Tampa Brass Band

Grantors

No items found.

Sponsors

No items found.

Donors

Tributes

Performers

Tampa Brass Band

*

Musicians

Dr. Aaron K. Campbell

*

Featured Soloist

Setting

Songs & Scenes

When Thunder Calls

Paul LovaL-Cooper (b. 1976)

The Irish Blessing

Joyce Eilers Bacak (1941-2009) arr. Bradnum

My Grandfathers Clock

Traditional Dr. Aaron K. Campbell – Euphonium

I've Got You Under My Skin

Cole Porter (1891 – 1964) arr. Sandy Smith

Hymn of the Highlands

Philip Sparke (b. 1951) I. Ardross Castle II. Alladale III. Dundonnell

Belle of the Ball

Traditional (composed 1951) Arr. Anderson

Production Staff

No items found.

Venue Staff

School Administration Staff

No items found.

Musicians

Cornet | Soprano

Juan Tellado

Cornet | Solo

S. Jones Alvin Bernard Fred Green

Cornet | Repiano

Coral Christina

Cornet | Second

Larry Harvery Bruce Bailey

Cornet | Third

Dave Peto Jorge Luis Narvaez Manuel Suarez

Horns | Flugelhorn

Jay Dedon

Horns | Eb Horns

Allison Synnett Jason Rogers Stephanie Lyn

Horns | Baritones

Hannah Caraker Joe Bonasera

Trombones | Tenor

Cj Rivera Maerosa Whiteside Morgan Brandt

Trombones | Bass

Jordan Harris

Euphoniums

Aaron Campbell Rodney Jean

Basses | Eb Bass

Ingrith Tower Dan Burdick

Basses | Bb Bass

Philip BeaLy Brett Williams

Percussion

Daniel Melendez Gabriel Travieso

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

*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.

Meet the Cast

Tampa Brass Band

*

Musicians

(

)

(

)

Pronouns:

Established in 2019, the Tampa Brass Band is the premier British Brass ensemble in the Tampa Bay region of Florida. Consisting of a mix of skilled brass and percussion professionals, music educators, and music enthusiasts from all over the Gulf Coast of Florida. TBB performances consist of exciting music from the Brass Band repertoire, as well as arrangements of orchestral and popular classics. The Tampa Brass Band presents an eclectic range of styles and high-level performances in venues throughout the Tampa Bay area, and regularly performs educational outreach events for Tampa Bay music programs. Among the many works the Tampa Brass Band has performed, some works include those by Peter Graham, Philip Sparke, Joel Collier, Dmitri Shostakovich, and Andrea Hobson.

The Tampa Brass Band made its first competitive appearance at the North American Brass Band Championships in Huntsville Alabama in 2022 and is preparing to represent Tampa again in competition for the third time in the 2024 North American Championships. In 2022 and 2023, members and ensembles from the band won individual awards at the North American Brass Band Championships solo and ensemble competitions.

The Tampa Brass Band is an IRS 501 c (3) tax-exempt organization and a Florida non-profit corporation. The organization’s mission is to promote the traditional Bri-sh Brass Band style while simultaneously acting as an educational organization to enhance the lives and performance ability of brass and percussion students throughout Tampa Bay.

Dr. Aaron K. Campbell

*

Featured Soloist

(

)

(

)

Pronouns:

Aaron Campbell is an active freelance Euphonium, Trombone, and Tuba performer in the Tampa Bay area, and is the instructor of tuba and euphonium at the University of Tampa. Aaron is the founder, president, and solo euphonium of the Tampa Brass Band and serves as principal euphonium and low-brass section leader for the Florida Wind Band. Aaron regularly performs with other groups throughout Florida such as the Florida Orchestra, the Florida Wind Symphony, and the Brass Band of Central Florida. Aaron also performs frequently as a solo, chamber, and musical theater musician.

As a soloist Aaron is regularly featured as a guest artist at many festivals and conferences worldwide. Aaron was a guest artist at the International Euphonium/Tuba Institute in Atlanta GA, various International Tuba and Euphonium Association Conferences, the International Women’s Brass Conferences, among others. As an adjudicator Aaron has acted as the judge for various Marching Band, Brass Band, and Solo and Ensemble festivals, including the inaugural Great Canadian Brass Band Festival in Toronto Canada. In competition, Aaron has won back-to-back first place solo trophies at the North American Brass Band Championships, winning the slow melody cap-on in 2022 and the technical cap-on in 2023.

Aaron is a Besson performing artist and performs exclusively on a Besson BE 2052 Euphonium. He is also a Denis Wick and Lefreque performing artist. Aaron is the first ever to receive a Doctor of Musical Arts in euphonium at the University of Florida, holds a Master of Music in Euphonium Performance from James Madison University, and a Bachelor of Science in Music Education from the University of South Florida. Primary teachers include Carlyl Webber (Army Field Band Euphonium, Re-red), Jay Hunsberger (Former Principal Tuba, Sarasota Orchestra), Kevin Stees (Tuba/Euphonium professor, James Madison University) and Dr. Danielle VanTuinen (Tuba/Euphonium professor, University of Florida).

