Clayton Howe is a Producer with Roxedge Entertainment and Drew & Dane Productions, host, actor, writer and optimist. Most recently, Clay was seen in the Broadway National Tour of Waitress as Earl Hunterson. Curiosity and a passion for thoughtful storytelling led him to create, edit and host Entertainmentx where he gets to the heart, soul and drive of top performers in the entertainment industry. Previous guests include Grammy winner Jonathan Groff; Tony Award winners Billy Porter and Jerry Mitchell; plus Hollywood and Broadway stars and choreographers like Bradley James, Jonah Platt, Diana DeGarmo, and Morgan James, as well as emerging talent from film, TV, Broadway and publishing. Clay believes in genuine human connection and the power of kindness. Consequently, he loves to meet and connect like-minded humans. Clay is an alum of SUNY Fredonia with a Bachelor of Fine Arts in Musical Theatre.
Jessica Paz is a Tony Award-winning Sound Designer for theater, film and music. Most recently, she collaborated with Nevin Steinberg on the sound design for Anaïs Mitchell’s acclaimed production of Hadestown, which earned the duo a Tony Award, Drama Desk Award and an Outer Critics Circle nomination.
On Broadway, Jessica was an Associate Sound Designer on projects including Dear Evan Hansen, Bandstand, Disaster! The Musical; The Assembled Parties (MCC); and Fela!.
Other design credits include Little Shop of Horrors (Westside Theater); Kiss My Aztec (Berkeley Rep); Twelfth Night, Othello, Miss You Like Hell, Julius Caesar, A Midsummer Nights Dream, and As You Like It (The Public Theater); Burn All Night (A.R.T Oberon Stage); Ugly Lies the Bone (Roundabout); A Sucker EmCee, and The Muscles in Our Toes (LAByrinth); The Kings Whore (Starcatcher Productions); Becoming Dr. Ruth (Westside Theater); Looking for the Pony (Vital Theater Co.); Women Beware Women (Red Bull Theater); STRETCH – A Fantasia (New Georges); Welcome to Fear City (KC Rep); Scott & Hem in the Garden of Allah, and See How They Run (Barrington Stage); Legally Blonde, and 9 to 5 The Musical (North Shore Music Theater); Romeo & Juliet, Midsummer Night’s Dream, Othello, and Much Ado About Nothing (Shakespeare on the Sound’s Productions); SCKBSTD (Virginia Stage Co) ; Volcanoes Birthright (Organic Magnetics); TempOdyssey, And Her Hair Went With Her, Bookends, and Minstrel Show (NJ Rep).
Jessica has been a Front of House Engineer for musicians including The Preservation Hall Jazz Band, Antibalas, Julia Haltigan, Femi Kuti, Lady Antebellum, Candy Shop Boys, People vs. Larson, Michael Arenetta, Bugaboo, Carte Blanche, King Holiday, The Woes, Stone Cold Fox, The African Children’s Choir and many others. She has also been a Lecturer of Sound Design in addition to student advisor for Princeton Universities production of Next To Normal, and was the Sound Designer of the Actor’s Studio Drama School’s yearly Master’s Thesis productions from 2009 – 2014.
Jessica is fascinated by music studio and live concert techniques. She is constantly learning and researching innovative approaches from the traditional music recording world, and bringing them into her theater work. A proud member of IATSE Local 829; Soundgirls.org; Woman’s Audio Mission; USITT; and Co-Chair of the board of the Theatrical Sound Designers and Composers Association. She currently resides in New York. Pizza is her favorite food group.
Originally from Patchogue, NY. B.F.A.: Marymount Manhattan College. Broadway: Rent, Tarzan, Mary Poppins, Escape to Margaritaville. Off-Broadway: Altar Boyz. Broadway National Tours: Hamilton (current), Mary Poppins. Proud AEA member. Regional Theatre: Gateway Playhouse, North Carolina Theatre (In the Heights) Trinity Repertory Company (West Side Story) CMPAC: A Chorus Line, The Wiz, Once On This Island, Once Upon A Mattress, Funny Girl, and many more. LOVE to friends, family, BLOC #lifeisgood #dontforgettoplay
Beth Trentacoste is currently a Senior Vice President and Executive Creative Director at Paramount Global. As Executive Creative Director at Velocity, Paramount Global’s full-service creative and marketing studio, Beth runs a division of creative and production personnel, including creative directors, writers, editors, directors, art directors, motion designers and producers, delivering a diverse range of short and long form content across the Paramount portfolio including MTV, CBS, Nickelodeon, Comedy Central, Paramount+, Paramount Pictures, ATV and more.
An award-winning Creative Executive with 20+ years experience, Beth drives inspired creative direction, leading large multidisciplinary creative teams, aligned to prominent entertainment IP and the world’s largest brands. As an Executive Creative Director, Beth has led campaigns for major brands such as Pepsi, Disney, McDonalds, Hershey’s, Mars, Universal Pictures, and spent a decade working in film marketing, directing and interviewing A-list celebrity talent.
Beth has received numerous industry recognitions including a Golden Trailer Award for innovation in Advertising as well as multiple Clio Awards, Webby Awards, Promax, AMEs, Tellys, Shorty Awards and Hollywood Reporter Key Art Awards and a Cynopsis Social Good Award for the best PSA which she directed in 2016. Her work has been featured in top industry trades including Adweek, Entertainment Weekly, Fast Company and Ad Age. In 2019, she was named to Cablefax’s list of the Most Powerful Women in Media, in 2020 her team was named “TV’s hottest branded content” on Ad Week’s “Hot List,” and in 2021, she was honored as a top “Industry Leader” at the Cynopsis Top Women in Media Awards.
Beth serves on the Board of Directors for the non-profit organization, Entertainment 2 Affect Change which connects creators, causes and investors to make impact through the power of story, producing documentaries, podcasts and a variety of high quality caused-based content. She is a member of Chief NY and WICT (Women in Cable TV), and She Runs It. Beth has a BA in Journalism from Temple University and has completed filmmaking courses at the New York Film Academy and Middlesex University in London. Beth is passionate about using her position to drive equality and representation behind and in front of the camera.