Grantors

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Sponsors

No items found.

Sponsors

Donors

We would like to thank all of the donors that helped make this season possible.

Tributes

Performers

Hannah Hockman

*

Ensemble

Adebowalé Adebiyi

*

Clay

Massiel Evans

*

Ensemble

Kate Hoster

*

Ensemble

Jessica Jennelle

*

Ensemble

Shannon Mary Keegan

*

Lula

Enoch King

*

The Conductor

Deisha King

*

Ensemble

Tyrese Pope

*

Young Man

Evan Smith

*

Ensemble

Setting

A subway car in New York City

There will be no intermission.

Songs & Scenes

No items found.

Production Staff

Director

Erica Sutherlin

Director of Production

Timon Brown

Associate Director

Patrick Arthur Jackson

Stage Manager/Intimacy & Fight Captain

Mac Hawbaker

Intimacy & Violence Choreographer

Hailey Hendrickson

Movement Choreographer

Alexander Jones

Assistant Stage Manager

Massiel Evans

Set Designer

Teresa L. Williams

Lighting Designer

Dalton Hamilton

Costume Designer

Natalie Burton

Sound Designer

Aaron Muhl

Projections Curator

Boyzell Hosey

Properties Designer

Dean Wick

Assistant Technical Director

John Millsap

Costumer Shop Manager

Debbi Lastinger

Sound Design Associate

Tyrese Pope

Venue Staff

School Administration Staff

Director of Marketing & Communications

Avery Anderson

Director of Education

Jose Aviles

Marketing Communications Coordinator

Abby Baker

Company Manager

Alexandria Blaha

Director of Production

Timon Brown

Box Office Coordinator

Natalia Cruz

Box Office Coordinator

Annie Curasi

Donor Services Manager

Cheyenne DeBarros

Finance Manager

Stella Dover

Technical Director

Thad Engle

Production Fellow

Meyah Fortier

Video Producer

Travis Hawkes

Costuming Fellow

Hannah Hockman

Associate Artistic Director

Patrick A. Jackson*

Education Fellow

Jemier Jenkins

House Manager

Taylor McKee

Arts Administration Fellow

Marygrace McManus

Assistant Technical Director

John Millsap

Audience Services Manager

David S Monge

Producing Artistic Director

Helen R. Murray

Box Office Associate

Jenny Peacock

Artistic Fellow

Alexa Perez

Education and Community Engagement Associate

John Perez

Production Fellow

Megan Phillips

Graphic Designer

Curtis Waidley

Managing Director

Anthony Winter-Brown

Gala Event Manager (seasonal)

Jamie McWade

Bar Manager

Chris Strong

Director of Community Engagement

Erica Sutherlin

Musicians

No items found.

Board of Trustees

Chair

Anastasia C. Hiotis

Vice Chair

Gina Clement

Treasurer

Trevor Wells, CPA

Administrative Officer

Joe Weldon

Board Members

Rev. Michael Alford Ebrahim Busheri Dexter Fabian Alistair Flynn Joel B. Giles Alais L. M. Griffin Will Hough Sherri Smith-Dodgson Cathy P. Swanson Steven W. Walker

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.

Special Thanks

American Stage would like to thank Bayou Catering for our opening night reception and the American Stage Volunteers for their support.

Meet the Cast

Hannah Hockman

*

Ensemble

(

)

(

)

Pronouns:

(she/her)

Hannah is currently an Acting & Production Apprentice at American Stage & excited to be making her American Stage debut! She recently graduated from Eckerd College with a BA in Theatre with minors in Marketing & Music. Hannah has spent two summers studying in New York City with The Atlantic Acting School and The Circle in the Square Conservatory. Her favorite roles include the lead role in Feinstein’s/54 Below concert of Call It in the Air, & Steve in She Kills Monsters (Eckerd College). She recently made her directorial debut with Heathers: The Musical, Eckerd’s first student run main stage production. Hannah would like to thank her parents & her dog for putting up with her. Love you guys.

Adebowalé Adebiyi

*

Clay

(

)

(

)

Pronouns:

Adebowalé was most recently seen as Albert/Kevin in Clyborne Park directed by Bianca Laverne Jones at Columbia University’s School of the Arts. Other credits include: a costar role on “Dickinson” (AppleTV), Gaev/Thomas in The Cherry Orchard/Magnolia (Columbia SoA). Adebowale is well pleased to make his regional theater debut on American Stage. He will be entering his final year at Columbia, where he is studying Theater(Acting Concentration).

