Learn about me! 



Learn about me! 


Cameron Jordan

Hi There! I am a New York based actor who has been in love with theatre my entire life! I grew up in a small town in North Carolina as a child of two theatre professionals. I started singing and acting at a very early age, due to the fact that my dad was a professional actor, director and voice teacher! I learned most of my technical skills from my mom who went to school to be a stage manager! The perfect duo, they taught me everything I know, except dance... neither one of them can dance so they can't take credit for that!

After learning my entire life, I started working professionally while I was still in High School and haven't stopped since! Some of my favorite roles to play have been Moritz Stiefel in Spring Awakening, and the number one that I would play forever if I could... Lonny Barnett in Rock of Ages!

I've always been a very creative spirit and love dipping my toes in the many facets of theatre. I love designing costumes and sets, and I really love using my dance training to choreograph many different styles of musicals. It not only challenges me as a dancer, but teaches me about how to best communicate my creativity on to someone else!

Please have fun, and enjoy exploring my website, feel free to contact me, ask me questions, or follow my social media! I'd love to hear from ya!




Powered by Squarespace

Upcoming Projects

Upcoming Projects

Grease cast collage.jpg

Coming soon!

I am currently playing Roger in Grease at the Kravis Center in West Palm Beach, FL!

I am so excited to be making my MNM Theatre Company debut with such a talented cast!

For more information visit!


This Winter!

I'll be returning to the beautiful city of Ft. Lauderdale to be in the Ensemble of Jekyll and Hyde with one of my favorite companies to work for!

For more info. visit!



I will be portraying one of my favorite comic strips characters... Charlie Brown! I did this show in high school and I'm so excited to revisit it now as an adult!

For more info. visit







Rock Of Ages- Slow Burn Theatre- Lonny Barnett

Imagine: A Beatles Celebration- Stage Door Theatre

Peter and the Starcatcher- Slow Burn Theatre- Smee

Man Of La Mancha- Sierra Repertory Theatre-Padre/Pedro

Big River-Slow Burn Theatre- Tom Sawyer/Young Fool/Hank 

Titantic- Slow Burn Theatre- Mr. Etches 

The Hunchback of Notre Dame-Slow Burn Theatre-Ensemble/Quasimodo u/s

Spring Awakening- Slow Burn Theatre- Moritz 

Dogfight- Slow Burn Theatre- Gibbs

Caroling- The Yuletide Carolers - Christmas Caroler 

LGBTQ+ Task Force Gala- Singer 





Highlights from "Imagine: A Beatles Celebration" at Stage Door Theatre

"A Day In The Life" from Imagine: A Beatles Celebration

"More" and Original Song by Cameron Jordan

"The Origin of Love" from Hedwig and the Angry Inch


"To Each His Dulcinea" from Man of La Mancha




Rock Of Ages Reviews:

There’s the emcee, who weaves in and out of the story, frequently breaking the Fourth Wall a la a Shakespearean fool who serves as the narrator, and the play within a play device is good for a few laughs. Cameron Jordan as Lonny appears to have channeled Jack Black for inspiration, but he mines the role... especially in the we-didn’t-see-that-coming surprise reveal as he and Dennis sine REO Speedwagon’s I Can’t Fight This Feeling to a hilariously choreographed pas de duex.
— Michelle F. Soloman, Florida Theatre On Stage

Peter and the Starcatcher Reviews:

Cameron Jordan, Costello to Cartland’s Abbott... And Cameron Jordan’s aforementioned Smee, a bright-eyed, bushy tailed star, brings the music, brings the laughter, and brings the one-liners like sniper shots.
— Trevor Durham,
The rest of the cast explodes with a mischievous and boundless enthusiasm of folks just having a great time themselves and inviting the audience into the fun:... Cameron Jordan whose tirelessly attentive Smee playing a ukulele while dressed as a siren...”
— Bill Hirschman, Florida Theatre On Stage
The cast performs with exuberance, unflagging energy and plenty of volume. Those prone to falling asleep at the theater will have to nap elsewhere (hurrah!).
— Christine Dolen, Sun Sentinel

Man of La Mancha Reviews:

Cameron Jordan sings nicely as a Padre...
— Mike Taylor, Sierra Lodestar

Big River Reviews:


Also a standout on opening night was Cameron Jordan, filling in as Tom Sawyer for David Matthew Klein... Jordan learned Tom’s lines, his fast-paced and funny song “Hand for the Hog” and the characters choreography in a day, an impressive feat even if you remember his haunting work as the doomed Moritz in Slow Burn’s “Spring Awakening.” Like the Slow Burn Company itself, Jordan makes you remember and applaud what good theatre is all about.
— Connie Ogle, Miami Herald
Cameron Jordan is hilarious, and catchy in his “Arkansas”
— Trevor Durham, Broadway World
Already playing Ben Rogers, Hank and Young Fool, the kid who sings anode to his home state in “Arkansas”- added boisterous, scheming Tom to his assignments. Jordan sang, danced and performed as if he’d been rehearsing for days, not just a few hours.
— Chirstine Dolan,

Titantic Reviews: 

There is joy to be found in Cameron Jordan’s Etches.
— Trevor Durham,

The Hunchback of Notre Dame Reviews:

Along with the eighteen person choir, Fitzwater’s cast of ten “Congregants” is a burst of movement and auditory delight. Familiar faces from last season, Cameron Jordan, Stephanie Trull, Rick Pena, and Cristina Flores mix with newcomers to create an installed ensemble that rotates between Cassell’s gargoyles, Gypsies, soldiers, a voice of reason, and a voice of destruction. Their omnipresence balances the gorgeous cast into an efficient machine, a machine of unbelievable vocal strength and performance.
— Trevor Durham,

Spring Awakening Reviews:

Cameron has been working in the anonymous chorus of several local shows and earned a few featured roles. But here he proves he has fine musical theatre chops worthy of bigger challenges. His woebegone Moritz is far funnier in the early scenes than his predecessors in the role, but his internal turmoil in later scenes and songs in the first act are more effective than in other editions.
— Bill Hirschman, Florida Theatre On Stage
He establishes a character that is trembling one step away from emotionally falling apart. We are drawn to watch him on his journey to its seemingly inevitable end.
— John Lariviere, Talkin' Broadway