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There will be a 15 minute intermission... Please enjoy consessions in the Atrium to support the High School Thespian Troupe 6902.

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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.

Director's Note

Welcome to the magical journey of "Descendants: The Musical"! I am thrilled to have directed and choreographed this production with such a talented group of middle school performers here at WPS. This musical brings together the enchantment of fairy tales with the modern twist of teenage rebellion and self-discovery.

As we embark on this adventure, let's remember that at its core, "Descendants" is a story about self-identity, friendship, and the choices we make. It's about breaking free from preconceived notions and finding the courage to be true to ourselves.

This journey has been rich with challenge, opportunity, and growth.  Every actor, crew member, and the entire production team have worked tirelessly on this magical musical.  I would like to extend a hearty thank you to Mrs. Rosemaire Redman, Director of Fine Arts, and Mr. Nick Prowse, Technical Director extraordinaire, for their fierce support and dedication in bringing my vision to life here at the Cypress Center for the Performing Arts.  Making theater is a community effort; From costumes to set design, lighting to choreography, we have worked together to transport our audience into a realm where fairy tales and reality collide.  

Another huge thank you to Mrs. Lisa Renee Johnson, for your assistance and keen eye for detail; to Mrs. Ledean Williams, for your incredible music prowess and insightful leadership; and to our ineffably talented theater department team - Mrs. Bambi Fadoul and Mrs. Jacquline Blimline - thank you for welcoming me into such a  beautiful place to create.

I am confident that our production will bring a fresh energy and enthusiasm to "Descendants: The Musical." This is not just a production; it's an opportunity for personal growth, friendship, and creating lasting memories.

Break a leg, everyone! Let the magic of "Descendants" come alive on our stage and live in our hearts forever!

With Love,

Mr. Ryan Lingle

Director & Choreographer

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New App Stage Door Pass Allows Fans To Engage With Artists
Emily Wyrwa
February 12, 2026

We’ve all been there: it’s a cold New York City day, and you’re standing outside, bundled up, cheering at the top of your lunges every time a little door opens, waiting to see if your favorite star has a moment to say hello. You’re talking with the people next to you — from all corners of the world — about this love you share for the show. It’s the magic of the stage door, and it’s just gone digital. 

Stage Door Pass is a new software that allows Broadway fans to track the shows they see with immense detail (down to what swings and understudies they saw), leave their thoughts, connect with other fans, and interact with their favorite artists. It’s all your favorite parts of the stage door without having to brave the elements after a show.

“I'm a big Letterboxd fan, and so it's essentially a Letterboxd, but for live theater,” founder Jeff Whiting told Theatrely in an interview.

Whiting is a director-choreographer and theatre entrepreneur who runs Open Jar Studios. Whiting is often looking for “digital solutions to little industry gaps,” as he put it. 

He founded Stage Write Software — a platform where directors and choreographers can track blocking and technical elements — about 14 years ago. He later added the Stage Door Network, where industry professionals can post job opportunities and network. Stage Door Pass is the latest addition to his network, and his first fan-facing platform. 

The idea came about when Whiting’s business partner, Mike Wheeler, stopped by one of Open Jar Studios’ weekly Friday afternoon tours. When he got home, Wheeler sent Whiting an email with the idea for a granular way to track the shows he saw digitally, and allow audiences to connect with their favorite stars. 

For Whiting, the idea also presented an opportunity to give artists a new way to engage with fans. 

“Having done a lot of Broadway shows myself, I just know there's always discussion about what happens at the stage door, the real stage door when you're leaving the theater,” Whiting said. “Do the artists have an obligation to their fans? Do the fans have the expectation? And so there's been a lot of discussion around how you want to thank your fans, but I've always been very aware of that challenge. In doing this, I thought, ‘well, this is an opportunity for the artists who are aware of and of course are grateful for their fans but allows them to kind of manage the way that they engage.’” 

Through the app, fans can share their opinions on the shows they see, earn badges as they continue to share, and artists can engage with them through the platform. It’s a way to share mutual appreciation for the work. Each time a fan logs a show, they get a souvenir video created by the production that is easily shareable to social media, as well. The system is easily flexible for both iPhone and Android devices. 

“Word of mouth is so key,” Whiting said. “Any artists, particularly the young artists who are coming, fans of shows, who come and wanna share with their friends, their thoughts about the show, we're trying to make these tools super easy for them to be able to share these stories with their fans and followers.”

To learn more about Stage Door Pass, visit here.

Come Celebrate BURNOUT PARADISE And Win A Free Treadmill
Kobi Kassal
February 10, 2026

Where else on earth can you get special preview pricing for an awesome new production, and possibly win a new treadmill? The Astor Place Theatre Box Office, that’s where. 

The hilarious global hit Burnout Paradise, which landed on our Best Of List for 2024, has announced a special, in-person giveaway event on Thursday, February 12 from 12-4pm at the famed Astor Place Theatre Box Office.  All preview tickets will be available for an endorphin pumping $26.20 and one lucky purchaser will walk (or run) away with a free, brand-new Echelon Stride 6s Auto-Fold Treadmill (valued at $1999.99), in addition to other on-site giveaways – including gift cards for free lemonade at Raising Cane’s.

