Written By LANIE ROBERTSON
GARY MITCHELL, JR.
Production Stage Manager
Gary Mitchell, Jr.
“Lady Day at Emerson's Bar and Grill” is presented by arrangement with Concord Theatricals on behalf of Samuel French, Inc. www.concordtheatricals.com
THE VIDEOTAPING OR MAKING OF ELECTRONIC OR OTHER AUDIO AND/OR VISUAL RECORDINGS OF THIS PRODUCTION AND DISTRIBUTING RECORDINGS OR STREAMS IN ANY MEDIUM, INCLUDING THE INTERNET, IS STRICTLY PROHIBITED, A VIOLATION OF THE AUTHOR(S)’S RIGHTS AND ACTIONABLE UNDER UNITED STATES COPYRIGHT LAW. FOR MORE INFORMATION, PLEASE VISIT: https://concordtheatricals.com/resources/protecting-artists
Gary mitchell, jr.
A seedy bar in Philadelphia, 1959
- "I Wonder Where Our Love Has Gone"
- “When A Woman Loves A Man”
- "What A Little Moonlight Can Do”
- "Crazy She Calls Me”
- "Baby Doll”
- "God Bless the Child”
- "Foolin’ Myself”
- "Somebody's On My Mind"
- "Easy Living”
- “Strange Fruit”
- "’Taint Nobody’s Biz-ness If I Do”
- “Them There Eyes”
- “Don’t Explain”
- “Deep Song”
*Appearing through an Agreement between this theatre, Cape Playhouse, and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
“Actors’ Equity Association (“Equity”), founded in 1913, is the U.S. labor union that represents more than 51,000 actors and stage managers, Equity fosters the art of live theatre as an essential component of society and advances the careers of its members by negotiating wages, improving working conditions and providing a wide range of benefits, including health and pension plans. Actors’ Equity is a member of the AFL-CIO and is affiliated with FIA, an International organization of performing arts unions. www.actorsequity.org
United Scenic Artists Local USA 829 of the I.A.T.S.E represents the Designs & Scenic Artists for the American Theatre.
Technical Director and Production Manager
Assistant Production Manager
Electrician and Light Board Operator
Social Media Manager
Jonathan Scott Ryder
Board of Trustees
William W. Templeton, Esq.
Robert E. Burns
Kirsten A. Wickson
John T. Yunits, Jr.
From all of us at The Cape Playhouse, be well, be safe, and we will look forward to welcoming you this summer for never before seen activities on the campus.
The Cape Playhouse is a 501 (c) 3 not-for-profit organization. All donations are tax-deductible.
Message from the Theatre
The Cape Playhouse is extremely grateful to have the opportunity to present BROADWAY ON THE LAWN for the 2021 Summer Season. A heartfelt thank you to all our patrons and sponsors who have helped make this season possible. We are thrilled to have you back and delighted to be up and running with our stellar production crew and brilliant actors who are ready to bedazzle you on our first ever outdoor stage!
Meet the Cast
Most recently appeared with the NJ Symphony Orchestra and also in her one-woman-show titled “Billie & Me”. Other one-woman shoes include: “To Ella & Judy With Love“ ( a tribute to Ella Fitzgerald & Judy Garland; “Speak on It: The Fannie Lou Hamer Story “; and “Children Will Listen”. Recent TV Credits: The Marvelous Mrs. Maisel, Central Park, Murphy Brown reboot. Broadway Credits: Escape to Margaritaville, The Color Purple, Violet, The Lion King, The Book of Mormon, & Ragtime. Off-Broadway & Regional credits: Unmasked, Footloose, Disney’s Hercules, Little Shop of Horrors, The Cradle Will Rock, The Colored Museum, A New Brain, You’re Standing In My Way: A New Song Cycle, Being Alive. Rema's life work is Teaching and Mentoring. She is the Founder/Executive of On Broadway Performing Arts Training Program. On Broadway provides year- acting, singing, dance classes to young people ages 6 to 16.
Gary Mitchell, Jr.
