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Sponsors

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Meet Our Donors

Tributes

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Our Tributes

Performers

David J. Baldwin

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Performer

Joe Chisholm

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Performer

Julianne Darden

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Performer

Laura Nicole Guley

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Performer

Valeria Noemi Mictil Rivera

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Performer

Jennifer Soraya Rose

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Performer

Isaac C Rosen

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Performer

Melanie Sierra

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Performer

Ian Patrick Stack

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Performer

Marek Zurowski

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Performer

Setting

Songs & Scenes

One Act (No Intermission)
Introductions
Jules Cort
Something's Coming
Joe Chisholm
A Boy Like That/I Have A Love
Julianne Darden, Valeria Mictil
Stay With Me
Isaac Rosen
Yankee Boy
David J. Baldwin
Rags
Jennifer Soraya Rose
Someone Is Waiting
Ian Stack
I Want To Be See With You Tonight
Marek Zurowski, Melanie Sierra
Lonely Town
Laura Guley
It's A Bore
Joe Chisholm, Ian Stack
She Is Not Thinking of Me/Gigi
Marek Zurowski
My Time of Day/All Through the Night
Isaac Rosen
Song On the Sand
David J. Baldwin
Somewhere
Melanie Sierra

Production Staff

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Venue Staff

School Administration Staff

Director of Programming
Ben Rimalower
Project Manager
Agustina Casella

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

Lindsey Barfield, Diana Pullen, Lenora Nemetz, Alexandra Silber, Cara Stofa, Dereck Atwater, Liam Forde, Selda Sahin, Derek Gregor, Nox Wong, Meredith Fox, OUT/PLAY, the Patrick Page Studio, the New York Public Library, Mom and Dad

*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.

Cast
Creatives

Meet the Cast

David J. Baldwin

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Performer
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Pronouns:
He/Him

David J. Baldwin is a Singer, Actor, and Adjunct Professor of Voice at NYU Steinhardt, where he teaches Musical Theatre and Classical Voice. He teaches Class Voice at Steps on Broadway Conservatory. He teaches private voice in Queens and Manhattan.

David has been a musical theatre geek since sophomore year of high school when he became obsessed with The Phantom of the Opera. In NYC, David has worked on numerous Readings & Workshops of new musicals, including the Gershwin’s Funny Face with Michael Mayer, and Dragula at The Chain Theatre. He recently sang in drag again as Greta in OUT/PLAY’s production of Bent. His extensive training as an opera singer makes him a versatile performer: he has sung onstage with The Metropolitan Opera, Lyric Opera of Chicago, Bard Festival Opera, and countless other opportunities for which he has extreme gratitude.

David continues Meisner Acting training with Matthew Corozine and Advanced Scene Study with Patrick Page. Passionate about making more opportunities for Queer actors, David founded OUT/PLAY: Queer Theatre, which focuses on bringing new life to under-produced or forgotten queer plays. In its recently-completed 2nd season, OUT/PLAY sold out numerous performances in midtown-Manhattan. (@outplaynyc)

Offstage, David’s passions are Fitness and Gardening. He’s a member of Crossfit Unleashed in Astoria, where he loves to hit the gym before starting his day. He spends his summers tinkering in his backyard garden, where he grows everything from herbs and tomatoes and every flower imaginable.

Joe Chisholm

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Performer
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Pronouns:
he/him

Off-Broadway: safeword., Afterglow, She Has A Name. Recent: Doctor Pomatter in Waitress, Jonathan in Tick, Tick...BOOM!, Reuben in Joseph...Dreamcoat, Charlie Price in Kinky Boots. TV: Girls5eva. Joe is the co-founder of Marquee Digital. Proud member of Actor's Equity, and even prouder dog dad to Islay the Goldendoodle. 

Julianne Darden

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Performer
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Pronouns:
She/Her

Julianne Darden is a Bronx-born singer, actress, and proud Boricua. She has performed at Carnegie Hall, 54 Below, and Theater for the New City, and is thrilled to share her voice and heart on The Green Room 42 stage tonight.

Laura Nicole Guley

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Performer
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Pronouns:
She/her/hers

Laura is thrilled to be returning to the Green Room 42 in this beautiful tribute to Larry Kurt!  National Tour: Tootsie (Sandy u/s). Select regional: Goodspeed Opera House, Pittsburgh CLO, Marriott Theatre, Theatre by the Sea, Tuacahn Ampitheatre, Engeman Theatre. Love to Mom, Dad, Jacob and Jilly. Penn State. 

