Victor/Victoria

Grantors

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Sponsors

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Sponsors

Donors

Tributes

Performers

Tee (Teri) Anthony

*

Dancer

Gary Baker

*

Henri Labisse

Alyssa Billings

*

Dance Ensemble

Julia Blasi

*

Victor/Victoria

Rick Blasi

*

Sal

Joshua Bond

*

King

Arielle Bryant

*

Ensemble

McCall Camp

*

Dance Ensemble

Rashawnda Campbell

*

Norma Cassidy

Cathy Dooley

*

Ensemble

Evan Gould

*

Andre Cassell

Jonathan Leonard

*

Richard DiNardo

Billy Lister

*

Squash Bernstein

Zachary Love

*

Dancer

Tai McClendon

*

Ensemble

Jasmine Day Montgomery

*

Dance ensemble

Darvin Nelson

*

Ensemble/ Jazz Singer

Jennifer O'Brien

*

Ensemble

Jacob Pickering

*

Clam, Ensemble, Dancer

Josh Waller

*

Toddy

Setting

Songs & Scenes

Act I

Paris by Night

If I Were a Man

Trust Me

Le Jazz Hot!

The Tango

Paris Makes Me Horny

Crazy World (Who Can I Tell?)

Act II

Louis Says

King’s Dilemma

Apache

You & Me

Paris by Night (Reprise)

Almost a Love Song

Chicago, Illinois

Living in the Shadows

Victor/Victoria (Finale)

Production Staff

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Venue Staff

School Administration Staff

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Musicians

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Board Members

Student Advisory Board

Credits

Lighting equipment from PRG Lighting, sound equipment from Sound Associates, rehearsed at The Public Theater’s Rehearsal Studios. Developed as part of Irons in the Fire at Fault Line Theatre in New York City.

Special Thanks

Alhambra Scene Shop
Alhambra Theatre & Dining
Amy Hancock
Blake Osner
Carly Dorman
Douglas Anderson School of the Arts
Ellen Powell
Holly & Redgie Gutshall
Jacksonville Chiropractic
James Tucker
Jenny Medure
Jocelyn Jeronimo
Joy Smith
Limelight Theatre
Linda Walker
Michelle, Taylor, & Madison Bond
Neato Design
Niki Stokes
Patti Eyler
Players by the Sea
Rick & Sarah Blasi
Samantha Wicklund
Sandra Harrington
SET Studios
Stanton College Prep Drama Club
Theatre Jacksonville
The Costume Crew
The Greenroom Collective
Tyler Hammond

*Appearing through an Agreement between this theatre 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 Designers & Scenic Artists for the American Theatre

ATPAM, the Association of Theatrical Press Agents & Managers (IATSE Local 18032), represents the Press Agents, Company Managers, and Theatre Managers employed on this production.

Director’s Note

When Victor/Victoria premiered, it did something that great theatre so often does: it asked audiences to laugh first—and then quietly challenged the assumptions they brought with them into the room.

At its heart, this is a story about survival. Victoria finds herself in impossible circumstances and discovers that reinvention can become its own kind of freedom. What begins as a practical deception soon grows into something much richer: a celebration of identity, performance, love, and the beautiful complexity of being human.

Theatre has always occupied that fascinating space between illusion and truth. Every night we gather together to believe impossible things—that strangers become families, empty stages become cities, and songs reveal the thoughts we often struggle to say aloud. Victor/Victoria reminds us that we are all, in some way, performing roles the world expects of us. The real courage lies not in the performance itself, but in discovering who we are once the curtain falls.

Of course, this show is also gloriously entertaining. Its sparkling score, unforgettable characters, dazzling choreography, and razor-sharp wit have earned it a place among the great musical comedies. But beneath the glamour is a surprisingly tender story about compassion, acceptance, and the unexpected ways people change one another.

As artists, we hope every production offers more than an evening’s entertainment. We hope it creates conversation. We hope it inspires empathy. And, perhaps most importantly, we hope it reminds us that laughter has always been one of the most powerful ways to bring people together.

Thank you for spending your evening with us and for supporting live theatre. We are honored to share this remarkable story with you.

Enjoy the show.

— Lee Hamby
Director

Meet the Cast

Tee (Teri) Anthony

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Dancer

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)

(

)

Pronouns:

Teri (Tee) Anthony is a dance student participating through the FSCJ danceWORKS company. Her primary training styles are ballet, hip hop, modern and improvisation with in the FSCJ's dance program. Tee has performed in several danceWORKS pieces and student choreography concerts with works by esteemed choreographers such as Rebecca Levy, Winter Maravillas, and many others. She has artistic interest in musicality, photography, videography, creative writing, poetry, spoken word, and producing music. Tee Anthony hopes to continue growing as a student, exploring choreography, different styles of dance, and computer science information and technology, while simultaneously completing her B.S. degree.

Gary Baker

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Henri Labisse

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)

(

)

Pronouns:

Gary Baker is very excited to be a part of The Arts Collective’s inaugural show, Victor Victoria. Playing the strict and high-strung owner and proprietor of the club Chez Lui Henri Labisse combines two of Gary’s favorite things: The French and solving mysteries. Some of his previous roles include: Calliope (Xanadu) at ABET Theatre, Nicky (Avenure Q) at Amelia Community Theatre, and Buffalo Bill (Silence: The Musical) at The 5 & Dime A Theatre Company. Gary would like to Julie, Jeremiah, and Lee for putting so much love into this new adventure that’s sure to grow Jacksonville’s budding artistic community. He would also like to thank his family and friends for always supporting him.

