Notes
Local
Connect
News
People
Media
Notes
Connect
People
Notes
Connect
People
Notes
Connect
People
Notes
Connect
People
Join the
Team
Notes
Connect
People
Donate

Grantors

No items found.

Sponsors

No items found.

Special Thanks

Donors

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

Donors

No items found.
Meet Our Donors

Tributes

Tributes

No items found.
Our Tributes

Performers

(in alphabetical order)

Larry Alexander

*

Father

Nigel Bailey

*

Coalhouse Walker III

Derek Baxter

*

JP Morgan

Troy Brooks

*

Coalhouse's Friend

Elizabeth Gelman

*

Emma Goldman

Anthony Gervais

*

Harry Houdini

Billy Goldstein

*

Tateh

Matthew Harper Stevenson

*

Younger Brother

Clinton Harris

*

Booker T. Washington

Megan Hoxie

*

Ensemble Woman

Danté J.L. Murray

*

Coalhouse Walker, Jr.

Noah Jordan

*

Coalhouse Walker III

Maria Lara

*

Little Girl

Mona Lim

*

Grandfather

Laura McKenna

*

Evelyn Nesbit

Elizabeth Meckler

*

Ensemble Woman

Sarah Middough

*

Mother

Siobhan Monique

*

Sarah's Friend

Martin Powers

*

Little Boy

Jai Shanae

*

Ensemble Woman

Leah Stewart

*

Sara

Cody Taylor

*

Willie Conklin/Henry Ford

A.R. Williams

*

Ensemble Man

Setting

Early 20th century New York

There will be one 15 minute intermission

Songs & Scenes

Act I
Prologue: Ragtime
Company
Goodbye, My Love
Mother
Journey On
Father, Mother, and Tateh
The Crime of the Century
Evelyn Nesbit and Company
What Kind of Woman
Mother, Kathleen, Little Boy, Younger Brother
A Shtetl iz Amereke
Immigrants
Success
Tateh, J.P. Morgan, Harry Houdini, Emma Goldman, and Company
His Name Was Coalhouse Walker
Coalhouse and Company
Gettin' Ready Rag
Coalhouse and Company
Henry Ford
Henry Ford and Company (this song was cut from the 2009 revival)
Nothing Like the City
Mother, Edgar, Tateh, and Little Girl
Your Daddy's Son
Sarah
The Courtship
Mother, Younger Brother, Grandfather, Brigit, and Company
New Music
Father, Mother, Younger Brother, Coalhouse, Sarah, and Company
Wheels of a Dream
Coalhouse and Sarah
Act I
The Night that Goldman Spoke at Union Square
Younger Brother, Emma Goldman, and Company (this song was cut from the 2009 revival)
Gliding
Tateh
The Trashing of the Car
Orchestra
Justice
Coalhouse and Company
President
Sarah
Till We Reach That Day
Sarah's Friend and Company
Act II
Entr'acte
Orchestra
Harry Houdini, Master Escapist
Harry Houdini and Edgar
Coalhouse's Soliloquy
Coalhouse
Coalhouse Demands
Coalhouse, Booker T. Washington, and Company
What a Game
Father, Edgar, and Men
Fire in the City
Orchestra
New Music (Reprise)
Father
Buffalo Nickel Photoplay, Inc.
Tateh
Our Children
Mother and Tateh
Harlem Nightclub
Orchestra
Sarah Brown Eyes
Coalhouse and Sarah
Back to Before
Mother
Look What You've Done
Booker T. Washington and Company
Make Them Hear You
Coalhouse
Epilogue: Ragtime / Wheels of a Dream (Reprise)
Company

*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

Production Staff

No items found.

Venue Staff

School Administration Staff

Director of Marketing and Communications
Avery Anderson
Director of Education
José Avilés
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 De Barros
Finance Manager
Stella Dover
Technical Director
Thad Engle
Production Fellow
Meyah Fortier
Video Producer
Travis Hawkes
Costuming Fellow
Hannah Hockman
Associate Artistic Producer
Patrick Arthur 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 & 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

Keys 2
Megan Zeitler
Guitar
Dan Mockenstrum
Bass
D'arthur Godwin
Drum
Burt Rushing
Cover
Melanie Downs
Reeds
Tony Fuoco
Violin
Maribeth Radtke
Trombone
Jordan Harris
Trumpet
Cameron Coffee
Trumpet Cover
Kevin Celebi Tony Almand Richard Sàez
Rehearsal Pianist
Maribeth Hall Sarah Tellier

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

Ragtime Director’s Note: We are all Immigrants

By Erica Sutherlin


I was gifted the pleasure of directing Ragtime.

With that came all the questions. Why me? Why now? What story do I have to tell? What story does the audience need to hear? And this forced me to face the notion of the American dream. I’ve been grappling with this idea since the pandemic. Is it sustainable? Or attainable? Maybe it’s shifting, maybe we as a collective are shifting our definition of success, from a physical, tangible idea of success to an emotional well-being state of personal success. Such high thought for our country’s consciousness, could it be - enlightenment? Are we actually becoming “we, the people” a true nation?

Nope.

