DANCER, SINGER, ACTOR

Curtain up! A proud member of Actors' Equity Association, performance highlights include the First National Tours of Pretty Woman ​(Giulio) and Escape to Margaritaville (Dance Captain/Swing), Regional Theatre Productions of Pittsburgh CLO's Disney's Newsies, Mary Poppins, & Footloose, The REV Theatre Co.'s GREASE, Interlakes Theatre's CATS, Gypsy, & Disney's Newsies. Work has taken me all over North America - to over 60 venues in both the United States and Canada! I am represented by CESD Talent Agency.

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The young Trent Soyster is onto something here, and BIG, HUGE, things will be coming his way in the near future. Trent should be exceptionally proud of the beautiful work displayed here, for he is the one to watch." - Broadway World Tampa.

Giulio in the PRETTY WOMAN First National Tour.

Eugene in The REV Theatre Co.'s GREASE.

​Featured work in new pieces include Michael Darling in Pete(Her) Pan: a new musical at Pace New Musicals, Declan Crowley in Murder Pass at The Tank NYC, and Dance Captain for Two Star Motel ​at The ShapeShifter Lab.

​I have a passion for dancing for a greater cause, and have been honored to perform in Broadway Cares/Equity Fights AIDS' annual productions of Gypsy of the Year (Broadway's New Amsterdam Theatre) and Easter Bonnet (Broadway's Minskoff Theatre). Other recent appearances include HIV HERO's Broadway and Ballet Gala at Stage 48, Leg Up On Life's Night of Life benefitting The Trevor Project and Share, Inc.'s Boomtown Gala in Los Angeles! 

PRETTY WOMAN NORTH AMERICAN TOUR 
"As Giulio, TRENT SOYSTER soars above the masses. They say when you see a show such as Hamilton, you should not just pay attention to the leading principals, but more often than not, you should take a look at every single person making up the Ensemble. No truer a statement can be made than that of TRENT's performance. As Giulio he makes his mark on every scene he is involved in. His performance adds so much depth, and comic relief to the moment, you constantly wait to see what will happen next. His moments with both the Happy Man and Vivian are beautifully rendered here, and there is a moment with a wig in Act I that you must see to believe. The young TRENT SOYSTER is on to something here, and BIG, HUGE, things will be coming his way in the near future. TRENT should be exceptionally proud of the beautiful work displayed here, for he is the one to watch." - Drew Eberhard for Broadway World Tampa. 

"The real show-stopping show stealer is Giulio (TRENT SOYSTER.) You won’t be able to take your eyes off of him between his comedic antics, interacting with both Edward and the ‘Hotel Manager’ (who is really just the all-purpose Fairy Godfather of the show, Happy Man) all throughout the performance, and his jaw-dropping dancing, SOYSTER becomes this amazing character that you just want to take home with you at the end of the night. His body language portrays a great deal of physical humor and his dancing skills are second to none in this performance. Feather-dusting with Vivian’s wig, leaping and lilting all over the stage during the tango in “On a Night Like Tonight” and just generally being this fabulous spark of youthful exuberance, buoyant with the gaiety of true simplistic joy, TRENT SOYSTER will keep you laughing, keep your spirits high, and certainly lift you up— and his character is just the bellhop!" - Amanda N. Gunther for Theatre Bloom.