Meet the Team

Dr. Tina DiMeglio

*

Music Director

(

)

Pronouns:

Tina DiMeglio is the Associate Director of Bands at the University of South Florida in Tampa, Florida. Dr. DiMeglio conducts the USF Symphonic Band and teaches courses in conducting and music education. She has served as the Music Director of the Tampa Brass Band since 2021.

Recently, Dr. DiMeglio won first prize at the Inaugural Frederick Fennell International Conducting Competition, held in Modica, Italy in November 2021. She was a Conducting Fellow in the 2019 Midwest Clinic Reynolds Conducting Institute, and was also a recipient of the 2019 CBDNA Mike Moss Diversity Conducting Fellowship Study Grant.

Tina DiMeglio earned a Doctor of Musical Arts (D.M.A.) degree from the University of Miami, where she studied Instrumental Conducting with Dr. Robert Carnochan. She holds a Master of Music Degree in Wind Conducting from West Chester University, where she studied with Dr. Andrew Yozviak, and a bachelor’s degree in music education, clarinet concentration, from Temple University’s Boyer College of Music, where she studied clarinet with Paul Demers of the Philadelphia Orchestra. While at Temple University, Dr. DiMeglio served as the President of CMENC Chapter 51 and was awarded the PMEA Award for Excellence in Service. She was a clarine-st with the Temple University Wind Ensemble, Wind Symphony, and Orchestra, and served three years as the drum major of the Temple University Diamond Marching Band. Dr. DiMeglio graduated Magna Cum Laude, was a member of the academic honors program, and received both the Diamond Key Band Award and the Emily and Arthur Crosby Award upon graduation.

A native of the Philadelphia area, Dr. DiMeglio served as the Band Director of Ridley High School, her alma mater, from 2011-2018. She maintains a private lesson studio and performs professionally as a conductor, clinician, and clarinetist. When not teaching or performing, she enjoys spending time with her husband Jonathan and their many rescue animals.

Media

No items found.

2021 National Touring Cast

Pre-Show Snack or
Post-Show Dinner?

Don’t let the evening end when the curtain comes down. With The Marquee Local, you can find the perfect place for a pre-show snack, an evening meal, or a post-show cocktail. Enjoy exclusive deals from our local partners as you catch up, discuss the show, and create memories to last a lifetime.

Grab a Bite

Pre-show or post-show, our local partners have your dining needs covered

Raise a Glass

Settle into that post-show glow with a stellar drink in hand

Grab a Bite

There are currently no restaurants to peruse.

Raise a Glass

There are currently no bars to peruse.

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.

Exclusive First Listen to Taylor Trensch and Lizzie McAlpine Singing "The Dream" From FLOYD COLLINS – ORIGINAL BROADWAY CAST ALBUM

Emily Wyrwa

August 7, 2025

“If you follow that sound,” you’ll get a first look at Floyd Collins’ Original Broadway Cast Recording. Center Stage Records has announced the release of Floyd Collins – Original Broadway Cast Recording on streaming and digital platforms on Aug. 8. The CD edition will be available on Sept. 5.

Led by Jeremy Jordan, who was nominated for the 2025 Tony Award for Best Performance by a Leading Actor in a Musical for his performance in the titular role, Floyd Collins ran at Lincoln Center this Spring. It also featured Taylor Trensch, who was nominated for Best Featured Actor in a Musical for his performance, and indie-folk star Lizzie McAlpine.

Theatrely has an exclusive first listen to stars Trensch and Lizzie McAlpline singing “The Dream.”

‍Floyd Collins was nominated for six total Tony Awards, including Best Revival of a Musical, Best Orchestrations, Best Leading Actor for Jordan, and Best Performance by an Actor in a Featured Role in a Musical for Taylor Trensch.

The Original Broadway Cast Recording is produced by Adam Guettel and Ted Sperling, with Adam Siegel and Van Dean serving as executive producers.

Floyd Collins is based on the true story of a cave explorer in Kentucky, 1925. While chasing a dream of fame and fortune by turning Sand Cave into a tourist attraction, Floyd Collins himself becomes the attraction when he gets trapped 200 feet underground. Alone but for sporadic contact with the outside world, including his brother Homer, Floyd fights for his sanity – and, ultimately, his life – as the rescue effort above explodes into the first genuine media circus. Reporters and gawkers from across the country descend on the property, fueling the hysteria and manipulating the nation into holding its collective breath. Floyd Collins, featuring a haunting exploration of the American dream by Tina Landau and a glorious folk and bluegrass-inspired score by Adam Guettel, tells the transcendent tale of a true American dreamer.