Alyssa Billings

*

Dance Ensemble

(

Madame Roget/Flower Seller

)

(

Madame Roget/Flower Seller

)

Pronouns:

She/Her

Alyssa is thrilled to be debuting in the inaugural production with Arts Collective Theater! Some of her favorite credits include Maureen (RENT), Zoe Murphy (Dear Evan Hansen), Jackie (DISASTER!), Ellie Blake (Freaky Friday) and Little Red (Into The Woods). She would like to thank the cast, crew, and production team for all of the time, passion and love that they have poured so generously into this production. She would also like to thank her family and friends for their constant love and support.

Julia Blasi

*

Victor/Victoria

(

)

(

)

Pronouns:

She/Her

Julia Blasi (Victor/Victoria) is thrilled to be part of Arts Collective Theatre’s inaugural production. A lifelong lover of the performing arts, Julia has enjoyed bringing a variety of characters to life on stage. Some of her favorite roles include Fanny Brice in Funny Girl, Beatrice in Much Ado About Nothing, Emma in Jekyll & Hyde, Alice Murphy in Bright Star, and Cinderella in Disenchanted. She is especially grateful to share this production with her father, Rick, and to have the support of her mother, Sarah, working behind the scenes. Julia would like to thank Julie and Lee for welcoming her into this exciting new project. She would also like to thank her wonderful husband, Matt, and her friends for their love and support.

Rick Blasi

*

Sal

(

Piano Player

)

(

Piano Player

)

Pronouns:

Rick Blasi (Sal, piano player) is pleased to be part of the cast of Victor/Victoria. After a career in global financial services, Rick returned to the stage and continued to enjoy ensemble storytelling, live performance and music production.

He and his wife Sarah write and produce original music that has reached audiences in 115 countries.

His most recent theatre experience was especially meaningful, appearing as Sir Danvers Carew in Jekyll & Hyde at Players by the Sea alongside his daughter, Julia Blasi, who played Emma Carew—the daughter of his character. That shared experience remains a highlight of his return to the stage.

Rick is delighted to now step into the role of Sal and continue his journey in live theatre.

Joshua Bond

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King

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)

(

)

Pronouns:

Joshua is incredibly thankful for the gift of theater. It gave him the courage to show everyone that in preschool, you truly can’t catch the gingerbread man. Later, it brought barbershop harmonies into his life in high school and helped him find his voice. Theater also carried him to Nashville, TN for college, where he learned and grew into what he was capable of.

Through it all, theater allowed Joshua to travel the world, singing for his supper and meeting people along the way. It then led him to Jacksonville, where he met Lee Hamby and found a community he’ll always treasure.

Joshua is also thankful for this amazing cast who shares their gifts of theater with the Jacksonville community.

But most of all, he’s thankful that theater brought him to his wife, Michelle—who gave him the best gift in the world: his daughters, Taylor and Madison. Shine your light, Bond girls!

P.S. Attention casting directors. There is more than one Josh in Jacksonville you can cast in a musical. Give Josh Waller a moment to rest.

Arielle Bryant

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Ensemble

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Dance Captain

)

(

Dance Captain

)

Pronouns:

Arielle Bryant is a multi-dimensional artist native to Jacksonville, FL whose love for the arts began with dance and cheerleading at the age of 3. Arielle has studied dance for over 20 years, taking classes at dance studios and collegiate institutions, Florida A&M University (Essence Dance Theater) and Florida State College of Jacksonville (DanceWorks). After many performances with Mega Mind Productions and Players by the Sea, Arielle went on to choreograph for some of the most brilliant directors to include Cedarian Crawford, Maxie Coleman, Darryl Reuben Hall, and she assisted DeWitt Cooper. She is currently still performing and creating as her love for the arts continues to thrive in the theatrical and interior design worlds.

McCall Camp

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Dance Ensemble

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)

(

)

Pronouns:

McCall Camp is incredibly honored and overjoyed to be part of Arts Collective Theatre’s first production. She has been performing for over a decade and has appeared in recent productions such as A Funny Thing Happened on the Way to the Forum (The Geminae), Chicago (Liz/Ensemble), The Little Toy Shoppe(Lucy) and Phantom! (Fleur/Ensemble). McCall is grateful to reconnect with the joy of performing and sends heartfelt thanks to her husband, son, family, and friends for supporting her on every step of the way.

Rashawnda Campbell

*

Norma Cassidy

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)

(

)

Pronouns:

She/her

Rashawndas bio

Rashawnda Campbell is a proud graduate of Douglas Anderson School of the Arts, where she studied Vocal Music, and earned her Bachelor of Fine Arts in Musical Theatre from the University of West Florida in Pensacola. Some of her favorite roles include Felicia in Memphis, Nettie in The Color Purple, Rizzo in Grease, Asaka and Andrea in Once on This Island, as well as performances in Broadway Bash,Becky in Waitress, and, most recently, Norma in Victor Victoria. Rashawnda is incredibly grateful and excited to be part of the inaugural production at Arts Collective. Sharing the stage with such a talented cast and creative team has been such a blessing. Thank you for believing in and supporting local artists and live theatre, it truly wouldn’t be possible without audiences like you.

Cathy Dooley

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Ensemble

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)

(

)

Pronouns:

Cathy is honored to be a part of this inaugural production at Arts Collective! She holds a BA degree in vocal performance. Her first community theatrical lead as Anne Frank, inspired her love for the performing arts and 56 years later she is still at it! She has performed with the Atlanta Symphony Orchestra, Opera Memphis, the United States AFRES Band and “Spirit of Washington” cruise ship. Cathy has worked in television, radio and film and taught musical theatre in both the public and private school systems. Here in Jacksonville, she has directed and/or performed with Players by the Sea, ABET, 5 & Dime, Christ Church Creative Academy and SET Studios. Cathy would like to thank Lee, Julie and Jeremiah and my supportive husband, Alan.