As a pianist, concert maestro, and actor, Gary regularly collaborates with renowned singers, instrumentalists, artists, and ensembles, ranging from opera to musical theatre, classical, sacred, jazz, and gospel. Recently, Gary debuted as Noah “Horse” T. Simmons in The Full Monty at The Clink Theatre, Port Douglas, Queensland, Australia. Prior, he debuted (music director and pianist) as Jimmy Powers in Lady Day at Emerson's Bar and Grill, at Portland Stage Theatre. Mitchell also portrayed Jasbo Brown in Porgy and Bess at The Royal Danish Opera House-Copenhagen. He has collaborated and performed with MTV and Steinway International. Previously, Gary was a bass vocalist at Houston Grand Opera and Artist-in-Residence at Wheeler Avenue Baptist Church-Houston, and now serves as Director of Music and Arts Administration at First AME Church: Bethel-Harlem.
Lanie Robertson writes about iconic artists and the societal issues they faced in Nasty Little Secrets, The Insanity of Mary Girard, Back County Crimes, and Lady Day at Emerson's Bar & Grill, which was produced on Broadway in 2014. His plays are widely produced nationally and internationally. He’s a member of the Dramatists Guild, Writers Guild, East; and the Societe des Auteurs et Compositeurs Dramatiques.
Shariffa Chelimo Ali is a Kenyan born, New York based creative leader committed to working with an open-heart at the intersection of the performing arts and humanitarianism.
As a theater director and academic, Shariffa moves her audiences to engage with timely issues touching upon Black, Afropolitan, and African-American identities. Shariffa has directed and lectured at colleges where her productions have brought many “firsts” to campuses: “first all-female cast and creative team” for her production of Zimbabwean born Danai Gurira’s Eclipsed at Princeton University; “first all-black ensemble with a director of color” for her production of Dominique Morisseau’s Detroit67; “best attended show” for her production of We are Proud to Present... at Yale University.
Shariffa worked at the Public Theater in New York, where she served in numerous capacities often piloting new roles that serve her interest in curating radical spaces of hospitality, equity, inclusion, diversity and promoting anti-racism throughout the institution.
2019 marked Shariffa’s New York Off-Broadway directorial debut, in which she brought South African writer Yaël Farber’s Mies Julie to audiences at Classic Stage Theatre. Shariffa’s Regional Theatre credits include acclaimed writer Jocelyn Bioh’s School Girls; Or, The African Mean Girls Play at Pittsburgh Public Theatre followed by a world premiere of Karen Zacarias’ The Copper Children at the Oregon Shakespeare Festival as well as Lynn Nottage’s gripping work on the illicit ivory trade Mlima’s Tale at St Louis Repertory Theatre.
Shariffa’s forthcoming VR (Virtual Reality) project Atomu took home top honors for best VR project at the inaugural Digital Lab Africa Competition and is scheduled and made its debut at the Sundance International Film Festival in 2020. Atomu which draws from ancient Kikuyu mythology touching on themes LGBTQ rights has since received global interest, development and incubation at the Sundance institute, Utah, Royal National Theatre, UK and POV Spark.
In addition to her work as a theatre director, Shariffa maintains her commitment to activism as a community organizer. She has lead diversity and inclusion workshops with Princeton University’s Lewis Center for the Arts and has participated in workshops with a particular interest in the intersections of Arts and Social Justice lead by Arts Equity and EMC arts.
As advisory committee member of Africa’sOut! founded by renowned Kenyan artist Wangechi Mutu, Shariffa provided critical support and leadership for this initiative geared towards advancing radical change through the power of art and activism, particularly supporting artists, initiatives and institutions from Africa and its Diaspora that celebrate freedom of creative expression.
Shariffa is a graduate of the University of Cape Town’s select Theater and Performance division and holds a Bachelor of Arts (Honors) degree...And perhaps the thing that she is most proud of, is that she was featured in the New York Times Gentleman’s style section for her great taste in fashion.
Mark is a summa cum laude graduate of Montclair State University in Montclair, New Jersey where he studied with the late Laurence Jacobs majoring in Percussion Performance. He has studied drum set with jazz greats Andrew Cyrille and Freddie Waits in New York. He has performed with the Queens Symphony, the Goldman Band (Lincoln Center), the New Jersey Chamber Music Society and the Hoboken Chamber Orchestra (Principal Percussionist). He is currently the principal timpanist with the Cape Cod Symphony Orchestra, the Plymouth Philharmonic, the Chatham Chorale and the Falmouth Chorale. He was also the principal percussionist for the former Simon Sinfonietta. He is an active performer in chamber and theatre productions throughout Cape Cod. He has appeared as a soloist with the Cape Symphony Orchestra on numerous occasions performing on timpani as well as xylophone. Mark maintains a private teaching studio and has directed many student percussion ensembles throughout Cape Cod.
