Benjamin Taylor steps in as Mercutio

When Opera Theatre of Saint Louis needed someone to step into one of the most electric roles in its season — and do it with almost no notice — they turned to Gerdine Young Artist alum and baritone Benjamin Taylor.

He had planned to be in Seattle learning how to barbecue and “make the perfect croissants.” Then the call came from his agent. “They said, ‘Hey, you gotta go to St. Louis. Are you able to do it?’” he recalled. “I’m like, yes, absolutely — let’s go back to St. Louis.”

“Romeo and Juliet” is part of Opera Theatre’s 2026 season and continues through June 27 at the Loretto-Hilton Center.

Taylor was a GYA — a member of OTSL’s prestigious young artist program — from 2015 to 2017. Coming back to step into Mercutio felt like a full-circle moment. “This is a special place for me,” he said. “It’s really nice to come back and see what’s changed… the quality of artists hasn’t changed at all.”

Taylor’s history with OTSL runs deeper than résumé lines. As a young Black baritone navigating a field that has long struggled with representation, he remembers what it meant to be in a space where he didn’t have to shrink or explain himself. “There’s so much talent that goes to waste because of lack of opportunities, lack of support,” he said. He still thinks about a classmate at Morgan State who “at 18 sounded like Renée Fleming” but never got the chance to build a career. For him, OTSL’s willingness to cast boldly — and to create a space where artists of color are not exceptions but essential contributors — is part of what makes the company feel like home. “Being able to show that we are part of it is great,” he said. “And I’m glad OTSL is swinging the pendulum in another way.”

Taking over Mercutio isn’t a simple plug-and-play assignment. It’s a role that demands swagger, wit, agility, and emotional precision — and Taylor had a week to build it.

He laughed remembering his first encounter with Romeo and Juliet as a high-school “metalhead skateboarder” who had no interest in Shakespeare. But revisiting the text as an adult — and as an artist — unlocked something. “I love this character,” he said. “Mercutio and I are very similar… I like to think I’m witty and adaptable. He can switch up to whatever’s needed on a dime, and he’s loyal to his friends.”

The opera gives Mercutio less text than the play, but Taylor found room to build him out through physicality and presence. “I’m given a lot of chances to flesh out the character by the actions of being on stage,” he said, crediting director Catriona McLaughlin for helping him sharpen choices that “didn’t feel strong” at first.

Agility — emotional and practical — sits at the heart of his Mercutio.

Taylor’s ability to pivot quickly came from childhood. He grew up in a military family, moving constantly. “I can just adapt. I can just go,” he said. “Growing up as a military kid really showed me that… you learn to appreciate the times and the experiences you have while you’re having them.”

Opera wasn’t the plan for Taylor. In fact, he had auditioned for a metal band and planned to tour the East Coast. His mother, Carla Fisher, had other ideas.

She heard him sing a required solo in choir and made a decision. “The next day she said, ‘You’re going to Italy for six weeks. You’re doing this opera program,’” he said. He resisted — loudly — but went. And during his first opera, Taylor was so enthralled that he gripped the armrest so hard he tore it. “I called my mom from an internet café and said, ‘I gotta figure out how to sing opera.’”

Two weeks later, he was accepted into Morgan State University. From there came Boston University, the Opera Institute, and a career that has taken him to major stages — including a Metropolitan Opera debut where he played a villain so convincingly that the audience booed him at curtain call. “I was so excited about it,” he said. “I was egging them on.”

Taylor’s voice is rich, dark, and flexible — a combination he’s still learning to shape. “It’s so versatile… it can do a little bit of everything,” he said. “Finding out what works for me and what works for the audience has been a journey.”

But his goal is simple: “I just want people to feel something when I’m singing.”

Stepping into a production mid-stream requires trust on both sides. Taylor believes his history with OTSL made the decision easier. “They know how I work,” he said. “Being here before, they knew that the adjustment period was already done. We could start at a higher foundation.”

He also credits the company for its commitment to Black artists. “Being able to show that we are part of it is great,” he said. “And eventually, the goal within the art form is a true meritocracy — the best singers for the gig.”

For Taylor, the goal is catharsis for OTSL’s “Romeo and Juliet.” “The world’s kind of crazy right now,” he said. “I want them to have some joy, cry a little bit, and have some sort of release.”

Opera Theatre of Saint Louis’ presentation of “Romeo and Juliet” continues through June 27 at the Loretto-Hilton Center, 130 Edgar Road in Webster Groves (on the campus of Webster University). For showtimes and a full schedule of their 2026 season, visit opera-stl.org.

Living It content is produced with funding by the ARPA for the Arts grants program in partnership with the Regional Arts Commission of St. Louis and the Community Development Administration.

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