Evan Gould

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Andre Cassell

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)

(

)

Pronouns:

Evan Gould (Cassell) is excited to be in The Collective’s inaugural production. He has performed in over 40 shows over the last 15 years on Jacksonville’s many stages. Most recently, he was seen in PBTS’ “Phantom” and “Jekyll and Hyde”. Evan has been a chorus and theatre teacher for over 39 years. He is also the proud District 1 chair of Florida Jr. Thespians.

Jonathan Leonard

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Richard DiNardo

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Choreographer, Juke

)

(

Choreographer, Juke

)

Pronouns:

Jonathan is absolutely thrilled (and mildly surprised) to be coming out of retirement for the first-ever show in this incredible new theatre, alongside some of Jacksonville’s finest talents. Apparently retirement just meant “taking a brief intermission.” Recently, you may have spotted him causing theatrical mischief at Hardwicks in several cabarets with Art Collective Theatre, jingling all the way through ACT’s JOY, and spinning himself dizzy in Broadway Bash. Other adventures on stage include Waitress (Cal), Xanadu (Terpsichore), Avenue Q (Princeton), Evil Dead (Tree #1 — yes, a tree, and he took it very seriously), Grease (Teen Angel/Eugene), I Love You, You’re Perfect, Now Change, Hairspray, La Cage, Man of La Mancha, Merrily We Roll Along, and The Boy from Oz. He also performs at St. John’s Cathedral and has spent years embracing his inner musical unicorn as a countertenor in the classical world. When not under stage lights, Jonathan is the proud owner and operator of the award-winning Vanity Furs Pet Salon and Hotel, serving the Jacksonville community for 17 years. So if he seems unusually comfortable with chaos, glitter, dramatic personalities, and unconditional love… theatre and pet grooming are basically the same job. Huge shoutout to Julie and Jeremiah for creating a home for all of us delightfully weird theatre kids. And to Carole Clifford: thank you for believing in me even when I occasionally forgot how to believe in myself.

Billy Lister

*

Squash Bernstein

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Fight Choreographer

)

(

Fight Choreographer

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Pronouns:

Billy Lister (Squash) is ecstatic to be a part of the inaugural show of the Arts Collective Theatre! This is his first show back in Jacksonville in 5 years! He is a graduate of FSUs Theatre Program, and has performed in numerous shows in Tallahasee in recent history. He thanks his family, friends, Lee, and his cast mates, for supporting him and making this process something he will be talking about for years to come. Enjoy the show!

Zachary Love

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Dancer

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)

(

)

Pronouns:

He/him

Zac Is a dancer with Dance Works Company at Florida State College at Jacksonville, where he continues to grow as a performer and artist. Having danced since middle school, he always enjoyed expressing himself through dance, and has developed creativity, discipline, and a love for storytelling through movement. He is also beginning his journey with musical theater and eager to expand his skills both on and off the stage. Looking towards the future. He hopes to start voice acting, inspired by his love of animation and character-driven storytelling since he was a child. As well as dancing in animations, music videos, and movies that offer story telling with characters. He is excited to continue growing as a performer, collaborating with fellow artists, and discovering new opportunities within the arts.

Tai McClendon

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Ensemble

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)

(

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Pronouns:

He/Him/His

Performance has been a lifelong calling since first stepping onto elementary school stages in Bluffton, South Carolina. He later moved to Jacksonville to formally hone his craft at the Florida State College at Jacksonville (FSCJ), double-majoring in Musical Theatre and Dance. While at FSCJ, he was a dedicated member of DanceWorks, building a versatile foundation with intensive training across contemporary, modern, lyrical, ballet, jazz, and circus arts.

When not under the stage lights or in the rehearsal studio, he enjoys beach yoga, local nature walks, gaming, and immersing himself in music. He is incredibly grateful to continue contributing to Jacksonville’s vibrant performing arts community and to share the stage with such a talented ensemble.

Jasmine Day Montgomery

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Dance ensemble

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)

(

)

Pronouns:

She/her

Jasmine Day Montgomery

Jasmine was born in San Jose, California. Her dance journey started in kindergarten with ballet. Her family moved to Jacksonville, Florida when she was 8 and she went to Schools for the Arts from 4th grade through 12th, where she studied ballet, pointe, modern, jazz, hip hop, break dancing, flamenco, African, tap, lyrical, and more. She graduated from Douglas Anderson in 2005 and moved to Louisville, KY for a year, joined a dance team, and was introduced to Salsa and Bachata, and that's when she found her real love. She moved back to Jacksonville and started college at FSCJ to major in Dance, where she was then introduced to Ballroom dancing. In 2013, she was hired at Monarch Ballroom and Dance Studio, where she began professional training in, teaching, performing, and competing in Waltz, Tango (American and Argentine), Foxtrot, Rumba, Cha Cha, Swing, Hustle, Merengue, Bachata, and Salsa. In August 2022, she was invited to teach at, and eventually manage, Studio 904. During the first 2 years, she taught private lessons and trained new teachers. She is currently teaching weekly group classes and monthly workshops. Jasmine is thankful for the comradery, joy, and cultural education that music and dance bring to the world and knows that Dance will continue to be her biggest passion.

Darvin Nelson

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Ensemble/ Jazz Singer

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)

(

)

Pronouns:

He/Him/His

Darvin Nelson is honored to join the ensemble of Victor/ Victoria, The Arts Collective Theatre’s first production. This Jacksonville, FL native made his musical theater debut in 2024 as one of The Drifters in Beautiful: The Carole King Musical. He has joined the cast of three productions since: Tarzan (2024), Summer: The Donna Summer Musical (2024), and Funny Girl (2025). A visual artist first, he began taking music seriously when he joined the Ritz Voices and, later, the FSCJ choir. Darvin is also glad to be a part of the local film community, acting in various short-films, and participating in local film festivals. Primarily a singer/ songwriter/ producer, he creates original music and performs in the Jacksonville open-mic and Jazz Jam circuit. Diving head-first into many branches of arts and entertainment, he hopes to bring stories to life for as long as he can :) Darvin gives a special thanks to his family and supportive friends, as well as the past directors and teachers who’ve helped sharpen his artistry.