Massiel Evans

*

Ensemble

(

)

(

)

Pronouns:

(she/her)

is a passionate island girl from Nassau, The Bahamas. She recently received her Bachelor’s degree in Acting and Directing from Eastern Connecticut State University along with a film studies minor. While in The Bahamas, Massiel has starred in two local plays and one local bahamian movie. Her first year in undergrad she received the leading role in a main stage production called Chitra. Since then she has starred in four other shows as an actress, two shows as an assistant director for Eastern and for a professional theater company, Spectrum Theater and ended her college career by directing a main stage production called Blood at the Root. She has also written, directed and filmed two small pieces under her film studies minor. She made her American stage debut last year in The Odd Couple as Cecily.

Kate Hoster

*

Ensemble

(

)

(

)

Pronouns:

Kate Hoster is a rising Junior Musical Theatre and Applied Dance double major at The University of Tampa. Kate is excited to be making her first professional show debut in The Dutchman at The American Stage Theatre! Her most recent performance was in a cabaret entitled From Godspell to Wicked under the direction of Paul Finocchiaro. A few of her favorite previous roles include portraying Sophie in Mamma Mia!, A Star to Be in Annie, and Doctor in 9 to 5. Kate would like to thank her parents, family, friends, Alex Jones and the rest of the UT faculty for all of their support!

Jessica Jennelle

*

Ensemble

(

)

(

)

Pronouns:

Jessica Jennelle was most recently seen in Footloose: The Musical at American Stage in the Park. Other roles include Almost, Maine at West Coast Players, and The Laramie Project at St. Petersburg College Arts Dept. She has also worked on productions such as Pippin and Into the Woods as a Props Master. Jessica is currently an acting and production apprentice here at American Stage. She would like to thank her family, friends, and Remi for their love and support!

Shannon Mary Keegan

*

Lula

(

)

(

)

Pronouns:

Shannon is an artist based in NYC and Hartford, CT. She received a B.F.A at The Hartt School of Music Theatre. Regional: The Wolves - TheatreWorks, Devotion - Goodspeed Opera House, Romantic Comedy - Saybrook Stage Company, TV: “Lethal Love Triangle” - Lifetime Movie Network, “The Food That Built America” - The History Channel. Directing: Man on the Moon and A Fit of Pique - S.P.O.T. One-Act Festival, The Frigid NYC

Deisha King

*

Ensemble

(

)

(

)

Pronouns:

Deisha A. King credits the beginning of her dance education to local dance studios and magnet and performing arts schools in the Broward/Miami-Dade areas, where she trained in ballet, modern, jazz, hip-hop, acro, ballroom and contemporary forms. Her training led her to the University of South Florida, where she received her BFA in Dance Performance/Choreography. Upon graduating from USF in 2018, Deisha performed original works with local Tampa/St.Pete dance companies and partnered with community organizations where she teaches dance education. Deisha was most recently seen in the 2021 Neiman Marcus Holiday campaign “Celebrate Big, Love Even Bigger”. She thanks God for the gift of dance and for the unwavering support of her village of family and friends.

Enoch King

*

The Conductor

(

)

(

)

Pronouns:

Enoch is an Atlanta native and is excited to return to AS! His previous AS credits include: It’s a Wonderful Life, Skeleton Crew, Between Riverside and Crazy, and A Raisin in the Sun. Recent credits include: The Light (Horizon Theatre) The Bluest Eye (Synchronicity Theatre), Paradise Blue, Skeleton Crew (True Colors Theatre), Hands of Color (Synchronicity Theatre – Suzi Bass Award for Best World Premiere), A Christmas Carol (Shakespeare Tavern), The Mountaintop (Heritage Theatre Festival), Anne and Emmett (Amsterdam, VA, NY, NC), The Christians(Actor’s Express – Suzi Bass Award for Best Supporting Actor). Enoch can also currently be seen in The Last Days of Ptolemy Grey on AppleTV+. Be safe, smile hard and love free!

Tyrese Pope

*

Young Man

(

)

(

)

Pronouns:

Tyrese is back onstage after a four-year hiatus to focus on film and music. His theatrical works include; Ensemble in Hunchback of Notre Dame, David Dennis and Aaron Henry in All the Way, and Reuben Mercer in American Stage's production of Joe Turner’s Come and Gone. He is honored to make his return to acting alongside the wonderful team at American Stage.