"Whenever hotel room-service boy, Giulio, makes a sudden, often unexpected appearance, the result is invariably a crowd-wowing display of song and dance by TRENT SOYSTER who - much like a spry pixie - leaps, twirls, and at times almost flies through dance moves galore while also singing with a voice that is both innocently boyish and purposively devilish. When he is caught by Hotel Manager Mr. Thompson dancing like Fred Astaire to his Ginger Rogers mop, Travis Ward-Osborne becomes his dancing partner; and the two mimic with style the famous dancing pair of the '30s big screen. The two also dance in tango dips while joined by a quartet of hotel staff singing in fabulous falsetto, "On A Night Like Tonight", just one of a number of instances where Jerry Mitchell's joint role as director and choreographer results in an ensemble-populated scene that is fantastically fun to watch." - Eddie Reynolds for Theatre Eddys.
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"TRENT SOYSTER as Giulio, a bellhop, is a gift and a treasure. His dancing, lightness, and enthusiasm on stage are fantastic. The character says almost nothing, yet SOYSTER manages to express a great deal with his face and body. He seems so excited to be there that it is impossible not to smile whenever he is on stage. Giulio is quirky like an elf and a kid in a candy store. His dance sequences with a mop and the concierge are wondrous and he really steals the show. " - Zak Rosen for MD Theatre Guide.

"The primary pleasures of this production come from the periphery starting with the scene-stealing TRENT SOYSTER. As the hotel's blissfully effeminate bellhop, Giulio, and as a member of the ensemble, he exudes joy whether he's eavesdropping on the central couple or cutting a rug with a mop. He's the best dancer in the show, lithe, playful and athletic, and the production comes to life every time he takes the stage (it was nice to hear the audience acknowledge him with gusto during curtain calls)." - Chris Vognar for The Houston Chronicle.  

"And, in a welcome departure from the screenplay, new character dancing bellhop Giulio is embodied with tremendous energy and joy by SOYSTER; the physicality of this role is tremendous and it is absolutely done justice by a young man who has the entire theater rooting for him to return to the stage every time he leaves." - Cassiopeia Guthrie for San Diego Story.

"TRENT SOYSTER captured hearts as Giulio the bellboy and had the crowd in the palm of his hand with the most charming, sweet expressions and perfect comedy timing. We were thrilled every time SOYSTER was on stage." - Ariana Straznicky-Packer for Broadway World Hartford.

"The lovable bellhop Giulio was played by TRENT SOYSTER with playfulness and wit. Mr. SOYSTER brings the art of mugging to a transcendent level, and he is a joy to watch, especially when dancing the tango with Happy Man." Chris Hauge for The Column Online.

"TRENT SOYSTER was also a pleasure to watch in the role of Giulio, the Beverly Wilshire's bellhop. He has great comedic timing and adds to his character with subtle mannerisms. He and Parker made a fabulous duo; I could have watched them all night." - Courtney Castelino for Broadway World Ottawa.  ​​

ESCAPE TO MARGARITAVILLE NATIONAL TOUR 
"The show's choreography is lively, and the whole company handles it well. On opening night, ​TRENT SOYSTER seemed especially dedicated to his duties on stage (lifting a suitcase with noticeable gusto during one particularly showy scene, elevating the proceedings)." - Aaron Wallace for Broadway World Orlando.
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"You'll be in awe of the spectacular choreography by Tony Award-Nominee Kelly Devine (Come From Away), covering all genres of dance with an expert ensemble of triple threats, each a superstar in their own right." - Debra Graff for patch.com.

"The whole chorus deserves a few words of praise. Every minute they're onstage -- whether as drunken patrons, lounging beachgoers, rehearsal party attendees, or, yes, hallucinated insurance agents -- they are solid, animated, and committed, and they help sell the show (especially in Paul Tazewell's bright, eye-candy costumes). Especially here, where the plot is admittedly not the main attraction, the chorus plays a critical role. They bring maximum effort to every number, and deserve credit for the show's success." - John McDaid for Broadway World Rhode Island.

GREASE AT THE REV THEATRE CO.
"They smile, kick and hand jive their way through Phil Colgan’s choreography with youthful zip." - David Wilcox for auburnpub.com.

"Grease delivers miles of smiles and a night of nostalgic delight." - Linda Lowen for syracuse.com.

PETE(HER) PAN AT PACE NEW MUSICALS
"'Pete(Her) Pan' delivered audiences with doses of magic and nostalgia that brought them to a place where nothing was impossible. The music brought out many emotions in the audience, and the dance numbers made it hard not to dance along." - Arelys Perez for The Pace Press.