Remembering Gina Ferrall: A Stage Career Across Broadway and Beyond

Gina Ferrall, the stage performer whose credits included Les Misérables, Mamma Mia!, and Leopoldstadt, died at 67 following a brief illness with uterine sarcoma. Theater publications reported her death in June 2026. Her husband, Broadway percussionist Kory Grossman, confirmed the news.

Her career brought her into productions with different styles, stories, and audiences. She performed in musicals, appeared in plays, and took on television roles.

Looking back at those credits offers a picture of a working performer whose career extended across decades.

A Long Career on Broadway

Ferrall’s Broadway work included appearances in Les Misérables, Beauty and the Beast, Jane Eyre, and Mamma Mia!.

She also performed in revivals of A Funny Thing Happened on the Way to the Forum, The Sound of Music, Big River, and She Loves Me. Those credits placed her in productions spanning musical comedy, literary adaptation, and drama.

A list of titles provides a useful record, but it captures only part of a stage career. Each production involves a different company and a different set of creative demands.

For audiences who encountered her work at different points, those productions offer separate ways to remember the same performer.

Memorable Roles in Musical Theater

Among Ferrall’s roles were Madame Thénardier in Les Misérables, Madame de la Grande Bouche in Beauty and the Beast, and Rosie in Mamma Mia!.

Her credits also included Domina in the 1996 revival of A Funny Thing Happened on the Way to the Forum, Sister Berthe in the 1998 revival of The Sound of Music, and Mrs. Reed in Jane Eyre.

These roles illustrate the variety within her musical-theater work. Rather than belonging to one production alone, her professional story connects with several familiar parts of Broadway’s repertory.

A theatergoer who remembers one appearance may discover another chapter of her career through those other credits.

Taking Her Work Beyond New York

Ferrall also performed for audiences outside Broadway.

She toured with Les Misérables as Madame Thénardier and played Madame Morrible in a national touring production of Wicked. Earlier in her career, she belonged to the American Conservatory Theater company from 1986 to 1990.

That touring work matters when describing her career accurately. Her connection to Wicked came through its national tour.

It also broadens the picture of her audience. People did not have to travel to New York to encounter her performances. Her career included work that reached theatergoers in other cities.

Her Appearance in Leopoldstadt

Ferrall’s later Broadway credits included Tom Stoppard’s Leopoldstadt.

The Internet Broadway Database lists her as Poldi in the original Broadway company and as an understudy for Grandma Emilia. The production ran from October 2022 through July 2023.

Her involvement adds another dimension to a career often associated with musicals.

It provides a concrete example of her work in a play, alongside the singing roles that form much of her professional record.

Television Work Alongside the Stage

Ferrall’s career also included television appearances.

Her screen credits included Law & Order, Law & Order: Special Victims Unit, Blue Bloods, FBI, and The Good Cop. She also appeared in The Sound of Music Live!

These appearances offered another way for viewers to encounter her work.

For someone who knew her primarily through television, her extensive theater credits may reveal a less familiar part of her career. For regular theatergoers, the screen appearances sit alongside the stage performances they remember.

A Family Connection to the Theater Community

Ferrall is survived by her husband, musician Kory Grossman. His work as a Broadway drummer and percussionist connected them both to the theater community through different professional roles.

Beyond that public information, their private life deserves respect. An account of her career does not need imagined conversations or assumptions about their experiences together.

The confirmed details are meaningful on their own: two working artists shared a connection to an industry built through collaboration.

Remembering Her Body of Work

Gina Ferrall’s professional record spans Broadway musicals, touring productions, plays, and television. The titles associated with her name provide a lasting account of that work.

For those who saw her perform, remembrance may begin with one particular production. Others may learn about her through the broader collection of credits.

A respectful tribute can make room for both. It can acknowledge the loss while keeping the focus on the work she contributed and the performances through which audiences came to know her.