Daniel Whiting is a Technical Director, Production Manager, Artistic Director, Set Designer, and Production Designer based out of Salt Lake City, Utah. He worked as the Technical Director for Utah Valley University’s Theatre Program for four years, and during that time, he won national recognition for his scenic design and technical direction of Next to Normal and Vincent in Brixton respectively. He has worked with Tuacahn Center for the Performing Arts, Utah Repertory Theater Company, The Neil Simon Festival, The Egyptian Theater, The Sundance Eccles Theater, Radical Hospitality Company, Waterford Theater, The Echo Theater Company, The Cape Playhouse, BYU TV, AMC, and HBO. He is a founding member and former Artistic Director of the Grassroots Shakespeare Company which is Utah’s leading scholarly Shakespeare studies organization and touring theater company. He is a part owner, founder and former Production Manager and Scenic designer of Sackerson Theater Company.
NYC credits include My Fair Lady at The New York Philharmonic, Wonderful Town at New York City Opera and an Emmy nomination for NBC’s Another World. Film work: Mermaids, starring Cher and The Boy in the Bathtub. Numerous shows for Papermill Playhouse, The Goodspeed Opera, The Ahmanson Theater, North Shore Music Theatre, Pittsburgh Civic Light Opera, The Boston Ballet and The Cleveland Playhouse. 13 Off-Broadway shows to date. Other favorite projects include the Rockettes’ Christmas Show, Disney on Ice and The Ringling Bros. Circus. Gail is currently teaching at SUNY Purchase in the Conservatory of Dance Department. 21 Cape Playhouse productions including: South Pacific, Spelling Bee and Gypsy.
Jaron has been the resident Lighting Designer for The Cape Playhouse since 2017, where his credits include Little Shop of Horrors, The Importance of Being Earnest, Deathtrap, Clue, Altar Boyz, Steel Magnolias, Art, Red, The Foreigner, Murder for Two. Other credits include: Les Mis, Always Patsy Cline,A Tale of Two Cities, Million Dollar Quartet, Baz Luhrmann’s Strictly Ballroom the Musical (Hale Centre Theatre); The Music Man, The Wizard of Oz, Seven Brides for Seven Brothers, Fiddler on the Roof (Sundance Summer Theatre, Utah); Eleemosynary (The Brooks, California); The King’s Men, Private Ear, Hedda Gabler, The Weird Play (Rose Wagner Performing Arts Center, Utah); Sweeney Todd: The Demon Barber of Fleet Street, I Never Saw Another Butterfly, Romeo & Juliet (Noorda Center for the Performing Arts, Utah); This Bird of Dawning (Reagent Street Black Box, Utah). Jaron sits on the Board of Directors for the Intermountain Desert Region of the United States Institute of Theatre Technology–the association for performing arts and entertainment professionals–and is a nominee for its Rising Star Award. He has been a lecturer at Utah Valley University and the resident designer and technical director at the Waterford School.
Two-time Emmy nominated and award winning, self-declared ‘diverse media’ technologist, Jay Sheehan has been involved with recording and mixing audio for artists, film, television, and the web, as well as providing live sound and mastering since 1995. He holds a degree in Music Production and Engineering from Berklee College of Music. Projects, including "Hit and Run History" series and "Runner", have aired on RIPBS, WGBH online, and Amazon Prime. These projects have taken him across North America, Chile, Argentina, as well as to the Falkland Islands and Cape Horn. He has also won two sound design awards for his film mixing. He splits his time providing sound and video production services in New England with his own company Garrett Audio, Beachpoint Mastering, and Cape Cod Sound School; as well as Director of IT at Cape Cod Community Media Center; freelance engineer for Cultural Center of Cape Cod, Music Room Cape Cod, and Cotuit Center for the Arts. He is also a Board member and Technical Consultant for the Woods Hole Film Festival.
Marquee Digital is a New York-based tech startup innovating the theatre industry with ground-breaking digital program solutions. The Marquee is a theatrical program for the 21st century, employing contactless, eco-friendly, and ADA-compliant technology to create an interactive and highly intuitive experience for audience members. With a client roster that spans both coasts of the Continental U.S., Marquee Digital aims to enter the West End market in Spring of 2022.
