JAKE THOMAS

A man with dark hair, a beard, and mustache wearing a black blazer and an orange shirt against a dark background.
A smiling man with a beard and short dark hair wearing an orange t-shirt, sitting against a gray background.
Portrait of a man with dark hair and a beard wearing a black suit jacket, with a dark background and warm stage lights.

For years, I've had the privilege of working with performers of all ages and experience levels. While every student arrives with different goals, I've found that the most meaningful growth rarely begins with technique alone.

It begins with trust.

Confidence can't come from trying to imitate someone else or searching for the "perfect" performance. It grows when actors learn to trust their instincts, make courageous choices, and respond honestly to the world around them. Technique gives us the tools, but truth is what gives a performance life.

That's why I love coaching. Every rehearsal, lesson, and conversation is an opportunity to help someone discover greater authenticity, not only as a performer, but as a person. When that happens, auditions become more present, performances become more compelling, and the joy of storytelling begins to replace the fear of getting it "right."

I believe every performer already possesses something uniquely valuable.

My role isn't to replace it.

It's to help them discover it.

WHY I COACH:

ON STAGE

My own work as a performer has taken me from the dramatic intensity of Thuy in Miss Saigon and the complexity of King Arthur in Camelot - to the physical comedy of Mortimer in The Fantasticks! and the precision and timing of Carmen Ghia in The Producers.

Working across such different roles has reinforced something I now bring into every coaching session: there is no single way to create an unforgettable performance. The work is learning to make specific choices, commit fully, remain curious, and discover what is truthful for the character and for you as the performer.

Four actors on stage, three sitting on a sofa and one standing behind pushing away a woman who reached towards the sofa; theatrical set with ornate furniture and purple backdrop. The Producers, Leo Bloom, Max Bialystock, Carmen Ghia.

“Rounding out this colorful collection of comedic characters is Jake Thomas as De Bris’ assistant, Carmen Ghia, who perfectly executes each second he is on stage for the maximum amount of laughter.”

-Brian Passey - The Spectrum

CARMEN GHIA - THE PRODUCERS

Thuy - Miss Saigon
Thuy - Miss Saigon

THUY - MISS SAIGON

Man dressed as a king holding a sword, performing in front of an audience during a theatrical or cosplay event, with a medieval-themed costume, a snowy backdrop projected on the screen, and several children and adults watching. Camelot, King Arthur.

KING ARTHUR - CAMELOT

King Arthur - Camelot

“Striding onstage as only King Arthur can, actor Jake Thomas was immediately convincing in the royal role. Strong, charismatic and with a voice that simultaneously wooed and wowed, it was little wonder Guenevere… was so immediately drawn to him, and him to her. As the story progressed, Thomas’ portrayal of King Arthur deepened and matured… in the moving monologue wherein the king shows restraint and passion in equal measure…”

-Lisa Larson

The image shows a stage performance with three actors in costume. The actor on the left is dressed in pink, with glasses, red shoes, and is animated, with arms outstretched. The actor in the middle is wearing an elaborate medieval or renaissance outfit with a large ruffled collar, and the actor on the right is dressed as a traditional character with a wide-brimmed hat, dark cloak, and red neckerchief. The stage background is blue, with silhouettes of three people seated in the distance.

MORTIMER - THE FANTASTICKS!

SOME OTHER PRODUCTION PHOTOS

leading man - enamored
Menelaus - Trojan Women
Janitor Rock Star - Totally 80's
A man with dark hair styled back, wearing a black shirt, holding a microphone, appears to be speaking or performing on stage. Solo, singing, emotional song.
Romeo pays for poison
A man with dark hair, wearing a beige sweater over a turtleneck, is standing on stage and pointing. The background is dark with abstract patterns, and there are people sitting on stage with him. A Chorus Line, Zack.
Actors dressed in medieval costumes engaged in a staged duel on a theater stage, with an audience likely watching. Romeo and Juliet, Tybalt, Benvolio.
Romeo - Romeo and Juliet
Group of men and women dressed in western and country style clothing, performing a dance on stage. Some are wearing cowboy hats, boots, and jeans. Footloose, Run, Willard, Cowboy Bob.