Floyd Collins features a book by Tina Landau, music and lyrics by Adam Guettel, additional lyrics by Tina Landau and direction by Tina Landau. The company features Jeremy Jordan as Floyd Collins, Jason Gotay as Homer Collins, Sean Allan Krill as H.T. Carmichael, Marc Kudisch as Lee Collins, Lizzy McAlpine as Nellie Collins, Wade McCollum as Bee Doyle, Jessica Molaskey as Miss Jane, Taylor Trensch as Skeets Miller, Cole Vaughan as Jewell Estes, Clyde Voce as Ed Bishop as well as Kevin Bernard, Dwayne Cooper, Jeremy Davis, Charlie Franklin, Kristen Hahn, Happy McPartlin, Kevyn Morrow, Zak Resnick, Justin Showell, and Colin Trudell.

To pre-save the album, visit here. To pre-order a CD, visit here.

HAMILTON Film To Be Released In Theatres This September

Emily Wyrwa

August 6, 2025

It’s time to go to the “room where it happens.” For the first time, the filmed versionof Hamilton will open in movie theatres across the nation. The theatrical release will take place on Sept. 5, 2025. Tickets are available for purchase at Fandango and anywhere tickets are sold.

The theatrical release expands on the Emmy Award-winning filmed version of the iconic musical, which is available on Disney+. It includes a special prologue to the film called Reuniting the Revolution, which features all-new interviews with the original cast and creators as they reflect on the impact the show has had on their lives

“When we filmed Hamilton, we wanted to try to capture the feeling of being in the Richard Rodgers Theatre during that first year on Broadway,” director/producer Thomas Kail said in a statement. “We’re thrilled that audiences will now have the opportunity to experience it on the big screen.”

A special premiere screening event will take place at the new Delacorte Theatre, home of The Public Theater’s Free Shakespeare in the Park series. A limited number of advance tickets will be available for a donation beginning Aug. 11. A free ticket lottery distribution will be available at The Public Theater on Sept. 3, as well as a free standby line in Central Park prior to the screening’s start. All advance ticket donations will benefit The Public Theater, where Hamilton debuted in 2015 before transferring to Broadway.

The pro-shot was filmed at The Richard Rodgers Theatre on Broadway in June of 2016, with the original cast of the musical, including writer Lin-Manuel Miranda in the titular role.

Andrea Martin, Will Brill Join MEET THE CARTOZIANS At Second Stage Theater

Emily Wyrwa

August 6, 2025

Two-time Tony Award-winner Martin will lead the company of Meet the Cartozians alongside Tony Award-winner Will Brill, Raffi Barsoumian, Nael Nacer, Susan Pourfar, and Tamara Sevunts. The play, directed by Tony Award-winner David Cromer, will kick off Second Stage Theater’s 47th Season.

Meet the Cartozians is part historical drama, part satire. It follows two sets of Armenian Americans — one man fighting for legal recognition in the 1920s, and his descendent fighting for followers and a competent glam team.

The creative team will feature scenic design by Tatiana Kahvegian, costume design by Enver Chakartash, and lighting design Stacey Derosier. The Voice and Dialect Coach is Gigi Buffington. Casting is by Daniel Swee, CSA. Additional members of the creative team to be announced at a later date.

The play kicks off the first season under the leadership of Artistic Director Evan Cabnet and Executive Director Adam Siegel.

‍Meet the Cartozians begins previews on Oct. 29 with an official opening set for Nov. 17 at the Irene Diamond Stage at the Pershing Square Signature Center on West 42nd Street in New York City. 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.

‍

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.”

‍

Connect

Games

Media

No items found.

Let's Connect

Theatre is all about connection. Follow us to keep in touch and stay up to date on all the latest news!

Let's Connect

Theatre is all about connection. Follow us to keep in touch and stay up to date on all the latest news!

Share this Marquee

Check out this Tampa Brass Band digital program by @Marquee.Digital.

Waiting for the Show to Start?

The Marquee has you covered.

Places in 5

Can you find the winning word in time?

Marquee Match

Find the match & take a bow.

Join the Team

Connect

Games

Media

Let's Connect

Theatre is all about connection. Follow us to keep in touch and stay up to date on all the latest news!

Let's Connect

Theatre is all about connection. Follow us to keep in touch and stay up to date on all the latest news!

Waiting for the Show to Start?

The Marquee has you covered.

Places in 5

Can you find the winning word in time?

Marquee Match

Find the match & take a bow.

Hello! Please use portrait mode when viewing Marquee Digital Programs on a mobile device, in order to ensure the best user experience.

Event Date has Passed

Hello! It appears your event date has passed. You can view the archived Event Marquee for 5 minutes before this pop up gets activated.

Event Preview

Hello! This is the Preview limit for your Event until the show's Opening Day. You will be able to view the Marquee for 5 minutes before this pop up gets activated. Simply refresh the page to restart the timer.