Evan Smith

*

Ensemble

(

)

(

)

Pronouns:

Born and raised in Florida, Evan has been dancing his entire life. As a graduated member of Leonard’s Academy of Dance competition team, he was able to apply what he had learned from the competition stage to being a studio and competition instructor. Graduating from Howard W. Blake, Evan went on to study at the University of South Florida as a Dance major. Apart from his school and LAD life, he is also proud to be an alumni of The Chocolate Nutcracker, as well as a member of the United Nations of Dance Musical Performance Troupe. He is now a company member of projectALCHEMY.

Meet the Team

Erica Sutherlin

*

Director

(

)

Pronouns:

she/her

Erica Sutherlin is humbled and grateful to have the opportunity to direct The Dutchman, an important piece of literature. She is also grateful for opening doors for marginalized communities as the first woman of color to direct at American Stage. Erica comes from an extensive background in arts and education and is currently the Artist in Residence at Studio@620 in St Petersburg. She started in the arts with acting, then added theatrical directing to her resume, and now is a writer/director in television and film. She was a teacher at Pinellas County Center for the Arts (PCCA) at Gibbs High School for nine years, and received her MFA at USC’s School of Cinematic Arts. Some of her favorite theatrical directing credits: Pass Over (Studio@620), The Last Days of Judas Iscariot (The Space at 2106), Ain’t Misbehavin’ (Stageworks), Memphis, The Musical (City Theatre), and Polaroid Stories (PCCA). A recent performance credit she is proud of is Lady Macbeth in Voodoo Macbeth (Studio@620). Film and television credits include “Stratosphere,” “Voodoo MacBeth,” “Unschooled,” “SUGAR LAND,”and most recently “Kirk Franklin’s A Gospel Christmas” (Lifetime). Sutherlin is also an accomplished essayist and poet with published works in “Building Womanist Coalitions: Writing and Teaching in the Spirit of Love” and “Hooked on the Art of Love: bell hooks and My Calling for Soul-Work.” Erica would like to give thanks to her family, her village, and God.

Patrick Arthur Jackson

*

Associate Director

(

)

Pronouns:

he/they

Patrick is the son of Cynthia and Patrick D. Jackson with a passion for cultivating community through the art of storytelling. He is an alumnus of Morehouse College, and has studied with the British American Drama Academy. As an artist & creative, Mr. Jackson has performed, taught and led programming with a variety of theatres and arts organizations in the southeastern United States. Select Performance Credits: Jacob Marley's Christmas Carol (American Stage), A Midsummer Night's Dream (Jobsite Theatre), Gloria (Mad Cow Theatre), A Raisin in the Sun (American Stage), Androcles and the Lion (Florida Studio Theatre). His newest ventures as an Associate Artistic Producer at American Stage, allows him to fully engage with the community through support/direction of the company's artistic programming, collaborate with artists and oversee the theatre's casting department. Mr. Jackson is a proud member of Phi Mu Alpha Sinfonia, Phi Beta Sigma Fraternity, Inc. and Actor's Equity. For everyone...we're gonna be alright.

Alexander Jones

*

Movement Choreographer

(

)

Pronouns:

Alexander Jones, founder and artistic director of the downtown St. Pete international non profit dance company projectALCHEMY, is a graduate of University of South Florida, recent MFA graduate Hollins University studying dance. A native Floridian, Jones is a proud member of the Actor’s Equity Association and has performed for 13 years for Walt Disney World. Community and collaboration are at the forefront of Jones’s dance works with the company, as well as in and around St. Pete. He serves as the Dance Artists in Residence at the Studio@620, assisting in dance programming alongside Bob Devin Jones. Recently, Jones has been appointed Dance Specialist for the Rusche Dance Studio at The Pruitt Arts Education Center at WADA, where he helps to program dance classes and workshops for movers of all ages and ensure that local dance artists have access to affordable rehearsal space to create work and continue their movement practices.

Teresa Williams

*

Scenic Designer

(

)

Pronouns:

she/her

Teresa L. Williams, originally from New Orleans, LA, is a designer currently based in New York City and a recent graduate of NYU Grad Design program. Teresa thrives in collaborative environments, creating rich, honest work with deep roots. Her hope is to design sets that will connect with others on an emotional level while simultaneously providing an outlet for enjoyment. Recent work: The Evolution of Henry Graham (American Theatre Group), DANCE NATION (Columbia University), Queen Girls in the World (Abingdon Theatre Company).

