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Jason Crawford, director of Damn Yankees,  is a multi-disciplinary artist based in Baltimore, known for his expansive roles as a director, performer, producer, composer, lyricist, playwright, screenwriter, and filmmaker. He has been involved in the Baltimore theatre community for over twenty years, building a reputation for creative versatility and passion. This background reflects his commitment to the arts and to sharing his insights on theatrical storytelling.

Education and Early Stage Roles

Crawford’s earned a Bachelor’s degree in English and a Master’s in Professional Writing from Towson University, where he developed his writing, analytical, and creative skills. Alongside his studies, Crawford began performing in academic and community theatre. Over the years he appeared in a wide range of classic and contemporary musicals and plays. These performance credits include roles in Guys & Dolls, The Pajama Game, Damn Yankees, Fiddler on the Roof, You’re a Good Man, Charlie Brown, The Wizard of Oz, Joseph and the Amazing Technicolor Dreamcoat, Beauty and the Beast, Once Upon a Mattress, Grease, The Sound of Music, as well as comedies and dramas like You Can’t Take It With You and Godspell, among others.

Co-Founding Generations Theatre

In the early 2000s, Crawford transitioned into directing after co-founding Generations Theatre, a community theatre initiative focused on multi-generational casts and audiences. At Generations Theatre, he took on directing responsibilities, notably, his first shot at directing for their inaugural production of Peter Pan. This experience marked Crawford’s move from performer to director, allowing him to craft entire productions from the stage vision. The skills he developed there – casting, staging, and guiding actors – laid the groundwork for his later success as a director and creative leader.

Cockpit in Court Summer Theatre

Crawford’s regional theatre experience continued at the Cockpit in Court Summer Theatre in Baltimore. In 2005 he performed in the comedic musical Lucky Stiff, showcasing his talents as a character actor. By 2007 he had stepped into a leadership role there, directing the farce Love, Sex, & the IRS (by William Van Zandt and Jane Milmore). These experiences, both on and off stage, at Cockpit in Court helped him hone his craft in both performance and direction in an intensive summer-repertory environment, working with tight schedules and community casts.

Just Off Broadway: Founding and Vision

In 2012 Crawford co-founded Just Off Broadway (JOB), a Baltimore-based non-profit community theatre company aimed at being “for actors, by actors.” Critics note that JOB was created by Crawford and a team of theatre colleagues envisioning a supportive space where performers and crew could explore new roles and skills. As resident director and creative director at JOB, he has overseen every season and helped JOB grow into a vibrant local company with a mission of inclusion and education in the arts.

Notable Directing Credits at JOB

Over more than a decade at Just Off Broadway, Crawford has directed a remarkably diverse array of shows. His directing credits span mysteries, comedies, and musicals. For example, he staged Agatha Christie’s suspense drama And Then There Were None and the musical Godspell early in JOB’s history. He has also directed farces and comedies such as Love, Sex, & the IRS and Daddy’s Dyin’, Who’s Got the Will?. In 2016 he directed The Coffee Shop (an original comedy by Davis Gable), a production in which he also performed. Crawford’s repertoire includes beloved Broadway titles: he has directed Company, Jesus Christ Superstar, Evita, and Company, as well as contemporary hits. In the 2023 season, for instance, he directed the production of Butterflies Are Free and led JOB’s Baltimore-premiere production of Bonnie & Clyde, demonstrating his range across genres.

Stage Performances at Just Off Broadway

Alongside his directing, Crawford has frequently appeared on stage for JOB. His performance credits at JOB include a number of musicals and plays. He was seen in Godspell early on and in Once on This Island (as Papa Ge, the god of death). He also performed in The 25th Annual Putnam County Spelling Bee, Dear Friends, and New York. In 2019, Crawford played Ernie Cusack in JOB’s production of Neil Simon’s Rumors. Later that year he portrayed Judah in Joseph and the Amazing Technicolor Dreamcoat. His JOB stage roles also include parts in Murder on the Orient Express and other titles. These onstage credits illustrate Crawford’s talent and willingness to step into many characters when needed, even as he directed other productions.

Original Works and Current Projects

Crawford is also a writer of new theatre. His original musical The Story of Us (for which he wrote book, music, and lyrics) was slated for a world premiere at JOB in 2021. The show, a boy-meets-boy love story, was in rehearsal for its Fall 2021 run when it was postponed by the COVID-19 shutdown. Undeterred, Crawford continues to develop new works. He is currently working on original musicals based on the life of Hollywood icon Joan Crawford and on the notorious Jack the Ripper serial killer, as well as scripting new non-musical plays. These projects reflect Crawford’s ambition to explore a variety of stories and genres. Throughout his career he has emphasized creativity and passion, noting that “whether on stage or screen, I’m always chasing the next idea that won’t let me sleep.” This drive keeps him active in multiple forms of storytelling.

Film and Media Career

In recent years Crawford has expanded into filmmaking. In 2020 he co-founded Void Where Prohibited Media (VWP Media) in Baltimore, a production company for narrative film and digital media. As co-founder, he wears many hats in VWP: he is a screenwriter, director, producer, editor, and even an actor in their projects. The company’s first feature film, The Blue Ridge Incident (2024), is a suspense thriller that he co-wrote and co-directed; it premiered online to local audiences. VWP also has a growing portfolio of short films in development and production. Through VWP Media, Crawford continues to apply his storytelling belief in the cinematic realm.

Overall, Jason Crawford’s career spans stages and screens with equal intensity. A theater reviewer once noted that he truly embodies the theatre folk axiom of being “all over the theatre in different roles”. Whether directing a large musical, performing in a small community play, or crafting a new film, Crawford remains driven by the same creative vision. This restless enthusiasm for storytelling and connection continues to fuel his work in the Baltimore arts community.