Adrian A. Alea is a creative producer and director in commercial and non-profit industries of Theater, Live Events, Music Videos, and Film. As the Creative Associate of New York City Center’s Encores!, he creative produced the “Inside The Revival” digital series on The Life (Billy Porter), The Tap Dance Kid (Dulé Hill), and Into the Woods (Laura Benanti). As a co-founder of Alialea Productions, Adrian produced short films "Ash Land" and "You Go Girl” with the Oregon Shakespeare Festival–official selections at the Academy Award qualifying Pan African Film Festival, BronzeLens Film Festival, and Brooklyn Film Festival. In December, Adrian will be the Associate Director for NBC’s Annie Live! starring Taraji P. Henson and Harry Connick Jr. Previously, he was a Management Associate for Jennifer Lopez and Benny Medina (All I Have Las Vegas Residency; “Ain’t Your Mama” music video).
Recent: Hercules (Assoc. Dir; Disney Theatricals, Public Theater), Up, Up, and Away (Dir; Fordham University), Henry VIII translated by Caridad Svich (Dir; Play On, CSC), Fucking A (Dir; Yale University), The Palacios Sisters radionovela by Cristina Garcia (Dir; Brava Theater Center), The Spanking Machine by Marga Gomez (Dir; Brava Theater Center, Syracuse Stage)
Education: Columbia University (BA); Northwestern University (M.S.)
Welcome back, everyone! Nationally: Hello, Dolly! Starring Carol Channing, The Pointer Sisters’ Ain’t Misbehavin’, Jesus Christ Superstar starring Ted Neeley and Carl Anderson, Regionally: Man Of La Mancha, The Boy From Oz, South Pacific, It Shoulda Been You, The Drowsy Chaperone, Mamma Mia, Sister Act (Stages St. Louis), La Cage Aux Folles, Miss Saigon (North Shore Music Theatre), Barnum (Mercury Theatre), Hats! Starring Melissa Manchester (Royal George), Elf, Spamalot, Carousel, West Side Story, Guys And Dolls (Musical Theatre West), A Little Night Music (Festival Theatre), 110 In The Shade (Light Opera Works).
Pre-Show Snack or
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While You Wait
With the help of our friends at Theatrely.com, Marquee Digital has you covered with exclusive content while you wait for the curtain to rise.
Rema Webb to Lead LADY DAY AT EMERSON’S BAR AND GRILL at Cape Playhouse This July
It was announced today that Broadway’s Rema Webb (Book of Mormon, The Color Purple, Lion King) will step into the spotlight as the unforgettable jazz icon Billie Holiday in The Cape Playhouse’s upcoming production of Lady Day at Emerson’s Bar and Grill which runs July 14 through the 24th in Dennis, Massachusetts. Webb, who most recently played the carnivorous Audrey II in the Playhouse’s 2019 production of Little Shop of Horrors, takes on Holiday in Lanie Robertson’s play with music that won Audra McDonald her 6th Tony Award back in 2014.
The show explores the life of Billie Holiday with deep and often humorous tales from the star’s life as she gives one of her last concerts at a bar in Philadelphia, alongside her pianist and music director, Jimmy Powers, played by Gary Mitchell, Jr. With jazz classics including “What A Little Moonlight Can Do,” “God Bless the Child,” “‘Taint Nobody’s Biz-ness If I Do,” and more, Cape Cod is in for a treat.
This production is set to be directed by Shariffa Ali, who has worked with such notorious companies as The Public Theater, The New Group, Yale University, and Princeton University where she currently serves as a faculty member at the Lewis Center for the Arts.
Lady Day will be presented on an outdoor stage as a continued safety precaution for audiences and artists alike. The Playhouse lawn, on the peaceful 22-acre campus of the Cape Cod Center for The Arts, will serve as The Playhouse’s theatrical home this summer. Limited capacity, general admission lawn seating will be available. Audiences are encouraged to arrive early, bring a picnic, and enjoy the evening on the campus before the show.
The show will have scenic design by Daniel Whiting, costume design by Gail Baldoni, lighting design by Jaron Hermansen, sound design by Jay Sheehan and include Adrian Alea as Creative Consultant. The production stage manager will be Shawn Pryby and Gary Mitchell Jr. will also serve as Music Director.