The special ticket price applies exclusively to preview performances running February 18 – March 4 and is available in person only, while supplies last or until the Box Office closes at 4:00 PM. Tickets are limited to two per person, with seating based on availability at the discretion of the Box Office. The treadmill winner will be randomly selected from eligible entrants, and shipping will be coordinated directly with the winner.

Created and performed by the award-winning Australian theater collective Pony Cam, the show begins previews on February 18, and opening night is set for March 5, 2026, for a limited engagement through June 28, 2026. Tickets are on sale at burnoutparadise.com.

Five performers. Four treadmills. One chance to beat the clock. The theatrical phenomenon from award-winning Australian collective Pony Cam is taking Off-Broadway by storm. It’s a live show you’ll never forget, as the people onstage make a desperate attempt to complete a series of escalating tasks, like cooking a three-course meal and filling out a grant application... all while running on treadmills. And if they don’t complete their to-do list in one hour’s time? You can get your money back. Burnout Paradise is part comedy, part endurance feat, part theatrical explosion – but more than anything, it’s a euphoric, visceral celebration of our tendency to run full tilt towards life’s endless challenges.

Acclaimed for their experimental works that subvert well-known forms in non-traditional performance spaces, and for inviting audiences into their work in unexpected ways, Pony Cam is comprised of Claire Bird, Ava Campbell, William Strom, Dominic Weintraub and Hugo Williams. They began developing Burnout Paradise in 2024 as part of Melbourne Fringe Festival and with seasons at Sydney's Bondi Festival and Melbourne's international arts festival, RISING, prior to debuting to rave reviews at Edinburgh Fringe Festival. The five-star reviews there included The Scotsman, who deemed the show “magnificently chaotic, breathlessly frenetic fun.” Time Out declared it to be “one of the most uproarious shows you will ever experience… unravelling wildly differently every night…sheer bedlam in the most magnificent way.” After catching it at the Fringe, the renowned St. Ann’s Warehouse in Brooklyn programmed the show into their season five weeks later, in November 2024. 

The production is produced by No Guarantees. 

Come Celebrate BURNOUT PARADISE And Win A Free Treadmill
Kobi Kassal
February 10, 2026

Where else on earth can you get special preview pricing for an awesome new production, and possibly win a new treadmill? The Astor Place Theatre Box Office, that’s where. 

The hilarious global hit Burnout Paradise, which landed on our Best Of List for 2024, has announced a special, in-person giveaway event on Thursday, February 12 from 12-4pm at the famed Astor Place Theatre Box Office.  All preview tickets will be available for an endorphin pumping $26.20 and one lucky purchaser will walk (or run) away with a free, brand-new Echelon Stride 6s Auto-Fold Treadmill (valued at $1999.99), in addition to other on-site giveaways – including gift cards for free lemonade at Raising Cane’s.

The special ticket price applies exclusively to preview performances running February 18 – March 4 and is available in person only, while supplies last or until the Box Office closes at 4:00 PM. Tickets are limited to two per person, with seating based on availability at the discretion of the Box Office. The treadmill winner will be randomly selected from eligible entrants, and shipping will be coordinated directly with the winner.

Created and performed by the award-winning Australian theater collective Pony Cam, the show begins previews on February 18, and opening night is set for March 5, 2026, for a limited engagement through June 28, 2026. Tickets are on sale at burnoutparadise.com.

Five performers. Four treadmills. One chance to beat the clock. The theatrical phenomenon from award-winning Australian collective Pony Cam is taking Off-Broadway by storm. It’s a live show you’ll never forget, as the people onstage make a desperate attempt to complete a series of escalating tasks, like cooking a three-course meal and filling out a grant application... all while running on treadmills. And if they don’t complete their to-do list in one hour’s time? You can get your money back. Burnout Paradise is part comedy, part endurance feat, part theatrical explosion – but more than anything, it’s a euphoric, visceral celebration of our tendency to run full tilt towards life’s endless challenges.

Acclaimed for their experimental works that subvert well-known forms in non-traditional performance spaces, and for inviting audiences into their work in unexpected ways, Pony Cam is comprised of Claire Bird, Ava Campbell, William Strom, Dominic Weintraub and Hugo Williams. They began developing Burnout Paradise in 2024 as part of Melbourne Fringe Festival and with seasons at Sydney's Bondi Festival and Melbourne's international arts festival, RISING, prior to debuting to rave reviews at Edinburgh Fringe Festival. The five-star reviews there included The Scotsman, who deemed the show “magnificently chaotic, breathlessly frenetic fun.” Time Out declared it to be “one of the most uproarious shows you will ever experience… unravelling wildly differently every night…sheer bedlam in the most magnificent way.” After catching it at the Fringe, the renowned St. Ann’s Warehouse in Brooklyn programmed the show into their season five weeks later, in November 2024. 

The production is produced by No Guarantees. 

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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