Such high thought and so much division - polarizing ideologies and communities. As a nation, we stand on the doorstep of civil war. We have not conquered our age-old saga of injustice, racism, sexism, or classism. That brings us to Ragtime, a musical forcing us to sit with our nation’s history on repeat. What shall I do with this? I think I want us to take a retrospective look at our collective journey as a country. I want us to look beyond  hatred and turmoil. To look toward possibility, toward our power to unite as one nation, truly. In the beauty of humanity,  we all arrived in this land, whether spiritually, physically, forcefully, or by desire; So we are all immigrants, with the beauty of our humanity, trying to survive this concept called life. And while we wrestle with the immigrant story, we can’t forget the atrocities of our Indigenous communities. I am holding their spiritual practices at the core of oneness.

We can never go back and change our past. However, I believe we are in a shift. We must look at our past - call it incomprehensible, egregious, segregative, then stand and claim the need for change, for community, oneness, and together march toward our future.

Yep, I know - it’s a pipe dream, Erica. So I’ll say this: I’m here to do the work, collectively … are you?

About the Playwright

Born in St. Petersburg, Florida in 1938, Terrance McNally became one of the most award-winning American playwrights, including four Tony Awards. Some of McNally’s most recognizable works include Kiss of the Spider Woman, Ragtime, Love!, Valour!, Compassion!, and Master Class. In total, McNally wrote over three dozen plays, the books for 11 musicals, four operas, and a handful of screenplays for film and television. His plays often explored human relationships, many of those stories of relationships between gay men.

In 2019, McNally received the Lifetime Achievement award at the Tony’s.

Cast
Creatives

Meet the Cast

Larry Alexander

*

Father
(
)
Pronouns:
he/him

Broadway: Marius- Les Misérables, Off-Broadway: Philip - Party, the Wizard of Oz at Lincoln Center, Europe: Freddy - My Fair Lady with Maximilian Schell, Tony - West Side Story, Opening Act -Liza Minnelli in Concert, World Tour, Anatoly - Chess (1st National). American Stage: Harry - Mamma Mia! Noel - A Marvelous Party and Kenny - Laughter on the 23rd Floor. freeFall Theatre Company: Elwood - Harvey, Dale Harding - One Flew Over the Cuckoos Nest, Mickey -The Normal Heart, PoohBah - The Mikado, Sondheim on Sondheim and Ernst - Cabaret, (Outstanding Featured Actor Award, Theatre Tampa Bay)Thetare Zone Naples: 16 Seasons including Peter Allen -The Boy From Oz, Jack Diamond - Legs Diamond, Archie,The Secret Garden, Dan - Next to Normal, Robert - Company, Anatoly - Chess, and  Robert - Bridges of Madison County and Fredrik - A Little Night Music Winter Park Playhouse: Jervis - Daddy Long Legs; MNM: Georges, La Cage Aux Folles; Stageworks: All 36 Characters - This Wonderful Life. Regional: Anthony - Sweeny Todd, Henrik -A Little Night Music, Joseph - Joseph…Dreamcoat, Jesus - Jesus Christ Superstar. Television: “The Guiding Light,” “As The World Turns,” “Murder One,” “Tom Snyder,” “The Rosie O’Donnell Show.”

Nigel Bailey

*

Coalhouse Walker III
(
)
Pronouns:
he/him

Nigel Bailey is extremely proud to be joining the American Stage cast of Ragtime. Nigel lives in St. Petersburg with his family and attends St. Petersburg Christian School. He is in the fifth grade, and his favorite subjects are science and social studies. Nigel is a part of his school’s musical theater program, and recently appeared in the musical, A Christmas Yarn (a twist on Dickens’ A Christmas Carol). Nigel has attended American Stage youth classes and summer camps since the age of six. Aside from acting, Nigel enjoys martial arts and playing on his school’s bowling team. Nigel would like to thank his mother for her love and support. He also thanks his musical theater instructors and American Stage teaching artists for contributing to his love for acting and theater. Nigel dedicates his performances to the memory of his late uncle, Michael Walker, for always encouraging him to follow his dreams.

Derek Baxter

*

JP Morgan
(
)
Pronouns:
he/they

Derek Bexter is thrilled to be returning to Demens Landing once again, previously seen in The Taming of the Shrew (Tranio) and The Pirates of Penzance (Pirate/Cop). Derek has been performing professionally since he was 9 years old and spent his teens on Nickelodeon's "All That" and "The Kenan & Kel Show". After pursuing a BFA in Theatre at NYU (Tisch) he promptly ran away with the circus serving as a clown and aerialist. Now he resides in Tampa Bay, works full time as the Entertainment Director at the Carrollwood Cultural Center, and directs at many local theatres. Thank you to this amazing cast, crew, the 'rents, family, and my friends.

Troy Brooks

*

Coalhouse's Friend
(
)
Pronouns:
he/they

Troy Brooks was most recently the Male Swing for American Stage's Crimes of the Heart, and has participated in multiple staged readings for the company. Other local credits include Something Clean and A Haunted Cabaret at Studio Grand Central. Member of Outcast Theatre Collective, a cooperative engaged in uplifting marginalized artists and diverse stories, whose works include Dionysus on the Downlow (Stageworks) and Pass Over (Studio@620).