Dalton Hamilton

*

Lighting Designer

(

)

Pronouns:

Dalton works around the country as a designer, associate, and programmer. His work has been seen on stage at the following Regional Theaters: Bay Street Theater, Gulfshore Playhouse, Tuacahn Amphitheatre, Ogunquit Playhouse, Nashville Rep, FreeFall Theatre, American Stage, and City Springs Theatre Company. Dalton has also been an Associate Designer for numerous theme park shows at Busch Gardens Williamsburg under Lighting Designer Ken Billington for the past 8 years. Other credits include The Prince of Egypt (US Assistant, West End) with LD Mike Billings, and Rogers: The Musical, “Hawkeye Series” (Marvel Studios: Disney+) with LD Mike Wood. Proud member of United Scenic Artists, Local USA-829.

Om Jae

*

Fight and Intimacy Director

(

)

Pronouns:

he/him

Om is a Guyanese-American Artist born in New York, currently residing in Atlanta. Former Assistant Artistic Director and Resident Acting Coach of a SoFlo Theatre for the past five years, he has since then resigned to branch out to full-time performing and Fight/Intimacy Direction. Current member with the Society of American Fight Directors, he was recently humbled with their ‘Best Performer Award’ at their 2021 NSCW, and since then has catalyzed his training and choreographing across the country by working with some of the most renowned names in the industry. He is honored for American Stage to have him on this project, and thanks them for their pioneering Intimacy Direction by utilizing their expertise and continuing to grow their art to new and exciting levels. Om is humbled to do what he does and aims for his art to “provide an escape for those who are unable to free themselves”. He thanks his mentors Dan Granke and Ashley White, as well his partner Lucy, and most of all his mom - for being his biggest inspirations.

Natalie Burton

*

Costume Designer

(

)

Pronouns:

she/her

Natalie is delighted to make her American Stage debut! Other credits include Tribes (LePetit Theater); Noises Off (LePetit Theater); A New Brain (Front Porch Theater); and Louie (Outcast Café). Recently she has designed and created gowns for the Miss USA pageants. Natalie has an M.F.A.in Costume Design from Carnegie Mellon University.

Aaron Muhl

*

Sound Designer

(

)

Pronouns:

he/him

Aaron is originally from Sarasota, FL and has over 20 years of experience in the performing arts. He holds a B.F.A. in Theatrical Design and Technology from the University of Central Florida and is currently the Production Manager for Charlotte Ballet. Aaron has spent most of his career designing for ballet and dance. He was the Sarasota Ballet’s resident lighting designer and supervisor for over a decade and designed over 70 one-act and full-length ballets. His work has been seen at The Joyce Theater, New York City Center, Jacob's Pillow and The Kennedy Center. Universally acclaimed designs include Will Tuckett's Changing Light and Lux Aeterna, Christopher Wheeldon's The American, and Sir Peter Wright's Summertide. Other credits and collaborations include Mark Morris Dance Group, The Wooster Group, and Mikhail Baryshnikov. He is completing a M.F.A. in Theatre from the University of Memphis this fall.

Boyzell Hosey

*

Projections Curator

(

)

Pronouns:

he/him

Boyzell is a visual storyteller specializing in photography and journalism. He is the senior editor for visual storytelling at ProPublica and is the former Director of Photography for the Tampa Bay Times. He has exhibited locally with Your Real Stories, Studio@620 and Creative Pinellas. He serves on the boards of University of Florida Journalism Advisory Council, National Press Photographers Association, Journeys in Journalism, and the Photo Technology Advisory Board of St. Petersburg College. He serves as a mentor for Men in the Making - a progressive initiative focusing on the wellbeing of minority males. Hosey is co-founder of the Tampa Bay Collard Green Festival – an annual, nonprofit event designed to inspire the community to live healthier by focusing on culinary experiences, urban agriculture, fitness and family fun. He resides in St. Petersburg with his wife, Andrida, a local theater educator and actor.