Jennifer O'Brien

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Ensemble

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)

(

)

Pronouns:

Jennifer is thrilled to be a part of the inaugural performance at Arts Collective Theatre with this amazing cast and crew. She holds an A.S. degree in musical theatre from Florida School of the Arts. Some of her favorite previous performances were in Honky Tonk Angels (Blue Fire Theatre,) Bat Boy the Musical (ABET,) Xanadu (ABET,) Silence! the Musical (5 & Dime,) The Laramie Project (5 & Dime,) Company (5 & Dime,) and Avenue Q (Amelia Community Theatre.) She wishes to thank the entire cast, crew, and creative team of Victor/Victoria for this wonderful experience! Thanks and love to my biggest supporters - James, Aaron, and Jordan!

Jacob Pickering

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Clam, Ensemble, Dancer

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)

(

)

Pronouns:

He/Him

Jacob Pickering (Clam, Ensemble, Dancer) is elated to inaugurate this brand new theatre and join the cast of the North Florida premiere of this enchanting musical. Jacob is a graduate of Douglas Anderson School of the Arts and has enjoyed performing on stage, radio and screen in Jacksonville for over 15 years. Recent local credits include RENT, Players by the Sea (2025) and Broadway as Wed ar, ABET (2024). By day, when he is not in rehearsals, Jacob is a Communications Manager at the Florida Department of Transportation. Big thanks to Julie Harrington and Lee Hamby for creating such a collaborative and fun, new theatre environment to play in that generations of Floridians will enjoy. Cheers!

Josh Waller

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Toddy

(

)

(

)

Pronouns:

He/Him

Josh Waller (Toddy) is honored to a part of the inaugural cast for arts collective theatre! A long-time presence on stages across Northeast Florida, he was most recently seen in Theatre Jacksonville’s beautiful production of Sondheim on Sondheim. Favorite roles include Guiteau in Assassins (5 & Dime), Nick Bottom in Something Rotten! (Theatre Jax), Marvin in Falsettos (5 & Dime), Bruce in Fun Home (Limelight Theatre), Burrs in The Wild Party (Players by the Sea), Bobby in Company (5 & Dime), Charley in Merrily We Roll Along (ABET), Leo Frank in Parade (PBTS), Hedwig in Hedwig and the Angry Inch (5 & Dime), among many others. Josh would like to thank Lee and Julie for inviting him on this journey, and as always, much love to Christian for everything.

Meet the Team

Josh Andrews

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Production Photography

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)

Pronouns:

Josh Andrews is a passionate advocate for professional theatre and the arts in Northeast Florida. As the co-founder of Lumen Repertory Theatre, he has helped support the work of more than 110 professional artists since 2022. He is deeply grateful to the many collaborators, artists, patrons, volunteers, and arts organizations whose dedication continues to strengthen the region’s creative community.

Outside the theatre, Josh is a professional photographer specializing in headshots, branding, and commercial photography. To learn more or book a session, visit jaxheadshots.co or follow @joshuabrittonandrews and @jaxheadshots on social media.

Phedre Delinois

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Assistant Director

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)

Pronouns:

They/Them

Phedre Delinois (Assistant Director) is incredibly grateful that, somehow, someone decided their love of theatre qualified them to be an Assistant Director. Victor/Victoria is their first time serving in this role, and they couldn't imagine a better company to learn and grow with. It is an honor to be part of Arts Collective Theatre's Inaugural Season 0 and help bring its very first production to life. Sharing this journey with such a talented, generous, and wildly creative cast and crew has been an absolute joy. Theatre has always been more than a stage to Phedre—it's a place where people find connection, courage, and themselves. They dedicate this production to every queer young person still finding their way. If you're searching for where you belong, know this: brighter days are ahead. Your story matters, your voice deserves to be heard, and there is a place in this world where you'll be celebrated for exactly who you are. Now, let's raise the curtain... and hopefully they can make it through tech week without losing my rehearsal notes.

Katarina Goliber

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Props Assistant

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Crew

)

Pronouns:

Katarina has been helping in the local theater community since 2013 starting onstage before moving backstage. She has been a part of various musicals/plays at Christ Episocpal Church, Players by the Sea, and Arts Collective Theatre, helping with props and backstage crew. She is currently an ASL/English Interpreting major at the University of North Florida and helps out in the community when she can. She wishes both cast and crew good luck with Victor Victoria!

Heather Goliber

*

Props Master

(

Props Designer

)

Pronouns:

Heather Goliber is a passionate theater designer whose workis inspired by a lifelong connection to the arts and a creatively driven family. She trained at Rochester Institute of Technology/National Institute for the Deaf (NTID), where she worked with director Bruce Alverson on The Last Dance and developed skills in design and construction under Philip Graneto.

Heather has supported theater communities in New Jersey and Massachusetts in a wide range of positions. Before settling in Florida. Now based in Jacksonville and Ponte Vedra Beach area, she is anactive contributor to local productions as Props Designer, Stage Manager, and Assistant Stage Manager.

Heather would like to thank the cast and crew for the opportunityto contribute her talents, reflecting her versatility, strong collaboration, and deep commitment to bringing stories to life on stage. As Victoria put is, “It just proves the old adage: there's a first time for everything. “

Lee Hamby

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Director

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Managing Artistic Director

)

Pronouns:

Lee Hamby (Director) is a celebrated theatre artist, creative director, and designer whose passion for storytelling has shaped Jacksonville’s arts scene for more than two decades. Known as a visionary producer and director, Lee has helmed countless productions ranging from intimate cabarets to large-scale musicals, earning a reputation for blending bold creativity with deep community engagement. In addition to his theatrical work, Lee is a sought-after floral designer, bringing the same eye for drama and detail to stunning arrangements and wreaths for any reason or season. His dedication to cultivating local talent and creating inclusive spaces for artists has made him a driving force behind the growth of Jacksonville’s performing arts community. When he’s not directing, designing, or producing, Lee can often be found dreaming up his next big idea to inspire and connect audiences.