CLIPS FROM CAMELOT - JAKE AS KING ARTHUR

~

CLIPS FROM CAMELOT - JAKE AS KING ARTHUR ~

IN REHEARSAL

I've always believed that rehearsals should be a place where performers feel safe enough to try something new.

Some ideas work immediately.

Others don't.

Both are valuable.

Growth happens when actors are willing to take chances, stay curious, and discover what feels truthful instead of simply trying to get it "right." It is in those moments, when a performer takes a risk and suddenly believes in themselves a little more, are why I love directing.

They're also why I love coaching.

Three performers and a director or choreographer backstage at a theater, with black curtains and a red draped object in the background. The Lightning Thief, The Percy Jackson Musical, TLTTPJM, Annabeth Chase.
A man with short dark hair and a beard is speaking into a microphone on stage. He is wearing a black jacket, a black T-shirt with colorful text, tan pants, and white sneakers with colorful accents. The background shows a dark stage with blue lighting.

THE IMPACT

“You lovingly built on her strong suits which in turn brought growth and confidence.”

-A parent of a former student

“Every role has pushed me to be the best version of myself with the right amount of hard work and fun.”

-Former student

“Today I am a singer, dancer, actress, pianist, performer and much more. Thank you for helping find that person inside of me.”

-Local performer

“You taught me so much about not only theater but leadership and navigating life.”

-Former student

“You are a builder. A builder of souls, a builder of talent.

-A parent of a former student

“With good directing/coaching I was able to perform to the best of my ability.”

-Former cast member

“I didn’t focus on being perfect,

I just focused on being ME!”

-Former student

I've had the privilege of directing productions that range from large-scale musicals and Youth Theatre productions, to intimate plays and Shakespeare. Each rehearsal and performance has reinforced the same belief: great performances begin by helping people discover confidence, truth, and connection.

FEATURED PRODUCTIONS

Anastasia the Musical - Youth Edition

The Lightning Thief - The Percy Jackson Musical

The productions I'm most proud of aren't necessarily the ones with the biggest sets or the most ambitious concepts. They're the ones where a cast discovered something genuine together. I've always believed audiences can recognize when performers aren't just singing out, doing choreography, and delivering lines - but sharing something real: heart. That kind of an experience can't be faked. It grows through trust, encouragement, and the courage to put your whole heart into it by being fully present with one another.

Whether directing a large-scale musical, reimagining Shakespeare, or coaching an actor one-on-one, my goal has always been the same: create an environment where people feel safe to take risks, discover their voice, and perform with heart. The experiences and credentials below represent the journey that has shaped my approach and prepared me to guide performers of every age and experience level.

SELECT EXPERIENCE AND CREDENTIALS

The longer I spend in the theatre, the more convinced I become that it has never really been about the stage. For more than twenty-five years, I've had the privilege of performing, directing, designing, teaching, and coaching across Utah and California. Every rehearsal, every production, and every collaboration has shaped not only the way I tell stories, but the way I see people.

For twelve years, those experiences found a home at Vista School. Looking back, I realize I wasn't simply directing productions or teaching theatre classes. Together, my students and I were learning courage, discipline, creativity, and heart. Those years reaffirmed something I still believe today: the most meaningful growth always begins with the person before the performance.

25+ Years
Creating, performing, directing, designing, and teaching theatre.

12 Years
Teaching, directing, and mentoring at Vista School of Performing Arts and Technology.

100+ Productions
Musicals, plays, Shakespeare, and even some original works.

Thousands of Performers
From first auditions to school and community productions to college programs and even professional stages and film.

Regional & Professional Experience
Including Tuacahn and professional collaborations throughout Utah and California.