Elizabeth Gelman

*

Emma Goldman
(
)
Pronouns:
she/her

Elizabeth Gelman is delighted to return to the stage after a 15-year hiatus. A proud member of AEA, Gelman has appeared in national tours and Chicago area productions, including Shy in The Best Little Whorehouse in Texas, Aldonza in Man of LaMancha, Rhetta in Pump Boys & Dinettes, Clelia in The Nerd (with Tony Shalhoub), and Contessa in HATS! (with Melissa Manchester). Gelman is currently the Senior Director of Arts and Cultural Programming at Creative Pinellas and serves as Cantorial Soloist at Temple B’nai Israel in Clearwater. She and her husband, composer Tom Sivak, are the parents of two exceptionally brilliant and beautiful daughters.

Anthony Gervais

*

Harry Houdini
(
)
Pronouns:
he/him

Anthony Gervais is a St. Pete native actor, director, and writer. He was recently seen as Bernard in A Number and Jamie in The Last Five Years (Off-Central Players). Anthony is an Artist in Residence at the Studio@620 and serves as Creative Associate at the Off-Central Players. He proudly holds a BFA from The Boston Conservatory.

Billy Goldstein

*

Tateh
(
)
Pronouns:
he/him

Billy Goldstein is thrilled to be making his American Stage debut in such a timely and pertinent piece. Other regional credits include: Toad in A Year with Frog and Toad (North Shore Music Theatre) Amos Hart in Chicago (Park Playhouse); two seasons as Old Joe/Joe Miller in A Christmas Carol (North Shore Music Theatre); Stewpot in South Pacific (Reagle Music Theatre); Mutt in Kinky Boots (Theatre by the Sea & North Shore Music Theatre); Albin/Zaza in La Cage Aux Folles (Arundel Barn Playhouse) and many more! He received his B.F.A in Musical Theatre from Pace University and would love to thank his friends, family and Dan for the endless support and for always believing in him!

Matthew Harper Stevenson

*

Younger Brother
(
Fight Captain/Fight Choreographer
)
Pronouns:
he/him

Matthew Harper Stevenson is a DC native now living in NYC. He could have been recently seen as Kenickie in Grease (Palace Theatre), in a different Grease as Eugene (Interlakes Summer Theater), or in the world premiere of Drew Gasparini's We Aren’t Kids Anymore (Ferguson Center for the Arts). He received his Degree in Musical Theater and Dance from Christopher Newport Universtiy. Matt would specifically like to shout out his parents, Bob and Laura, his beautiful sisters Erin and Brittany and his kind and loving girlfriend Sarah. Without any of y'all, I would never be able to do what I do every day. Much love!

Clinton Harris

*

Booker T. Washington
(
)
Pronouns:
he/him

Clinton Harris is excited to return to American Stage Theatre to work with this multi-talented cast and crew. Clinton was last seen at American Stage in the park productions of Rent and Hair. A native of Atlanta, Ga. Clinton attended Tri-Cities High School VPA Magnet Program, The Freddie Hendricks Youth Ensemble of Atlanta and Albany State University. Clinton performed at Disney in, Finding Nemo the Musical, and Festival of the Lion King. Clinton has performed in various regional productions. Also, Clinton has traveled internationally as a background vocalist for several artist.

Megan Hoxie

*

Ensemble Woman
(
)
Pronouns:
she/her

Born and raised in Tampa, Megan is thrilled to make her American Stage debut. She was most recently seen as Mollie in The Mousetrap at The Judson Theatre. Other credits include: Ariel in Footloose (Norwegian Cruise Lines), Brooke Wyndham in Legally Blonde (Nat’l Tour), Patty Simcox/Sandy understudy in Grease (Royal Caribbean Cruise Lines), and Princess in Love’s Labour’s Lost (The York Theatre Company). She received her B.A. in theatre performance from Marymount Manhattan College in New York City. Megan would like to thank God, her family, and Sam for their continual love and support as she pursues her passion for storytelling.

Danté J.L. Murray

*

Coalhouse Walker, Jr.
(
)
Pronouns:
he/him

Danté is beyond grateful to be making his debut here at the American Stage in the role of Coalhouse Walker Jr. Recently seen as Robert Kincaid in Bridges of Madison County at the Falmouth Theatre Guild; also Once on This Island and Ain't Misbehavin' at The Encore Music Theater. Dante is currently pursuing going back to school and looking forward to a future as an Educator in the Arts. Other regional credits include: Delray in Memphis (Artistry Theater); Mister in The Color Purple (Theater West End); Tarzan (Slow Burn Theater Company); Side Show (BuckCreek Playhouse); Treasure Island (Beef & Boards); Showboat (Naples Dinner Theater); 5 Guys Named Moe (Stage Door). He’s is also a professional caregiver and certified Covid-19 safety officer. Danté Thanks casting and production for this amazing opportunity. “No weapons formed against me shall prosper!”

Noah Jordan

*

Coalhouse Walker III
(
)
Pronouns:
he/him

Noah Jordan is 9 years old and this will be his first professional project. Noah has attended American Stage’s summer camp for the past 4 years. Noah’s interests include anything space-related and cooking.