Follow him on Instagram:

@leehambyproductions

@wreathsbylee

@theoneandonlyleehamby

Emma Henderson

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Assistant Stage Manager

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)

Pronouns:

Dirk Niedballa

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Costume Designer

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)

Pronouns:

Dirk Niedballa is a Jacksonville‑based costume designer making his mainstage debut with Victor/Victoria. Originally from Germany, he’s spent years building, altering, and quietly obsessing over garments in ways that most people would probably consider a personality trait. Taking on his first production and at this scale, has been equal parts challenge, puzzling, and a long‑awaited opportunity. He wants to express how over the moon grateful he is to Julie and Lee for trusting him with this Show!

What he enjoys most is the moment an actor steps into a piece and something shifts: energy, posture, the feeling that the character has finally arrived. Those reactions are what makes it all worth it! When he’s not in the shop, Dirk can usually be found thrifting for treasures, cooking for one, taking the dog on a hike or pretending to be Mama Rose in the shower.

He sends his love and thanks to a wonderful cast and community that has welcomed him with open arms, allowing him to become himself again! He is grateful to be here and still thinks it’s all a dream!

“Thank you Oma, you were the beginning, the spark… you are here in every stitch and this next chapter is for you!”

Susan Roche

*

Stage Manager

(

Audio tech

)

Pronouns:

Susan Roche (Stage manager) says “Welcome to the Collective!!! We’re so glad you’re here!” So much gratitude to/for Julie, Jeremiah, and Lee in giving their blood, sweat, and tears to the project you’re now enjoying. Susan began studying music as a child and followed the musician route for a number of years before getting the push into community theatre. In the past 20 years (and more than 100 productions), Susan has volunteered in this wonderful community as an actor, assistant director, stage manager, backstage tech, audio technician, videographer, photographer, house manager and board member. Favorite roles as an actor include Sister Mary Lazarus in Sister Act, Joann in Company, and Hannah in The Spitfire Grill. Favorite productions as a stage manager include Bright Star, Xanadu, Disenchanted, and Play On. Susan wishes many broken appendages to this wonderful cast and production team as we bring Victor/Victoria to life. Y’all are seriously the best! Many thanks to my folks and framily for their love and support.

Niki Stokes

*

Choreographer

(

)

Pronouns:

she/her

Niki Stokes is incredibly proud to be a member of the creative team for Arts Collective Theatre’s first home production!!! In a time long, long ago in a place not so far away, she used to own Studio K Dance. Past students have been awarded scholarships to American Ballet Theatre, Broadway Theatre Project, Broadway Dance Center, and Steps on Broadway. Niki was privileged to have choreographed her first musical, Guys and Dolls, for Youth of the Beaches Arts Guild in the late 1900s. Since then, her work has been seen at Theatre Jacksonville, The Foundation Academy, Players by the Sea, Episcopal High School, Stanton College Prep, LaVilla School of the Arts, ABET, The 5 & Dime, and Christ Episcopal Church. Favorite roles include Wife to Jason and Mom to Katie and Ryan. None of this would be possible without the love and support of my family … I am forever grateful.

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2021 National Touring Cast

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CATS: THE JELLICLE BALL To End Run On Broadway

Kobi Kassal

July 13, 2026

Let the memory live again. Today, producers announced that Cats: The Jellicle Ball will end its Broadway run at the Broadhurst Theatre on Saturday, August 8, 2026.

Previews began on March 18, 2026 before an opening night on April 7. The show went on to win three Tony Awards last month including Best Direction of a Musical, Best Choreography, and Best Costume Design of a musical. The production will be filmed for the Theatre on Film and Tape Archive (TOFT) at the New York Public Library for the Performing Arts.

“Three years ago, Zhailon Levingston and Bill Rauch began the remarkable process of reimagining Cats for a new generation. They assembled a visionary creative team that fused their passions for Ballroom and theater to create something thrillingly new. With a truly superhuman cast bringing this vision to life, New York has once again discovered the phenomenon that has become Andrew Lloyd Webber’s Cats: The Jellicle Ball. The joy that radiates from the stage each night is unlike anything we’ve experienced in our careers. It has been a true honor to help bring Ballroom to Broadway,” said producers Michael Harrison and Mike Bosner.

The current Broadway company includes 2026 Tony Award nominee and Tony Award winner André De Shields, Ken Ard as ‘DJ Griddlebone,’ Kya Azeen as ‘Macavity,’ Bryson Battle as ‘Jellylorum,’ Chita Rivera Award nominee Jonathan Burke as ‘Mungojerrie,’ Chita Rivera Award nominee Baby Byrne as ‘Victoria,’ Tara Lashan Clinkscales, Bryce Farris, Elisa Galindez, Chita Rivera Award nominee Sydney James Harcourt as ‘Rum Tum Tugger,’ Chita Rivera Award nominee Dava Huesca as ‘Rumpleteazer,’ Dudney Joseph Jr. as ‘Munkustrap,’ Junior LaBeija as ‘Gus,’ Leiomy, Chita Rivera Award winner and Theatre World Award winner Robert “Silk” Mason as ‘Magical Mister Mistoffelees,’ Ernest Mingo as ‘Etcetera,’ “Tempress” Chasity Moore as ‘Grizabella,’ Primo Thee Ballerino as ‘Tumblebrutus,’ Xavier Reyes as ‘Jennyanydots,’ Nora Schell as ‘Bustopher Jones,’ Bebe Nicole Simpson as ‘Demeter,’ Emma Sofia as ‘Cassandra’/’Skimbleshanks,’ Phumzile Sojola, Kendall Grayson Stroud, B. Noel Thomas, Kalyn West, Garnet Williams as ‘Bombalurina,’ Teddy Wilson Jr. as ‘Sillabub,’ Darius Wright, and Donté Nadir Wilder.