Follow Kobi at @kkassal.
AND...SCENE! As If We Never Said Goodbye
And...Scene! is Juan A. Ramirez's weekly column with hot takes, musings, and all that jazz.
It is day 386 of the Broadway shutdown, as one newsletter is bent on reminding me. For the first time in a while, however, I am filled with the blind optimism that has clearly overtaken the producers of the upcoming Princess Diana musical. Yes, hope has reared its sunny head into the New York theatre world and, just as that particular team believes a 2-month streaming run on Netflix ahead of a live production will make people want to see their ill-advised biomusical even more, I believe the days of hand-wringing and Zoom-logging-inning are soon to pass.
In his daring finish-line scheme to Actually Do Good before an impending ousting, Governor Cuomo seems to have targeted theatre nerds on this would-be rehabilitation campaign, announcing the hasty return of live indoor performance, effective today.
Of course, enthusiasm had already been brewing in me since Blindness, a COVID-era theatrical experience which began at London’s beloved Donmar Warehouse, announced a New York bow. I’ll admit I was slightly dispirited when I found out there would be no live performances, but rather a “socially distanced sound and light experience,” but nevermind the fact that that copy is basically describing the concept of cinema! It is something to do.
Blindness comes from the Donmar and is adapted by Simon Stephens from a Nobel-winner’s novel, but its most impressive cosign, by far, is the knowledge that its concurrent Mexico City production––they’re going wide, baby––is narrated by Marina de Tavira, best known as the matriarch from Alfonso Cuarón’s spectacular Roma.
Best of all, I’m able to see a future in which all the pessimistic think pieces about the death of theatre as we know it can be proven wrong. No, we will not forget the long days of COVID-19, but I am unable to believe that a year-long stint in isolation will have a profound impact on how we experience theatre. Yes, live streams, digital productions, and producers seemingly not caring about entire productions existing on YouTube are gorgeous new additions to our theatrical landscape, but let’s not pretend we’ll forget this whole mess as soon as the curtain rises on a new show.
It should go without saying, if you see me writing a complete negation of this in a few months, following a resounding reversal of everything I hope for… mind your business. But tomorrow, I will be watching Blindness and, once again, be sitting in a dark room, in silence.
Follow Juan A. at @itsNumberJuan.
Mixing It Up with Broadway By The Glass
Have you ever been to a Broadway show and tried their signature cocktail in the bar in the lobby? Theatrely recently had a virtual drink with Kellyann Coyle and Brian Sedita, who took those drinks and are teaching you how to make them on their Instagram, Broadway By The Glass.
Theatrely: What were you both up to before the pandemic started?
Brian Sedita: In the theater industry, at least, I have a podcast called “Pitch to Stage” on the Broadway Podcast Network. And then after quarantine started, I also co-created another show with Michael Kushner called “My Broadway Memory” which is also on the Broadway Podcast Network, which I'm still co-creator of, but have stepped down in terms of my commitment to producing and all that kind of stuff, because quarantine was one thing, and then after that life went back to normal a little bit for me. I don't work in the theater industry anymore.
Kellyann Coyle: For me, pre-pandemic, I'm an actor in the city, dancer first! I did a couple of tours and some regional stuff. I'm also a bartender, my bar has since closed until April. So this passion project has pulled literally the two things that I love doing that I can't do during quarantine together. So it's been so great. And we both just love theater so much. So it's like it's such a fun passion project for us.
T: How did you two meet?
BS: So we actually grew up together! We went to preschool through graduating high school together and have stayed best friends since.
T: When did you two decide to start Broadway by the Glass?
BS: So I'm also a bartender in New Jersey. Honestly, it's so funny, because I had been thinking about doing something like this for a while. And then, I know Kelly was thinking about doing the same thing, and at that point I really didn't have a lot of time to commit to it. But I was like, "you know what? If you want to go ahead without me I will not be offended." And it just ended up working out that when we were going to start this time freed up in some areas of my life so I was able to commit a lot more time to it.
KC: It was literally like the next day, wasn't it? Because I was ready to go and then you were like, "I have time now." And I'm like, "yeah!"
BS: And what I've loved most about this collaboration so far is that Kelly and I haven't really worked together in an artistic or professional sense since high school. So this has been a really great way to connect even more than we normally would have over the past couple of years.