Dean Wick

*

Properties Master

(

)

Pronouns:

he/him

Dean recently also created props for Footloose (American Stage Theater Company) and has been engaged to provide scenic design, properties or scenic painting for local theater organizations such as St. Petersburg Opera, Early Bird Dinner Theater, St. Pete City Theater, and Gulfport Community Players.

Michaela Dougherty

*

Scenic Artist

(

)

Pronouns:

she/her

Michaela is a St. Pete born Florida native and a Pinellas County Center for the Arts at Gibbs High School alumni. She holds a degree in Theatre and Fine Art Painting from the University of Central Florida and currently lives and works in New York City as a freelance scenic artist. She thanks her family and Erica Sutherlin for never allowing her to sit on her gifts.

Massiel Evans

*

Assistant Stage Manager

(

)

Pronouns:

(she/her)

is a passionate island girl from Nassau, The Bahamas. She recently received her Bachelor’s degree in Acting and Directing from Eastern Connecticut State University along with a film studies minor. While in The Bahamas, Massiel has starred in two local plays and one local bahamian movie. Her first year in undergrad she received the leading role in a main stage production called Chitra. Since then she has starred in four other shows as an actress, two shows as an assistant director for Eastern and for a professional theater company, Spectrum Theater and ended her college career by directing a main stage production called Blood at the Root. She has also written, directed and filmed two small pieces under her film studies minor. She made her American stage debut last year in The Odd Couple as Cecily.

Mac Hawbaker

*

Stage Manager

(

Intimacy & Fight Captain

)

Pronouns:

he/him

Mac is blessed to continue his artistic relationship with American Stage. He would like to thank American Stage and his fellow cast/crew members for their hard work and support in making this production a joyous one to remember. He would also like to thank you, the audience, for continuing to support the art of Theatre. Stay Strong. Stay Focused. Live Free.

Media

No items found.

2021 National Touring Cast

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New Vampire Pop Opera BLOOD/LOVE Heads To New York This February

Kobi Kassal

December 4, 2025

This vampire is back and she is here to Slay. Today, it was announced that the new original musical Blood/Love will make its way Off-Broadway this Spring at Theater 555 beginning Friday, February 13, 2026. Directed by Hunter Bird, this new musical will officially open Tuesday, March 3, 2026 for a limited run through Sunday, March 29, 2026.

Written by Carey Sharpe and Grammy nominee Dru DeCaro, the piece will star Sharpe as Valerie Bloodlove. She’s the world’s first vampire. For a thousand years, she ruled the night. Now, she’s thirsty for more.

Step inside the seductive world of Blood/Love, New York’s new pop opera that transforms the classic vampire tale into an ultra-contemporary theatrical extravaganza. Under the sultry lights of a nightclub, The Crimson, the former queen of the underworld searches for an existence beyond eternal bloodshed. But her endless night changes when she meets a mortal soul with his own devilish secret.

Brought to sumptuous life from one of the creative minds behind Masquerade and two acclaimed choreographers from Dancing with the Stars, this new musical experience intoxicates the senses. With a blood-pumping original score and cinematic spectacle, Blood/Love surrounds you with an atmosphere so decadent, even the undead feel fiercely alive.

Choreography is by Jonathan Platero & Oksana Platero (“Dancing with the Stars,” “So You Think You Can Dance”), and Natalie Malotke with music supervision by Matt Hinkley (The Outsiders) and music direction by Ben Covello. The design team includes set design by Emmy Award winner Jason Ardizzone-West (Jesus Christ Superstar Live), costume design by Alex & Juli Abene, lighting design by five time Tony Award nominee Japhy Weideman (The Heart of Rock n Roll), sound design by Tony Award winner Jessica Paz (Hadestown), projection design by Tony Award winner 59 Studio (Stranger Things: The First Shadow), and prop design by Lauren Page Russell (Our Town). Casting by Peter Dunn & Benton Whitley of Whitley Theatrical. Additional casting will be shared at a later date.

To purchase tickets to Blood/Love, please go to bloodlove.com/tickets

Marla Mindelle and Josh Sharp Will Star In A KIDMAN CAROL: A GAY DEMENTIA ON AUSTRALIAN DAMES

Kobi Kassal

December 2, 2025

Just in time for the holiday season, we are getting what we need most: Nicole Kidman and Cate Blanchett, well, kinda… Today, it was announced by newly minted Forbes 30 Under 30 and Theatrely31 alum George Strus that a new developmental production of A Kidman Carol: A Gay Dementia On Australian Dames will hit New York this December. Starring Marla Mindelle and Josh Sharp, this new production by Kevin Zak will run Off Broadway at Theater 511 for 5 performances only from December 17-21, 2025.