Jennifer Nettles Shines, But GIULIA: THE POISON QUEEN OF PALERMO Muddles Its Mix — Review

Juan A. Ramirez

July 11, 2026

The new musical Giulia: The Poison Queen of Palermo has quite a few things going for it: an undoubtedly based name; some lovely chiaroscuro tableaux on its off-kilter set; and the appealing work of star Jennifer Nettles, who wrote the show upon learning of Giulia Tofana, a 17th century apothecary who, legend goes, sold a proprietary arsenic concoction to women seeking to rid themselves of abusive husbands. As far as ideas for musicals go, this one’s delicious.

Since appearing in Chicago in 2015, but especially after her top-tier 2021 stint in Waitress, the Sugarland singer-songwriter has been candid about her love of the stage and desire to bring this story to life. Nettles’ passion is palpable and often infectious, to say nothing of her gorgeous voice, which is characterful, strong and limber; the kind we don’t hear much anymore in our sanitized conservatory hellscape. As a performer, her hunger to please is a refreshing change of pace and—surprisingly, considering she here acts as creator-writer-composer-star—lacks the ego to craft everything around her talent or character.

Though perhaps maybe she should have. Having its world premiere at PAC NYC, Giulia lays out several promising ingredients which director Mary Zimmerman doesn’t properly batch into a satisfying elixir, failing mainly as a cohesive narrative about Tofana’s life. Its two acts center around Giulia and largely take place at her shop, sure, but there is far too much going on in Sicily to let a memorable character develop.

There is, as you can imagine, an unkind husband (Matthew Amira) who leads Giulia to her murderous path, and maybe a daughter (Aubrey Matalon) whose doomed impending nuptials get the matriarch thinking about women’s lot in life. But there’s also the plague, vaguely, the townswomen with their accompanying spousal gripes, and some mess about a slimy new governor (Christopher M. Ramirez) trying to sell the local cardinal (Quentin Earl Darrington) on his scam for a new aqueduct that will put an end to Palermo’s ongoing drought. All overseen by an unrelated narrator (Bre Jackson) and, evidently, the occult, goat-headed icon Baphomet, who skulks about with Jungian mischief whenever Giulia contemplates her dark side. (This last element worked surprisingly well for me, affixing some indelible spookiness.)

__wf_reserved_inherit — Didi Romero | Photo: Andy Henderson

The score—an attractive blend of post-Hamilton hip-hop recitative, pop and tarantella—is bloated at 13 numbers per act which don’t flow in continuous movement. The unfortunate effect, as the narrative barrels forward, is that scarce beats land and even less seem to matter. When Giulia offs her husband very early on, it’s a logical action, but one that lacks emotional expressiveness. Sure, he’s bad = dump him, but the momentous decision, so clearly meant to resonate through to our own age, hardly scratches any psychological surface. Much of the musical’s gender politics play out in this way, sloganeering at us that the townswomen deserve better—fine for a schlockier revenge tale with no time to waste between kills—then asking us for investment where there is no nuance.

I lay the blame at Zimmerman’s feet only because the muchness of the first-timer Nettles’ material feels so pure, so earnestly over-delivered to a collaborator trusted to boil things down to their perfect essence. No ingredients in Giulia’s poison are bad so much as toxically undiluted, extending to the production elements. Ana Kuzmanić’s costumes are period-appropriate but samey, making it difficult to individualize the many, many side characters. T.J. Gerckens’ lighting is Catholically moody, but wasted on Daniel Ostling’s scenic design, which is clever but wasted on itself. The set’s main feature is a large, three-doored armoire that varies as archways, church confessionals, closet spaces and apothecary storage. It’s a stunning invention, endlessly creative, but Zimmerman stations it stage-right and blocks the vast majority of the action in the constrictive, repetitive downstage right—even with a gloriously shadowy stairwell that dies as a largely unused playing area.

With such a potent concept, and with Nettles’ propulsive fervor behind it, the Poison Queen stands to rise again—with a fool-proof, 100-proof staging.

Giulia: The Poison Queen of Palermo is in performance through August 2, 2026 at PAC NYC on Fulton Street in New York City. For tickets and more information, visit here.

Julia Lester To Star in HUNGRY WOMEN At SoHo Playhouse This Summer

Emily Wyrwa

July 9, 2026

We’re “hungry” for this opening! Julia Lester will star in Hungry Women at the SoHo playhouse this summer. The play, which is written by Melissa Maney and directed by Danielle Caggiano, will run from July 23 to Aug. 30 at SoHo Playhouse, with official opening set for July 25.

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The play explores what our world would look like across two hundred years with one small difference: men are extinct. The dark comedy explores survival, identity, sexuality, motherhood, and the reshaping of power in the absence of the patriarchy. In the end, it asks: What are women most hungry for?

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“I really believe that there’s something for everyone to get out of this story – be it a new perspective, a moment of empowerment and understanding, or a much-needed laugh or two,” playwright Maney said in a release.

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Lester, who earned a Tony Award nomination for her role as Little Red in the 2022 revival of Into the Woods, will be joined by Zoe Dean, Mariyea, and Sophie Zmorrod.