Maria Lara

*

Little Girl
(
)
Pronouns:
she/her

Maria Lara was most recently seen as Cinderella in Cinderella Eats Rice and Beans at American Stage. Other roles include: Ariel (The Little Mermaid, Broadway Star of The Future Winner 2021), Catherine (Pippin), Woman C (World Goes ‘Round), Juliet (When Shakespeare Ladies Meet), Usherette (Dirty Rotten Scoundrels), Ramona Merengue (Zombie Prom), Clara (A Christmas Carol), Lady Lucille (Once Upon a Mattress), Rootie (Asleep on the Wind). She is a current student at St. Petersburg College majoring in musical theatre. She was awarded The Music Theatre Recognition Scholarship at AMDA College of the Performing Arts. Maria is very grateful to Juan, José, Alexa, Ashlie and Karla for this opportunity. Special thanks to Scott, Lisa and David for always believing in her and for guiding her from the beginning of her musical theatre journey and to her family for supporting her in every step of the way.

Mona Lim

*

Grandfather
(
)
Pronouns:
she//her

Mona Lim is Korean-American and grew up in Iowa. She is also a Yale dropout who abandoned a career in medicine to pursue theatre. She eventually found her niche and has spent 30+ years teaching/directing children and young adults. After raising a generation of artists, it suddenly dawned on Mona that she had once had her own dreams of performing so she started auditioning about 18 months ago and quickly found herself playing Tanya (Cougar) in Mamma Mia, Fraulein Kost (Pro-Nazi Prostitute) in Cabaret and Electra (Stripper) in Gypsy. Her children and granddaughter are grateful that she will be playing something age-appropriate (and fully dressed) in Ragtime. Appearing in her first professional show since 1997, Mona is thrilled to be demonstrating that your third act should be all about living your dreams and doing what you love!

Laura McKenna

*

Evelyn Nesbit
(
)
Pronouns:
she/her

Laura McKenna was most recently seen as Woman in The Thing About Men with The Gulf Coast Symphony in Fort Myers, Florida. Other regional credits include Sister Mary Amnesia in Nunsense (Amici Theatre Company) and The Music Man (St. Petersburg Opera Company). Collegiate credits include: Celia in As You Like It, Helga in Cabernet, Patience (title role), and Woman 2 in Songs for a New World. Laura is a graduate of Florida Southern College with degrees in BM Vocal Performance & BFA Musical Theatre with a minor in Dance. Special thanks and love to Mom, Dad, and Lindsay.

Elizabeth Meckler

*

Ensemble Woman
(
Dance Captain
)
Pronouns:
she/her

Elizabeth Meckler is thrilled to be back at American Stage! You may have seen her as Alysha in Green Day’s American Idiot earlier this season. She is a St. Pete native currently living in NYC. Selected credits include Sheila in Hair, Logainne "Schwarzy" in The 25th Annual Putnam County Spelling Bee, and Olivia in the upcoming short film, "Daughter of Wands." Elizabeth is a proud graduate of PCCA (Pinellas County Center for the Arts) and The University of Alabama at Birmingham, where she received her BFA in Musical Theatre. HUGE thank you to her friends and family for their unconditional love and support. Keep up with her on Instagram!

Sarah Middough

*

Mother
(
)
Pronouns:
she/her

Sarah Middough is thrilled to be making her American Stage debut in Ragtime. She has toured the U.S. and Canada as Mutti in My Heart in a Suitcase (Artspower National Touring Theatre) and was most recently seen as Rhoda in Irving Berlin’s White Christmas (Alhambra Theatre & Dining). Other select regional credits include Julia Sullivan in The Wedding Singer (Count Basie Theatre), Maggie Winslow in A Chorus Line (Count Basie Theatre), Ghost the Musical (Alhambra Theatre & Dining), the Florida Festival of New Musicals (Winter Park Playhouse), and A Christmas Carol (McCarter Theatre Center). Sarah is a proud graduate of the University of Pennsylvania, where she earned a B.A. with distinction in international relations. She’d like to thank Devin, her family, and her friends for their unwavering love and support.

Siobhan Monique

*

Sarah's Friend
(
)
Pronouns:
she/her

Siobhan began classical vocal training at The Pinellas County Center for the Arts program at Gibbs High School. During her tenure at the center, she received numerous awards and accolades, including being named a finalist in the Walker Rising Stars Scholarship Foundation and being a featured soloist at the National Holocaust Remembrance project in Washington D.C. After graduation, Siobhan attended the University of South Florida in Tampa and received a degree in Classical Voice under the direction of Dr. Warren Jaworski. Currently, Siobhan is the lead singer of her band "Siobhan Monique and “The Negro Ninja’s.” Siobhan has appeared at the Palladium Theater; Rock the Park; Jannus Live; American Stage, Mahaffy Theater; the Straz Center; Williams Park.In addition, a WEDU-PBS documentary featuring Siobhan has been nominated for an Emmy; Siobhan is the spokesperson for a nonprofit organization, RaceWithoutIsm, and is curator of the "Motherland Music Festival."

Martin Powers

*

Little Boy
(
)
Pronouns:
all pronouns

Martin Powers is stoked to be making his American Stage debut in Ragtime: The Musical! They recently worked with The Straz Center as Jinx in Forever Plaid: Plaid Tidings and FST as Will in Master of the Revels. Other works of hers include: Phoenix in “SWIM” (Film), Mercutio in Jobsite Theater's Romeo and Juliet (Theatre), Jeff in The Librarian (Film), and Flute/Moth in Jobsite Theatre's A Midsummer Night's Dream. He's grateful for his treasure Jasper, and their four cats for being their rocks.

