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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.

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2021 National Touring Cast

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DEAD OUTLAW Audible Original Is Out For Streaming

Emily Wyrwa

July 17, 2025

“But a wise man said” it’s time to put your headphones in. The audio recording of Dead Outlaw, Audible’s first-ever commissioned musical, is out now. The Audible Original showcases the entire original musical recorded in Dolby Atmos with immersive sound design.

Featuring music and lyrics by David Yazbek and Erik Della Penna, book by Itamar Moses, and direction by David Cromer, Dead Outlaw premiered Off-Broadway at Audible’s Minetta Lane Theatre in 2024 where it won the Drama Desk New York Drama Critics’ Circle, and Outer Critics Circle Awards for Best Musical. It transferred to Broadway in April 2025 and was nominated for seven Tony Awards, including Best Musical.

The Audible Original was recorded and mixed by Dean Sharenow, and features the entire original cast, including Andrew Durand as Elmer McCurdy, Jeb Brown, Eddie Cooper, Dashiell Eaves, Julia Knitel, Ken Marks, Trent Saunders, and Thom Sesma. The band features Rebekah Bruce, Erik Della Penna, Hank Heaven, William B Smylie, and Spencer Cohen.

Dead Outlaw tells the true story of Elmer McCurdy, an early 20th century outlaw who died in a shootout whose corpse became an unlikely entertainment attraction for decades after. He’s carted to carnivals, roadside attractions, wax museums, and even a Hollywood film set. The dark comedy explores the absurdity of fame, the inevitability of failure, and the meaning — or utter meaninglessness — of legacy.

Michael Urie, Kumail Nanjiani, and Jenn Harris Join OH, MARY! August 4

Emily Wyrwa

July 16, 2025

Oh, Mary? More like oh, Michael! 2025 Emmy Award Nominee Michael Urie, Oscar and Emmy Award nominee Kumail Nanjiani, and Jenn Harris will join the cast of Oh, Mary! beginning Aug. 4 through Sept. 28. They will join the company alongside Jinkx Monsoon as Mary Todd Lincoln. Conrad Ricamora, James Scully, and Bianca Leigh, who originated their roles Off-Broadway at the Lucille Lortel and on Broadway at the Lyceum Theatre, along with the current ‘Mary Todd Lincoln,’ Tituss Burgess, will play their final performances on Aug. 2.

Urie has previously been seen on Broadway in Once Upon a Mattress opposite Sutton Foster, Spamalot, Chicken & Biscuits, Grand Horizons, Torch Song, and How to Succeed in Business Without Really Trying. He will play Mary’s Teacher. Nanjiani and Harris will be making their Broadway debuts as Mary’s Husband and Mary’s Chaperone, respectively.

Nanjiani is best known for The Big Sick, Marvel’s Eternals, and Obi-Wan Kenobi. He is a standup comic with a new Hulu special set to release this winter. Harris originated the role of Clarice Starling in Silence! The Musical, won a Lortel award for her performance in Modern Orthodox, and was in the revival of All In The Timing.

Written by Tony Award-winner Cole Escola, and directed by Tony Award-winner Sam Pinkleton, Oh, Mary! opened on Broadway on July 11, 2024 at the Lyceum Theatre, where it became the first show in the theater’s 121-year history to gross more than $1 million in a single week. The comedic play about Mary Todd Lincoln has since broken its own box office record twelve times, and became the first show of the 2024-25 Broadway season to recoup its investment.

Tickets for Oh, Mary! are currently on sale through Jan. 4, 2026. It runs at the Lyceum Theatre on West 45th Street in New York City. For tickets and more information, visit here.

Alex Newell, Laverne Cox, Betty Who, And More to Star In One-Night-Only Carnegie Hall Concert of THE DROWSY CHAPERONE

Emily Wyrwa

July 14, 2025

We’re “stumbling along” to Carnegie Hall! To kick off the fourth annual Breaking the Binary Theatre Festival, Alex Newell, Laverne Cox, Betty Who, and more will take the stage in a one-night-only concert of The Drowsy Chaperone at Carnegie Hall on Oct. 20, 2025. The concert will be directed by Tony Award nominee L Morgan Lee.

Cox will play the titular Chaperone, Newell will play Janet Van De Graaf, with Jonathan Van Ness as Man In Chair, and Betty Who as Robert Martin. Actress and trans activist Joslyn Defreece will play Underling, and RuPaul’s Drag Race icon Peppermint will play Mrs. Tottendale. The entire cast will be comprised of transgender and non-binary performers.

The Drowsy Chaperone features music and lyrics by Lisa Lambert and Greg Morrison and book by Bob Martin and Don McKellar. This concert marks the title’s first major New York presentation since the original 2006 Tony Award-winning Broadway production.

The musical tells the story of a Broadway fanatic — Man In Chair — who plays his favorite record of a 1920s musical in his living room. He brings the show to life in his apartment, providing commentary on its often-outrageous plot and revealing his personal insights. The show-within-a-show centers on the wedding of a showgirl, Janet Van de Graaff, to Robert Martin. Along the way, they face silly obstacles by a producer, gangsters, and, well, a drowsy chaperone.

Breaking the Binary Theatre Festival launched in July 2022. Its aim is to produce work created and developed by trans, non-binary, and Two-Spirit+ theatre artists. This year’s festival will take place Oct. 20 to Oct. 26, 2025.

“Never in my wildest dreams did I think we’d make it to Carnegie Hall, especially on this timeline,” festival founder George Strus said in a statement.

Tickets for The Drowsy Chaperone go on sale in August. The one-night-only concert will take place at Carnegie Hall will take place Oct. 20, 2025. For 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.

‍

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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