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The production features scenic and projection design by Qingan Zhang, costume design by Olivia Hern, lighting design by Annie Garrett-Larsen, sound design by Chris Verde, and dramaturgy by Alejandra Godoy. Kaelin Elizabeth Fuld is the stage manager. Elise Joyner is the assistant stage manager. Publicity, Social Media and Marketing Consulting by Kampfire.

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Hungry Women runs at the SoHo Playhouse on 15 Vandam Street in New York City from July 23 to Aug. 30. For tickets and more information, visit here.

Theatrely News

EXCLUSIVE: Watch A Clip From THEATER CAMP Starring Ben Platt, Noah Galvin, and Molly Gordon

Theatrely News

READ: An Excerpt From Sean Hayes Debut YA Novel TIME OUT

Theatrely News

"Reframing the COVID-19 Pandemic Through a Stage Manager’s Eyes"

EXCLUSIVE: Watch A Clip From THEATER CAMP Starring Ben Platt, Noah Galvin, and Molly Gordon

By: Maia Penzer

14 July 2023

Finally, summer has arrived, which can only mean one thing: it's time for camp! Theater Camp, that is. Theatrely has a sneak peak at the new film which hits select theaters today.

The new original comedy starring Tony Award winner Ben Platt and Molly Gordon we guarantee will have you laughing non-stop. The AdirondACTS, a run-down theater camp in upstate New York, is attended by theater-loving children who must work hard to keep their beloved theater camp afloat after the founder, Joan, falls into a coma.

The film stars Ben Platt and Molly Gordon as Amos Klobuchar and Rebecca-Diane, respectively, as well as Noah Galvin as Glenn Wintrop, Jimmy Tatro as Troy Rubinsky, Patti Harrison as Caroline Krauss, Nathan Lee Graham as Clive DeWitt, Ayo Edebiri as Janet Walch, Owen Thiele as Gigi Charbonier, Caroline Aaron as Rita Cohen, Amy Sedaris as Joan Rubinsky, and Alan Kim as Alan Park.

Theater Camp was directed by Molly Gordon and Nick Lieberman and written by Noah Galvin, Molly Gordon, Nick Lieberman & Ben Platt. Music is by James McAlister and Mark Sonnenblick. On January 21, 2023, Theater Camp had its world premiere at the Sundance Film Festival.

You can purchase tickets to the new film from our friends at Hollywood.com here.

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READ: An Excerpt From Sean Hayes Debut YA Novel TIME OUT

By: Kobi Kassal

29 May 2023

Actor Sean Hayes is what we in the biz call booked and blessed. On top of his Tony-nominated performance as Oscar Levant in Good Night, Oscar, Hayes has partnered with Todd Milliner and Carlyn Greenwald for the release of their new YA novel Time Out.

Heralded by many as Heartstopper meets Friday Night Lights, Time Out follows hometown basketball hero Barclay Elliot who decides to use a pep rally to come out to his school. When the response is not what he had hoped and the hostility continually growing, he turns to his best friend Amy who brings him to her voting rights group at school. There he finds Christopher and… you will just have to grab a copy and find out what happens next. Luckily for you, Time Out hits shelves on May 30 and to hold you over until then we have a special except from the book just for Theatrely:

The good thing about not being on the team the past two weeks has been that I’ve had time to start picking up shifts again at Beau’s diner and save up a little for college now that my scholarship dreams are over.

The bad part is it’s the perfect place to see how my actions at the pep rally have rotted the townspeople’s brains too.

During Amy’s very intense musical theater phase in middle school, her parents took her to New York City. And of course she came back home buzzing about Broadway and how beautiful the piss smell was and everything artsy people say about New York. But she also vividly described some diner she waited three hours to get into where the waitstaff would all perform songs for the customers as a way to practice for auditions. The regulars would have favorite staff members and stan them the way Amy stans all her emo musicians.

Working at Beau’s used to feel kind of like that, like I was part of a performance team I didn’t know I signed up for. The job started off pretty basic over the summer—I wanted to save up for basketball supplies, and Amy worked there and said it was boring ever since her e-girl coworker friend graduated. But I couldn’t get through a single lunch rush table without someone calling me over and wanting the inside scoop on the Wildcats and how we were preparing for the home opener, wanting me to sign an article in the paper or take a photo. Every friendly face just made the resolve grow inside me. People love and support the Wildcats; they would do the same for me.

Yeah, right.

Now just like school, customers have been glaring at me, making comments about letting everyone down, about being selfish, about my actions being “unfortunate,” and the tips have been essentially nonexistent. The Wildcats have been obliterated in half their games since I quit, carrying a 2–3 record when last year we were 5–0, and the comments make my feet feel like lead weights I have to drag through every shift.

Today is no different. It’s Thursday, the usual dinner rush at Beau’s, and I try to stay focused on the stress of balancing seven milkshakes on one platter. A group of regulars, some construction workers, keep loudly wondering why I won’t come back to the team while I refuse proper eye contact.

One of the guys looks up at me as I drop the bill off. “So, what’s the deal? Does being queer keep ya from physically being able to play?”

They all snicker as they pull out crumpled bills. I stuff my hands into my pockets, holding my tongue.

When they leave, I hold my breath as I take their bill.

Sure enough, no tip.

“What the fuck?” I mutter under my breath.

“Language,” Amy says as she glides past me, imitating the way Richard says it to her every shift, and adds, “even though they are dicks.” At least Amy’s been ranting about it every free chance she gets. It was one thing when the student body was being shitty about me leaving the team, but the town being like this is even more infuriating. She doesn’t understand how these fully grown adults can really care that much about high school basketball and thinks they need a new fucking hobby. I finally agree with her.

[She’s wearing red lipstick to go with her raccoon-adjacent eyeliner as she rushes off to prepare milkshakes for a pack of middle schoolers. I catch her mid–death glare as all three of the kids rotate in their chairs, making the old things squeal. My anger fades a bit as I can’t help but chuckle; Amy’s pissed-off reaction to Richard telling her to smile more was said raccoon makeup, and her tolerance for buffoonery has been at a negative five to start and declining fast.