Jai Shanae

*

Ensemble Woman
(
)
Pronouns:
she/her

Jai Shanae is a multi-talented artist and native to Tampa, Florida. Under her alias Jai Shanae, Janesia was most recently seen as a Church Lady in The Color Purple (Stageworks Theatre), and a Hot Box Girl in Guys & Dolls (Westcoast Black Theatre). Other regional credits Janesia is known for includes: Tammi Terrell in Martin Gaye: Prince of Soul (Westcoast Black Theatre); and Hunnie in Jelly’s Last Jam (National Black Theatre Festival). Jai Shanae also starred in the short film “Killer Date Night” where you’ll also find her vocals on the closing credits soundtrack. Previously majoring in Chorus, Creative Writing, and Musical Theater during her high school years at Howard W. Blake, Jai Shanae wishes to reach levels in her career that will allow her the platform to provide a safe, artistic space for battered women and children. “I am black. I am woman. I am a survivor.”

Leah Stewart

*

Sara
(
)
Pronouns:
she/her

Leah Stewart is a California resident, native of St. Louis, MO. She is a singer, dancer, musician, model and writer. Blessed to perform on stages around the world and throughout the US, she was in the cast of the off-Broadway production of Mama, I Want to Sing. She was in the feature films Cook & Banks and Remember Me: A Mahalia Jackson story starring Ledisi. She starred as Nina Simone in the St. Louis Black Rep’s production of Nina Simone: Four Women. She also is currently a cast member of Disneyland in Tale of the Lion King at Disneyland as Timon and Shenzi in “Disney Junior Dance Party”. She also sings with bands Urban Music Society, Diamond Empire, Lucky Devils, and Motown Magic. She sang back up for national recording artists Chester Gregory, Alex Sparrow, Jennifer Singer and is touring the globe with one of "America's Got Talent" finalists, Marcus Terrell and The Serenades. She performed at Beirut’s premiere night club Al Mandaloun. She won Kevin Kline awards for her acting in “Doubt a Parable" with Dramatic License Productions and "Sarafina", and "A Song for Coretta" and won several awards starring as Ti Moune, in 3D Theatricals production of "Once on this Island". She was in Rivers of Women directed by award winning and bestselling author, Lyah Beth LeFlore. Leah received a BA in Theater Dance with a Chemistry minor from the University of Missouri-St. Louis. She feels blessed for this wonderful opportunity.

Cody Taylor

*

Willie Conklin/Henry Ford
(
)
Pronouns:
he/him

Cody Taylor is an actor, musician and clown/physical comedian from Lexington, KY, who was recently seen as Francis in Studio Theatre Tierra del Sol's production of La Cage Aux Folles. Selected regional credits include: Mr. McQueen in Urinetown (Tierra del Sol); the Bank Manager in Once (Red Mountain Theatre); Jetsam in The Little Mermaid, Peter in The Lion, The Witch, and the Waredrobe, and La the elf in Twas the Night (Lexington Children's Theatre); Andrew Jackson in The Gathering (Cherokee Historical Association); Reverend Schermerhorn in Unto These Hills (Mountainside Theatre); Robert Armin in Equivocation (Athens West Theatre). He has also worked extensively with the National Theatre for Children, the Appalachian Shakespeare Center, and the Sterling Renaissance Festival. He holds a B.F.A. in physical theatre from Coastal Carolina University, in association with the Accademia dell'Arte in Arezzo, Italy. He'd like to thank his family for their undying support.

A.R. Williams

*

Ensemble Man
(
)
Pronouns:
he/him

A.R. Williams is a native of St. Petersburg, FL and a graduate of Florida A&M University. As a Music Performance Major, A.R. was a member of the FAMU Concert Choir and the Omicron Gamma chapter of Phi Mu Alpha Sinfonia Fraternity of America Inc. A.R. has traveled nationally and internationally singing at numerous events and festivals, including Bob Marley's 60th Birthday Celebration in Addis Ababa, Ethiopia, Africa. Since 2011, A.R. has been a lead singer at Busch Gardens Tampa in Christmas From the Heart, Timbuktunes and Men of Note as well as a background vocalist for Josh Groban. Past credits include Washington & Eisenstadt Presents: Broadway Bent (Carrollwood Cultural Center), Denver Thomas in Rocket Science (Lab Project Theatre), and Doug in Elegies for Angels, Punks & Raging Queens (The Space). A.R. is grateful for the opportunity to be a part of the American Stage family.

Meet the Team

Bo Garrard

*

Sound Designer
(
)
Pronouns:

Bo Garrard is a Sound Designer, Audio Engineer, and Composer based in St. Petersburg, FL.


His most recent work includes mad Theatre's Falsettos , Theatre Xceptional's Joseph and the Amazing Technicolor Dreamcoat and Rent with Eight O' Clock Theatre.