Get into the spirit of the season ... Awards Season, that is, with this irreverent, blistering and truly bananas take on Charles Dickens’ A Christmas Carol. On Oscars Eve 2023, brilliant actress and Hollywood Scrooge Cate Blanchett (Tár Humbug!) is visited by three different spirits of Nicole Kidman in order to learn the true meaning of Awards Season. Will she not only save her own soul but also cinema as a human art form? A Kidman Carol is a vicious, chaotic farce that sends up Tár, The Hours, Carol, The Lord of The Rings, The Undoing, To Die For, The Others, Notes on a Scandal, Blue Jasmine, Big Little Lies, and so much more from the Kidman/Blanchett canon. Ohr nohr!

In addition to Mindelle and Sharp, the cast will also feature Renée Albulario, Robi Hager, and Phillip Taratula. Tickets start at $30 and are now available at www.akidmancarol.com. Five dollars from each ticket purchased will be donated to New York Cares.

Creative team for A Kidman Carol: A Gay Dementia On Australian Dames will include costume design by Wilberth Gonzalez and Wig Design by Krystal Balleza & Will Vicari. Envoy Theatricals/Samuel Dallas will serve as general manager, Alex Dash will serve as company manager, and Ryan Gohsman will serve as Production Stage Manager, and Gracie Carleton will serve as Deck Stage Manager. Marketing and Advertising is by Regular People. A Kidman Carol is produced in association with Bryan McCaffrey.

Marla Mindelle and Josh Sharp Will Star In A KIDMAN CAROL: A GAY DEMENTIA ON AUSTRALIAN DAMES

Kobi Kassal

December 2, 2025

Just in time for the holiday season, we are getting what we need most: Nicole Kidman and Cate Blanchett, well, kinda… Today, it was announced by newly minted Forbes 30 Under 30 and Theatrely31 alum George Strus that a new developmental production of A Kidman Carol: A Gay Dementia On Australian Dames will hit New York this December. Starring Marla Mindelle and Josh Sharp, this new production by Kevin Zak will run Off Broadway at Theater 511 for 5 performances only from December 17-21, 2025.

Get into the spirit of the season ... Awards Season, that is, with this irreverent, blistering and truly bananas take on Charles Dickens’ A Christmas Carol. On Oscars Eve 2023, brilliant actress and Hollywood Scrooge Cate Blanchett (Tár Humbug!) is visited by three different spirits of Nicole Kidman in order to learn the true meaning of Awards Season. Will she not only save her own soul but also cinema as a human art form? A Kidman Carol is a vicious, chaotic farce that sends up Tár, The Hours, Carol, The Lord of The Rings, The Undoing, To Die For, The Others, Notes on a Scandal, Blue Jasmine, Big Little Lies, and so much more from the Kidman/Blanchett canon. Ohr nohr!

In addition to Mindelle and Sharp, the cast will also feature Renée Albulario, Robi Hager, and Phillip Taratula. Tickets start at $30 and are now available at www.akidmancarol.com. Five dollars from each ticket purchased will be donated to New York Cares.

Creative team for A Kidman Carol: A Gay Dementia On Australian Dames will include costume design by Wilberth Gonzalez and Wig Design by Krystal Balleza & Will Vicari. Envoy Theatricals/Samuel Dallas will serve as general manager, Alex Dash will serve as company manager, and Ryan Gohsman will serve as Production Stage Manager, and Gracie Carleton will serve as Deck Stage Manager. Marketing and Advertising is by Regular People. A Kidman Carol is produced in association with Bryan McCaffrey.

Theatrely News

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

Theatrely News

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

Theatrely News

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

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

By: Maia Penzer

14 July 2023

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

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

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

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

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

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

By: Kobi Kassal

29 May 2023

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

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

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

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

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

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

Yeah, right.

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

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

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

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

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

Sure enough, no tip.

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

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

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

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

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

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

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

“Could you be bothered to serve us?”

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

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

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

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

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

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

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

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

“Pickup order?” I ask.

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

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

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

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

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

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

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

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

By: Kaitlyn Riggio

5 July 2022

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

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

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

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

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

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

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

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

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

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

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

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

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

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