Valeria Noemi Mictil Rivera

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Performer
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Pronouns:
She / Her

Valeria N. Mictil Rivera is a Puerto Rican soprano and musical theater performer based in NYC. She began singing at the age of six with the San Juan Children’s Choir and has since performed internationally with ensembles such as Coralia and as a featured soloist at the Casals Festival. A graduate of both the Puerto Rico Conservatory of Music and the New York Conservatory for Dramatic Arts, Valeria blends her classical roots with the storytelling of musical theater. She is delighted to share her voice and heart tonight at The Green Room 42.

Jennifer Soraya Rose

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Performer
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Jennifer Soraya Rose is honored to be performing in Something's Coming: A Tribute to Larry Kert. This is her first time performing at The Green Room 42. Some previous notable work includes Mimi in Rent (Dominion Stage of Arlington VA), Julia Sullivan in The Wedding Singer (The George Washington University), The Cat In The Hat in Seussical (McLean Community Players), and studying advanced acting with Shakespeare at The Patrick Page Studio. She is grateful for all of the support from her friends and family.

Isaac C Rosen

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Isaac Rosen is thrilled to be performing at Green Room 42 for the first time! He was most recently seen as Asagai in Raisin the Musical at Town Hall Arts Center. Other favorite credits include Jake (Sideshow), The Hipster(Sophisticated Ladies), Ted (Peter and the Starcatcher) and Jason 2 (The Inheritance). Offstage, Isaac can usually be found in a ChatGPT overthinking spiral. Any agents here?

Melanie Sierra

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Performer
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Pronouns:
she/they

Melanie Sierra is thrilled to be back at Green Room 42. Previously, Melanie has performed as a soloist at Lincoln Center, and has also performed with The Metropolitan Opera In Zeffirelli’s La Boheme, The Hours (Met premiere directed by Phelim McDermott), and Rigoletto (directed by Bartlett Sher). 

Melanie toured the world as Maria in West Side Story directed by legendary broadway veteran Lonny Price. The production enjoyed a nearly 3 month sold-out run at Théâtre du Châtelet in Paris.

Before tour, Melanie workshopped Camelot at Lincoln Center Theater, directed by Bartlett Sher with book by Aaron Sorkin, and has most recently been apart of development for Millions (directed by Bartlett Sher, with music by Adam Guettel, and book by Bob Martin), as well as DOLLY: A True Original Musical, directed by Bartlett Sher with music by Dolly Parton. 

Melanie dedicates this performance to Alexander Bernstein. Thank you for everything :)

Ian Patrick Stack

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Performer
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Pronouns:
he/him

Ian Patrick Stack (he/him) is an Astoria actor and florist. Previously seen in OUT/PLAY's Bent (Wolf) &  Jeffrey (Jeffrey). Other credits: Twelfth Night (Malvolio) at Stages on the Sound, Afterglow (Josh) at Wilton Theater Factory, The Rocky Horror Show (Phantom), Spring Awakening (Moritz) at Greer Garson Theater, and Faust (Envy) at the Drama Club. Film/TV: The Other Two  & upcoming queer short film Pining. BFA Acting Southern Methodist University

Marek Zurowski

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Performer
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Marek Zurowski is excited to make his Green Room 42 debut! Come see Marek Off-Broadway in Nothing Like Broadway! opening September 14. International: West Side Story (Opera Theatre Rome), Phantom of the Opera (World Tour), West Side Story (World Tour), West Side Story (Tokyo 360), and Jekyll & Hyde (World Tour).  Regional: Titanic (Milwaukee Rep), Carousel (Madison Theater), Fiddler on the Roof (ACT of CT), Gentleman’s Guide… (RMRT), All Shook Up (Tent Theatre), Tarzan (White Plains PAC), Damn Yankees (Thingamajig Theatre), and Rocky Horror (Playhouse on the Square). Special thanks to my parents, my sister, and my Melanie.

Meet the Team

Jules Cort

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Creator/Host
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Pronouns:
they/them

Jules Cort (they/them) is so excited to debut Something’s Coming: A Tribute to Larry Kert at The Green Room 42 tonight! Jules is a lifelong performer, educator, and creative who loves contributing to exciting artistic opportunities for people around the world. They spent the summer co-leading a series of educational and performance workshops for U.S. students at Shakespeare’s Globe in London. Recent performance credits include: Bachelor Holiday (Hunter) with OUT/PLAY, Hocus Pocus: The Drag Parody Musical (Mary) with OFC Creations, and The Keepers' Voice (Horace) with The Rev Theatre Company. Thank you to the endless list of icons who were instrumental in bringing this tribute to life! For Larry and Ron. 