Helen R. Murray

*

Producing Artistic Director
(
)
Pronouns:
she/they

Helen R. Murray is an award-winning playwright and director, the outgoing Executive Producer for the Aurora Fox Arts Center, and the former Artistic Director of the Hub Theatre in Virginia. Her original plays have been produced by the Hub Theatre, Theatre Alliance, ArtsWest, Malibu Playhouse, the JCC of Northern Virginia and have been seen at the Kennedy Center’s Page to Stage Festival; she continues to mentor for the Writer's Guild Initiative out of NYC. She has directed across the country including Malibu Playhouse, The Hub Theatre, The Aurora Fox, Montgomery College, Spooky Action Theatre, and the Kennedy Center P2S. In addition to her roles offstage, Helen has worked as an actor in many Washington, D.C. area theaters, including Folger Theatre, Woolly Mammoth, Theatre J, Forum Theatre, Theatre Alliance, Rorschach Theatre, Keegan Theatre, the Inkwell, the Source Festival, and the Beckett Centenary Festival. Helen has also appeared in numerous independent films and commercials. Her co-adaptation of Wonderful Life earned her a Helen Hayes Award nomination for Outstanding New Play, and her original play, Abominable, was nominated for the national Steinberg New Play Award. She is also the recipient of the Puffin Foundation Award for Outstanding Emerging Artist, the Washington Canadian Partnership Award for Leadership in the Arts, and her play Redder Blood won the Jewish Playwriting Contest.

Patrick A. Jackson

*

Associate Artistic Director
(
)
Pronouns:
he/they

Patrick Arthur Jackson is a creative multi-hyphenate with a passion for community connection through storytelling. He is the Associate Artistic Producer at American Stage, where he oversees new play development and casting. Patrick most recently served as the Assistant Director/Choreographer for the production of The Colored Museum at American Stage. He holds a Bachelor of Arts in Drama from Morehouse College, has studied with the British American Drama Academy and is an alumnus of the Florida Studio Theatre Acting Apprentice Program.  Regional Performance Credits: Jacob Marley’s Christmas Carol (American Stage), It’s A Wonderful Life (American Stage), A Midsummer Night’s Dream (Jobsite Theatre), Gloria (Mad Cow Theatre), A Raisin In The Sun (American Stage), White Rabbit/Red Rabbit (Urbanite Theatre), Alice With A Twist (Florida Studio Theatre). Off-stage, Patrick is the host of The Black Hand Side Podcast, Minister of Multimedia for Today’s Church Tampa Bay and is a 2023 Creative Pinellas Emerging Artist. Patrick is a proud member of Actor’s Equity, Phi Mu Alpha Sinfonia and Phi Beta Sigma Fraternity, Inc. He is a proud son of Cynthia Belinda and Patrick D. Jackson and thankful for the power of storytelling. May it continue to inspire thought, conversation and change across the local and global community.

Erica Sutherlin

*

Director
(
)
Pronouns:
she/her

Filmmaker and Theatrical Director, Erica Sutherlin, holds a Master of Fine Arts in Film and Television Production from University of Southern California’s School of Cinematic Arts. Ms. Sutherlin made her directorial debut with the Lifetime Movie network’s #1 Christmas movie, “Kirk Franklin’s A Gospel Christmas”. This is her second feature following “Stratosphere", in which she directed and co-wrote. Before her appointment as director, Ms. Sutherlin was selected for the Lifetime Network’s Director Shadow program, held a fellowship with the Blackhouse Foundation Sundance Fellows program and was a recipient of Facebook’s SEEN initiative for black filmmakers. Currently, Ms. Sutherlin is a recipient of the Creative Pinellas Individual Artist Recovery Grant for film, and is a fellow for the Advancing Racial Equity on Non-Profit Boards class of 2022. As a writer, currently, Ms. Sutherlin is writing narrative features with Village Roadshow and the UK based production company, iGeneration Studios. She was a writer for the newly released and multiple award-winning film, “Voodoo Macbeth", which was produced through Warner Brothers and University of Southern California. As a USC Showrunner, she developed, wrote, and produced the sitcom, “Unschooled”, with a wonderful team of writers. Ms. Sutherlin concluded her time at USC in the writer’s room, developing, writing, and producing the short form limited dramatic series,Sugar Land. After receiving her Bachelor of Arts degree in Theater Performance from Southern Illinois University Edwardsville, Ms. Sutherlin began theatrically directing. For the past 20 years, she has directed numerous plays and musicals. Recently, Ms. Sutherlin received stellar reviews for her productions of Pass Over by Antoinette Nwandu, Dutchman by LeRoi Jones/Amir,  Baraka and the musical, The Color Purple by Marsha Norman. As a poet and essayist, Ms. Sutherlin has 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, works by Dr. Gary Lemons, professor of English at University of South Florida. Amongst her talents as a writer-director, Ms. Sutherlin is an equity actress and arts educator who has performed and taught nationally and internationally. Other notable awards and citations included: the Shriram Family Fellowship, Jean & Ruth Negulesco Endowment Fellowship, the Director’s Citation and the NSHSS Nobel Educator of Distinction Award. Her theatre company, The Space, was awarded Tampa Bay’s Theatre on the Rise. Ms. Sutherlin has been featured in numerous newspapers, magazine, radio shows and digital media source platforms for her performances, writing and directing accolades.

Alexa Perez

*

Assistant Director
(
)
Pronouns:
she/her

As this season’s Artistic Fellow, Alexa has been developing her skills as a director and casting associate. She received her B.A. in Performing Arts from the University of Tampa and while she has been an actress for most of her professional career, she is thrilled to be spending more time on the other side of the table. Past directorial credits at American Stage include Cinderella Eats Rice and Beans (Assistant Director). Past acting credits at American Stage include Romeo and Juliet in America (Juliet u/s, perf.), Steel Magnolias (Shelby), and The Polar Bear Society (Moxie). She would like to thank Patrick and Erica for all of their mentorship and encouragement, her family for all of their love and support, and John for his work building this set (love you, mean it) and for pushing her to keep going. Alexa dedicates her work on this production to her Abuela. 