T: Walk me through your process a little bit, how do you get from picking a show to formulating a drink?
KC: Hmmm, well, I feel like when we started out, we were picking random shows and we were like, "OK, so, what's something we could do from Frozen, like maybe an iced drink?" And then I guess we got a little more specific with Christmas. We did a 12 Days of Christmas countdown, and Brian made a full on list of all Christmas shows and Christmas songs. Then we went in and listened to it and tried to get inspiration from it, like if they mention a liquor or what the vibe is. I feel like that's the one thing that we really try to do is get the vibe of the show. So like when you think of super smoky and like dark, that's what you expect when you hear Hadestown.
BS: And I mean, if you're twenty one and above, you might love alcohol. And if you're a Broadway fan, like merging those two things is just lots of fun. How many times do you get drunk and sing show tunes? So this is like the perfect marriage of those two things. And it's creative to like sit down and like craft a cocktail! Like it's not just your normal margarita for Escape to Margaritaville. We're trying to come up with things like where we can introduce people to different kinds of liqueurs and spirits so that it'll also expand people's vocabulary and liquor cabinets.
KC: A little educational! And we're starting to do hopefully every Friday a little history on either a cocktail or explaining a liquor or liqueur and doing like a little education segment on IGTV.
BS: Like, there's so much that we could do with this and so much that we've discussed how we can build and grow as a brand. So every show you go to has a really cool cocktail list and you're excited to go to the bar and look at what they came up with for the shows. So our dream for this would be to create custom opening night cocktails for opening nights on Broadway or around the country and doing cocktail workshops and leading cocktail parties and stuff like that, and maybe getting our cocktails on those Broadway show menus. I think the moment that I first was inspired to do something like this was two years ago. I went to the opening night of Be More Chill and they had and at the after party they had a Squip-tini and it was this Mountain Dew and vodka, and it was smoking because it had dry ice in it. And it was this really cool cocktail that like maybe didn't taste great because Mountain Dew doesn't taste great. But it was so specific to the show and it was that perfect marriage of those two things that I was talking about with alcohol and a Broadway show. And then there's such missed opportunities, like I remember going to the Alice By Heart opening and they didn't do anything with a teacup, like you'd think like a tea cocktail, like Earl Gray Gin. Or there's so many tea inspired cocktails now. And they didn't do anything like that.
T: What's been your favorite drink that you've posted so far?
KC: Oh, my God, lemme see. I loved the "You Go, Glen Coco" and it was a candy cane martini. And I was super excited about it. And I was trying to get inspiration from recipes online. Everyone was going the white chocolate route, which I don't love. So I went in the complete opposite direction and went a little fruity with it. And it literally tasted like a melted down candy cane that you get when you're a kid where it's sweet and minty, but not like in your face, and the garnish was really cute. I put icing around the edge and dipped it in crushed candy cane and it just was so pretty. And it did really well on the page.
BS: My favorite was also from our Christmas series. And it was "She Loves Christmas" and we used the "12 Days of Christmas" from She Loves Me as the backtrack to it. And we went to the nine days of Christmas and that's what day we did it on. It's a vodka elderflower liqueur, which is my absolute favorite liqueur, Aperol, lemon juice and simple syrup. And it's something that honestly, I've made for so many of my friends when they come over to my house now that they're like, "you need to bottle this!" And it's delicious and it's sweet and sour and it's good and it hits hard.
T: Is there anything on the horizon that we can look forward to seeing?
BS: We're partnering with some Broadway box subscriptions to get our cocktails in their boxes like little postcards with cocktails and a mocktail. And then you'll scan like a QR code to exclusive videos with us doing a workshop on that cocktail. So a little more than our social media might give you. You have an exclusive link. And then we're going to be releasing some merchandise in the spring. There's many references to liquor throughout the Broadway musical theater canon. So we're going through that and picking out our favorite things to design and hopefully by March we'll have that up and running. So we're kind of trying to build that brand so that by the time Broadway comes back, we can really hop on. There's so much content out there because there's so many artists that are looking for something meaningful to do during this time. Yeah, there's so much exploding, and hopefully there's so many things that we want to take outside of this time of quarantine back to like normal times. I mean, theatre is all about connecting, and honestly, for us, when you go out to a bar and connect with people over a drink, it's the same kind of connection that you can have at the theater.
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