Backstage
"Wilkerson, with his big and beautiful voice, anchors the show. He's got plenty of power to fill this small room (no need for amplification here) an plenty of finesse as well. Does he really have the two most moving numbers in the show, or does he just make them seem that way? He's poignantly amusing as a retired guy trying to fill his days, but the final song about a dad's ambition for his kids, written by Mr. Schwartz, unquestionably boasts the show's best tune. .
-Lawson Taitte, Dallas Morning News, on Labyrinth Theatre’s “Working”
"...a more fulfilling story is Arthur Kopit's retelling of ..." The Phantom of the Opera." Margaret Shafer as Christine was suberb."
-NY/NJ Suburban News re: Paper Mill Playhouse's "Phantom"
"Ms. Shafer is particularly good. Her attempts to seduce Bill to the strains of "You Would If You Could" provide a truly outstanding moment. Erotic without being distasteful, the scene was perhaps the best of the night."
-Les Cockrell, DFW Star papers, Casa Manana’s “Me and My Girl”
"...the voice of an angel."
-Sylvia Syms, legendary cabaret singer & recording artist
"Mathis is terrific as the Wazir, and Shafer the show-stealer as his wife, who, like her husband, has her own harem (which he doesn't know about). "
- Mark Lowry, re: Kismet, Lyric Stage
As Lalume, Margaret Shafer is elegant, quirky and very, very naughty.
- Lawson Taitte, Dallas Morning News
re: Kismet, Lyric Stage
"Shafer, who has a powerful, yet, feminine voice, demands the respect Dolly requires without ever getting too full of herself. Her timing is impeccable, and it's hard to keep your eyes off of her."
-Scott Cronick, Atlantic City Press
"Shafer is a remarkable actress. She is a little too young and pretty, but she does it beautifully. It needs to be broad enough to get Thornton Wilder's humor, but not over the top. She really draws you to her, with even the slightest gestures and looks."
-John Sheridan, "Hello, Dolly" director/choreographer/dancer for 40 years
"... Shafer commands the stage and takes control of the show...Keeping up with the lyric-heavy score and rat-a-tat dialogue pace was less of a chore with Shafer's exquisite pipes and ability to embrace the audience."
-Bre Golden, New Jersey Islander