DeMarius R. Copes: Holding Space for the Ensemble
By Ricky Anderson
For DeMarius R. Copes, the magic of Broadway isn’t just in the spotlights trained on the leads. It’s in the sweat, stamina, and sheer resilience of the ensemble — the unsung foundation of every show. At 31, the Birmingham-born performer has carved a career that spans national tours, Broadway debuts, and even stepping into a Tony-winning lead role, all while never losing sight of where he started: in the ensemble, and proud of it.
Copes’ introduction to theater came unexpectedly. A community children’s program — the JCCEO YES Ambassadors — opened the door to singing and dancing opportunities that would eventually lead him to transfer high schools and immerse himself in musical theater. But before Broadway came hip-hop, marching bands, and even a stint performing on BET’s 106 & Park. “I knew nothing about musicals until high school,” he admits with a laugh. “Nobody in my family did theater. I was the one who brought it in.”
That leap of faith propelled him into roles that required constant adaptability. Touring with Newsies from 2014 to 2016 as an ensemble member and Crutchy understudy, Copes quickly learned the rigor of Broadway-caliber demands: countless rehearsals, eight shows a week, the muscle memory to shift into someone else’s track at a moment’s notice. “You’re learning your own role, but you’re also clocking what everyone else is doing,” he says. “Because down the line, you’ll be asked to cover, to fill in, to keep the show afloat.”
His Broadway debut came in Mean Girls, once again as an ensemble member and an understudy — this time for the beloved role of Damian. It was there that Copes sharpened his philosophy on what it means to serve a show both front and center and from the wings. “I take pride in the fact that I will turn the ensemble out and then also lead the show. And the two things can coexist,” he insists. “But producers prioritize the leads as if the ensemble isn’t doing the same work.”
Copes has the receipts to back it up. After leaving Mean Girls, he joined the Hamilton tour, and eventually returned to Broadway in Some Like It Hot. When J. Harrison Ghee — now a Tony winner — was sidelined by injury, Copes stepped into the lead role for seven weeks. It was a Broadway principal debut in every sense, complete with final bows and drag transformations. “It was life-changing,” he reflects. “But I also couldn’t ignore the reality that when you’re a lead, people meet you in the wings with water bottles, asking what you need every five seconds. As an ensemble member, that same care isn’t there — and that has to change.”
For Copes, advocacy for ensemble members, particularly queer performers and performers of color, is as much a calling as performance itself. He speaks candidly about pay inequities, the lack of in-house resources for mental health or physical care, and the way ensemble voices are too often overlooked in an industry that thrives on their labor. “Our paychecks don’t reflect the hours of training, the eight shows a week, the toll it takes on your body and mind,” he says. “But we do it because we love it. That doesn’t mean we shouldn’t be cared for, too.”
Beyond the stage, Copes is passionate about creating “third spaces” — communities outside of the rehearsal room and theater walls where ensemble performers, especially queer POC, can feel supported and celebrated. These spaces, he argues, are essential for navigating an industry that frequently prioritizes star power over collective well-being.
As he continues his career — with recent stints in Once Upon a Mattress, Midnight in the Garden of Good and Evil, and even nostalgic concert tours like 90s Mixtape Live — Copes remains steadfast in his mission. Broadway, he believes, can’t just be about dazzling audiences. It has to honor the labor and humanity of those who keep its heart beating, eight shows a week.
Follow him on IG @demariusr_copes