Noah Turner

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Music Director
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Pronouns:
He/Him

Noah Turner is a New York-based pianist, conductor, music director, and arranger. Recently he has worked as Music Director for Blue Hill Troupe's Cinderella, Associate Music Director on the International Tour of The Sound of Music in Manila, the Music Assistant on Joy the Musical (with Music Supervisor Andy Einhorn), and Music Director/Conductor of the Jersey Boys 2nd National Tour. Noah received his Master’s degree in Collaborative Piano from NYU Steinhardt, and has a Bachelor’s degree in Composition from SUNY Fredonia.

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2021 National Touring Cast

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Marty Lauter and David Merino Perform TWO LADIES At The Laurie Beechman Theatre
Emily Wyrwa
October 6, 2025

Willkommen! Marty Lauter and David Merino are taking the stage for one night only in Two Ladies at the Laurie Beechman Theatre on Oct. 13 at 9:30 p.m. The pair, who closed the run of Cabaret at the Kit Kat Club on Broadway sharing the role of the Emcee, will be Emcees of their own.

In Two Ladies they present an evening filled with sisterhood, secrets from the bowels of the Kit Kat Club, and maybe a little desperation as they search for their next jobs…who knows, maybe this time, they’ll win! 

Lauter, a Theatrely31 alum, is also known as “Marcia Marcia Marcia!” from RuPaul’s Drag Race Season 15. They’ve strutted through Broadway’s Kinky Boots and toured in Hello, Dolly! Merino has been seen in Moulin Rouge! on Broadway and as Angel in the National Tour of Rent. Together, they became the Kit Kat Club’s unexpected power couple.

Two Ladies: Tales from the Kit Kat Club plays The Laurie Beechman Theatre on Monday, Oct. 13 at 9:30 p.m. For tickets and more information, visit here

Marty Lauter and David Merino Perform TWO LADIES At The Laurie Beechman Theatre
Emily Wyrwa
October 6, 2025

Willkommen! Marty Lauter and David Merino are taking the stage for one night only in Two Ladies at the Laurie Beechman Theatre on Oct. 13 at 9:30 p.m. The pair, who closed the run of Cabaret at the Kit Kat Club on Broadway sharing the role of the Emcee, will be Emcees of their own.

In Two Ladies they present an evening filled with sisterhood, secrets from the bowels of the Kit Kat Club, and maybe a little desperation as they search for their next jobs…who knows, maybe this time, they’ll win! 

Lauter, a Theatrely31 alum, is also known as “Marcia Marcia Marcia!” from RuPaul’s Drag Race Season 15. They’ve strutted through Broadway’s Kinky Boots and toured in Hello, Dolly! Merino has been seen in Moulin Rouge! on Broadway and as Angel in the National Tour of Rent. Together, they became the Kit Kat Club’s unexpected power couple.

Two Ladies: Tales from the Kit Kat Club plays The Laurie Beechman Theatre on Monday, Oct. 13 at 9:30 p.m. For tickets and more information, visit here

HAZBIN HOTEL: LIVE ON BROADWAY Will Play One Night at the Majestic Theatre, Hosted By Erika Henningsen
Emily Wyrwa
October 6, 2025

Straight from Hell to Broadway! Hazbin Hotel: Live on Broadway will come to the Majestic Theatre on Oct. 20 for a live concert celebrating the hit musical series. The evening will be hosted by series lead Erika Henningsen.

The concert will feature special performances from the talented cast featuring songs from both seasons one and two of the show. It will be available on Prime Video at a later date. Joe DeMaio serves as the director.

Hazbin Hotel follows Charlie, the princess of Hell, as she pursues her seemingly impossible goal of rehabilitating demons to peacefully reduce overpopulation in her kingdom. After a yearly extermination imposed by angels, she opens a hotel in the hopes that patrons will be "checking out" into Heaven. While most of Hell mocks her goal, her devoted partner Vaggie, and their first test subject, adult-film star Angel Dust, stick by her side. When a powerful entity known as the "Radio Demon" reaches out to assist Charlie in her endeavors, her crazy dream is given a chance to become a reality.

Season Two of the series premiers on Oct. 29, with two episodes rolling out weekly through Nov. 19.

Hazbin HotelL Live on Broadway is a one-night-only performance on Oct. 20 at the Majestic Theatre on West 44th Street in New York City. Fans can request tickets at 1iota here for a chance to attend. Cosplay is strongly encouraged. 

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.

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.

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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