I rest my arms on the counter and try not to look as exhausted as I feel.

“Excuse me!” an old lady screeches, making me jump.

Amy covers up a laugh as I head to the old lady and her husband’s table. They’ve got finished plates, full waters. Not sure what the problem is. Or I do, which is worse.

“Yes?” I say trying to suppress my annoyance.

“Could you be bothered to serve us?”

Only five more hours on shift. I have a break in three minutes. I’ll be with Devin at Georgia Tech tomorrow. “I’m sorry, ma’am,” I say, so careful to keep my words even, but I can feel my hands balling into fists. “What would you—?”

And suddenly Amy swoops in, dropping two mugs of coffee down. “Sorry about that, you two,” she says, her voice extra high. “The machine was conking out on us, but it’s fine now.”

Once the coffee is down, she hooks onto a chunk of my shirt, steering us back to the bar.

“Thanks,” I mutter, embarrassed to have forgotten something so basic. Again.

“Just keep it together, man,” she says. “Maybe you’d be better off with that creepy night shift where all the truckers and serial killers come in.”

Honestly, at least the serial killers wouldn’t care about my jump shot.

It’s a few minutes before my break, but clearly I need it. “I’ll be in the back room.”

Right before I can head that way though, someone straight-up bursts into the diner and rushes over to me at the bar. It’s a middle-aged dad type, sunburned skin, beer belly, and stained T-shirt.

“Pickup order?” I ask.

“You should be ashamed,” he sneers at me. He has a really strong Southern accent, but it’s not Georgian. “Think you’re so high and mighty, that nothing’ll ever affect you? My kid’ll never go to college because of you and your lifestyle. Fuck you, Barclay Ell—”

And before this man can finish cursing my name, Pat of all people runs in, wide-eyed in humiliation. “Jesus, Dad, please don’t—”

I pin my gaze on him, remembering how he cowered on the bench as Ostrowski went off, how he didn’t even try to approach me. “Don’t even bother,” I snap.

I shove a to-go bag into his dad’s arms, relieved it’s prepaid, and storm off to the break room.]

Amy finds me head in my arms a minute or two later. I look up, rubbing my eyes. “Please spare me the pity.”

She snorts and hands me a milkshake. Mint chocolate chip. “Wouldn’t dare.” She takes a seat and rolls her shoulders and neck, cracks sounding through the tiny room. “Do you want a distraction or a shoulder to cry on?”

For more information, and to purchase your copy of Time Out, click here.

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Reframing the COVID-19 Pandemic Through a Stage Manager’s Eyes

By: Kaitlyn Riggio

5 July 2022

When the COVID-19 pandemic was declared a national emergency in the United States in March 2020, Broadway veteran stage manager Richard Hester watched the nation’s anxiety unfold on social media.

“No one knew what the virus was going to do,” Hester said. Some people were “losing their minds in abject terror, and then there were some people who were completely denying the whole thing.”

For Hester, the reaction at times felt like something out of a movie. “It was like the Black Plague,” he said. “Some people thought it was going to be like that Monty Python sketch: ‘bring out your dead, bring out your dead.’”

While Hester was also unsure about how the virus would unfold, he felt that his “job as a stage manager is to naturally defuse drama.” Hester brought this approach off the stage and onto social media in the wake of the pandemic.

“I just sort of synthesized everything that was happening into what I thought was a manageable bite, so people could get it,” Hester said. This became a daily exercise for a year. Over two years after the beginning of the pandemic, Hester’s accounts are compiled in the book, Hold Please: Stage Managing A Pandemic. Released earlier this year, the book documents the events of the past two years, filtering national events and day-to-day occurrences through a stage manager’s eyes and storytelling.

When Hester started this project, he had no intention of writing a book. He was originally writing every day because there was nothing else to do. “I am somebody who needs a job or needs a structure,” Hester said.

Surprised to find that people began expecting his daily posts, he began publishing his daily writing to his followers through a Substack newsletter. As his following grew, Hester had to get used to writing for an audience. “I started second guessing myself a lot of the time,” Hester said. “It just sort of put a weird pressure on it.”

Hester said he got especially nervous before publishing posts in which he wrote about more personal topics. For example, some of his posts focused on his experiences growing up in South Africa while others centered on potentially divisive topics, such as the 2020 election and the January 6, 2021, attack on the U.S. Capitol.

Despite some of this discomfort, Hester’s more personal posts were often the ones that got the most response. The experience offered him a writing lesson. “I stopped worrying about the audience and just wrote what I wanted to write about,” Hester said. “All of that pressure that I think as artists we put on ourselves, I got used to it.”

One of Hester’s favorite anecdotes featured in the book centers on a woman who dances in Washington Square Park on a canvas, rain or shine. He said he was “mesmerized by her,” which inspired him to write about her. “It was literally snowing and she was barefoot on her canvas dancing, and that seems to me just a spectacularly beautiful metaphor for everything that we all try and do, and she was living that to the fullest.”

During the creation of Hold Please, Hester got the unique opportunity to reflect in-depth on the first year of the pandemic by looking back at his accounts. He realized that post people would not remember the details of the lockdown; people would “remember it as a gap in their lives, but they weren’t going to remember it beat by beat.”

“Reliving each of those moments made me realize just how full a year it was, even though none of us were doing anything outside,” he adds. “We were all on our couches.” Readers will use the book as a way to relive moments of the pandemic’s first year “without having to wallow in the misery of it,” he hopes.

“I talk about the misery of it, but that’s not the focus of what I wrote... it was about hope and moving forward,” Hester said. “In these times when everything is so difficult, we will figure out a way to get through and we will move forward.”

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