Chloe Dipaola

*

Production Stage Manager
(
)
Pronouns:
she/her

Chloe Dipaola has been involved with American Stage since 2018. She feels incredibly grateful to have been a part of their 2022/2023 Season as the Production Stage Manager on American Idiot, The Colored Museum, Crimes of the Heart, Ragtime, and Disgraced. She feels fortunate to be back at American Stage for their 2023/2024 Season, where she kicked off with Indecent, White Rabbit Red Rabbit, and The Chinese Lady. Chloe is a local dedicated SM around the areas of Tampa, St.Pete, Sarasota, and Clearwater. She hopes you enjoy your evening as you sing along with us to a tale as old as time!

Charlotte Quandt

*

Assistant Stage Manager
(
)
Pronouns:
she/her

This is Charlotte’s first show at American Stage! She is a Florida native and attended Pinellas County Center for the Arts High School for technical theatre in 2003 and then graduated with a degree in history and theatre from Eckerd College in 2007. She has spent the last 20 years involved in several local theatres and is always grateful for a chance to work backstage. Some of her favorite shows as stage manager include Memphis at St. Pete City Theatre, Big Love at Eckerd College, Hamlet @Studio620 Rain, Some Fish, No Elephants at Eckerd College and The Last Days of Judas Iscariot and Elegies for Angels, Punks and Raging Queens at The Space at 2106. Before Ragtime, Charlotte has been the production Stage Manager for the touring show of Power of Song: Sounds of the Civil Rights Movement since 2015. Charlotte is supported by her family and friends. She would specifically like to thank her children, Anthony, Lila, her partner Arpie and her mother, Dee. She is also grateful that Erica Sutherland invited her to participate in this year’s show in the park!

Latoya McCormick

*

Music Director
(
)
Pronouns:
she/her

Latoya McCormick is happy to be involved in her first production with American Stage. She is the choral/musical theater director at Tarpon Springs High School. She recently won Theater Tampa Bay's outstanding musical director for Crowns at the Straz. Other musical direction credits include Frozen, Sweeney Todd, Memphis, Shrek, Grease, and 9 to 5 just to name a few. She was recently seen on stage as the church lady in a production of The Color Purple at Stageworks Theater. Other favorite roles include Amelia in Ain’t Misbehavin’, Rusty in Footloose, The Dragon in Shrek, and Roz in 9 to 5. Thanks to Eileen Mattioli and Robert MacDonald for teaching me everything I know about piano. Thanks to Erica for inviting me to come play! Many thanks to this incredible cast and crew for working so hard.......we are finally here let's put on a show. Thanks to Clifton and my family and friends for your love and support. XOXO to my Gram, I will always love you and I miss you. Enjoy the show!

Heather Beal

*

Choreographer
(
)
Pronouns:
she/her

Heather Beal is a dancer, actress, director and choreographer who received her B.A. in dance from Columbia College Chicago and her MFA in Dance from Washington University in St. Louis. She is a certified Dunham Technique Instructor. She has toured around the United States and France teaching and performing Dunham Technique. She has performed in many productions at The Black Rep and several productions at the St. Louis MUNY. She has choreographed Dontrell, Who Kissed The Sea (Nebraska Rep) Feeding Beatrice (The Repertory Theatre of St. Louis), First Date (University of Southern Indiana), Ain’t Misbehavin’, The Me Nobody Knows, Rivers of Women, Le Freak C’est Chic, Purlie, and Dreamgirls (The Black Rep). She is best known for her work #triggerwarning and Black AF, a dance critique of police brutality against Black folx in America.

Dalton Hamilton

*

Lighting Designer
(
)
Pronouns:
he/him

Dalton Hamilton 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 Repertory Theatre, 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 9 years. Other credits include The Prince of Egypt (US Assistant, West End) with Lighting Designer Mike Billings, Rogers: The Musical, Hawkeye Series (Marvel Studios: Disney+) and The Twenty-Sided Tavern (Broadway Playhouse, Chicago) with Lighting Designer Mike Wood. Proud member of United Scenic Artists, Local USA-829.

Teresa L. Williams

*

Set 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 design work includes: The Dutchman (American Stage Theater), The Evolution of Henry Mann (American Theatre Group), Queens Girl in the World (Abingdon Theatre Company), Slave Play (Short North Stage). Teresa also recently worked as the associate set designer for the new Broadway musical Kimberly Akimbo

Dean Wick

*

Properties Master
(
)
Pronouns:
he/him

Dean Wick has been creating props, scenery, and stage characters in the Bay area for ....quite a while. Ragtime marks his 6th production with American Stage as a properties artisan. Favorite prop builds from previous shows include the Peacock Doors in Boeing, Boeing (Early Bird Dinner Theater), a full set of replica teeth for The Gallery of Mortality - Berenice (The Studio @ 620), the railroad crossing signal for Footloose (American Stage Theater Company), the steamy cauldron in The Colored Museum (ASTC), the 1960's TV console for American Idiot (ASTC), finally getting the vintage phone to ring for Crimes of the Heart (ASTC), and the re-invention of delicious red apples from normal yellow potatoes in The Dutchman (ASTC). Special nod to my colleague T. J. Gill for his reliable Photoshop drafting assistance developing vintage labels, photos, telegrams and an assortment of other paper props.

Michaela Dougherty

*

Scenic Painter
(
)
Pronouns:
she/her

Michaela Dougherty 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.”

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

Bayou Market & Cafe

Cajun Restaurant
|
6630 Central Avenue, St. Petersburg

Cajun fare with daily specials served cafeteria-style

Bayou Market & Cafe

Cajun Restaurant
|
6630 Central Avenue, St. Petersburg

Cajun fare with daily specials served cafeteria-style

Marquee Deal!

Cassis St. Pete

French-American Fusion
|
170 Beach Dr NE, St. Petersburg

Buzzy brasserie & bakery for American & French fare in a Parisian space with outdoor seats

Cassis St. Pete

French-American Fusion
|
170 Beach Dr NE, St. Petersburg

Buzzy brasserie & bakery for American & French fare in a Parisian space with outdoor seats

Marquee Deal!

Fo'Cheezy Twisted Meltz DTSP

Gourmet Grilled Cheese
|
111 3rd St N, St. Petersburg

Artisan style, gourmet grilled cheese with street edge

Fo'Cheezy Twisted Meltz DTSP

Gourmet Grilled Cheese
|
111 3rd St N, St. Petersburg

Artisan style, gourmet grilled cheese with street edge

Marquee Deal!

Island Flavors and Tings

Jamaican Restaurant
|
St. Pete Pier Marketplace; 600 2nd Avenue NE, St. Petersburg

Authentic Jamaican restaurant and grocer serving Caribbean surprises and traditional Jamaican favorites

Island Flavors and Tings

Jamaican Restaurant
|
St. Pete Pier Marketplace; 600 2nd Avenue NE, St. Petersburg

Authentic Jamaican restaurant and grocer serving Caribbean surprises and traditional Jamaican favorites

Marquee Deal!

Joey Brooklyn's Famous Pizza Kitchen

Pizza
|
210 1st Ave N, St. Petersburg

Pizza & other casual Italian chow comes in a casual, quick-serve setup with late-night hours

Joey Brooklyn's Famous Pizza Kitchen

Pizza
|
210 1st Ave N, St. Petersburg

Pizza & other casual Italian chow comes in a casual, quick-serve setup with late-night hours

Marquee Deal!

Oak & Stone

Gastropub
|
199 Central Ave, St. Petersburg

Bright, airy indoor/outdoor brewpub serving pub grub, artisan pizzas, craft beers & cocktails

Oak & Stone

Gastropub
|
199 Central Ave, St. Petersburg

Bright, airy indoor/outdoor brewpub serving pub grub, artisan pizzas, craft beers & cocktails

Marquee Deal!

The Big Catch at Salt Creek

Seafood Restaurant
|
1500 2nd Street S, St. Petersburg

Rustic, colorful waterside joint for seafood specialties, wings & grilled meats, plus local beers

The Big Catch at Salt Creek

Seafood Restaurant
|
1500 2nd Street S, St. Petersburg

Rustic, colorful waterside joint for seafood specialties, wings & grilled meats, plus local beers

Marquee Deal!

Raise a Glass

Hops 2.0

Bar & Grille
|
225 2nd Ave N, St. Petersburg

Outdoor patio and table games featuring a menu of house-smoked foods and unique side dishes and an emphasis on local craft breweries

Hops 2.0

Bar & Grille
|
225 2nd Ave N, St. Petersburg

Outdoor patio and table games featuring a menu of house-smoked foods and unique side dishes and an emphasis on local craft breweries

Marquee Deal!

MacDinton's St Pete

Irish Pub
|
242 1st Ave N, St. Petersburg

Festive Irish haunt featuring DJs or bands 7 nights a week, plus Irish eats, pub grub & sushi

MacDinton's St Pete

Irish Pub
|
242 1st Ave N, St. Petersburg

Festive Irish haunt featuring DJs or bands 7 nights a week, plus Irish eats, pub grub & sushi

Marquee Deal!

Mary Margaret's Olde Irish Tavern

Irish Pub
|
29 3rd St N, St. Petersburg

St. Pete’s Irish tavern, featuring eclectic pub fare and Irish classics

Mary Margaret's Olde Irish Tavern

Irish Pub
|
29 3rd St N, St. Petersburg

St. Pete’s Irish tavern, featuring eclectic pub fare and Irish classics

Marquee Deal!

The Landing

Outdoor Bar
|
200 1st Ave N, St. Petersburg

Elevated patio bar at Jannus Live

The Landing

Outdoor Bar
|
200 1st Ave N, St. Petersburg

Elevated patio bar at Jannus Live

Marquee Deal!

‍Ruby's Elixir

Cocktail Bar
|
15 3rd St N, St. Petersburg

Vintage-style bar with nightly live jazz, blues & soul, plus classic cocktails & outdoor seating

‍Ruby's Elixir

Cocktail Bar
|
15 3rd St N, St. Petersburg

Vintage-style bar with nightly live jazz, blues & soul, plus classic cocktails & outdoor seating

Marquee Deal!

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.

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 Ragtime 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.
At This Performance
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.