Grantors

Sponsors

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Sponsors

Donors

Tributes

Performers

Test Testy

*

Test

Islay the Goldendoodle

*

Shopkeeper

Setting

A retail store in a metropolitan city, present day.

There will be a 10-minute intermission.

Songs & Scenes

No items found.

Production Staff

Director

Melissa Rain Anderson

Director of Production

Andi Horwahl

Director of Education

Stanley Touchey

Costume Design

Fabian Fidel Aguilar

Sound Design

Kevin Heard

Community Engagement Coordinator

Seline D. Yawn

Venue Staff

School Administration Staff

No items found.

Musicians

Cello

Andrew Nielson

Violin

Takashi Aoki

Board Members

Student Advisory Board

Credits

Lighting equipment from PRG Lighting, sound equipment from Sound Associates, rehearsed at The Public Theater’s Rehearsal Studios. Developed as part of Irons in the Fire at Fault Line Theatre in New York City.

Special Thanks

Special thanks to Joe Chisholm for making this event possible.

*Appearing through an Agreement between this theatre and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

“Actors’ Equity Association (“Equity”), founded in 1913, is the U.S. labor union that represents more than 51,000 actors and stage managers, Equity fosters the art of live theatre as an essential component of society and advances the careers of its members by negotiating wages, improving working conditions and providing a wide range of benefits, including health and pension plans. Actors’ Equity is a member of the AFL-CIO and is affiliated with FIA, an International organization of performing arts unions. www.actorsequity.org

United Scenic Artists ● Local USA 829 of the I.A.T.S.E represents the Designers & Scenic Artists for the American Theatre

ATPAM, the Association of Theatrical Press Agents & Managers (IATSE Local 18032), represents the Press Agents, Company Managers, and Theatre Managers employed on this production.

Director's Note

Thank you for coming!

Meet the Cast

Test Testy

*

Test

(

Test

)

(

Test

)

Pronouns:

he/him

Islay the Goldendoodle

*

Shopkeeper

(

Dance Captain

)

(

Dance Captain

)

Pronouns:

she/her

Islay the Goldendoodle is a NYC-based yodeler, tentative cuddler, and unpaid intern. Present at the inception of Marquee Digital, Islay continues to make her opinions known on a daily basis, leaving her pawprint on every major decision made inside Marquee HQ.

Meet the Team

Looks like there are no Creative Team Members for this Marquee!

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

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Fumo

Italian

|

1600 Amsterdam Ave

Bright, modern neighborhood Italian destination serving upmarket pizza, pasta & cocktails.

Fumo

Italian

|

1600 Amsterdam Ave

Bright, modern neighborhood Italian destination serving upmarket pizza, pasta & cocktails.

Marquee Deal!

Raise a Glass

Uptown Bourbon

Cocktail Bar

|

3631 Broadway

Cozy neighborhood watering hole offering bourbon, beer & cocktails along with happy hour.

Uptown Bourbon

Cocktail Bar

|

3631 Broadway

Cozy neighborhood watering hole offering bourbon, beer & cocktails along with happy hour.

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.

Danny Burstein, Christopher Lowell, Cynthia Nixon, and June Squibb Join Broadway's MARJORIE PRIME

Emily Wyrwa

August 21, 2025

The complete cast of Second Stage Theater’s Broadway production of Marjorie Prime has been announced. The company will include Tony Award winner Danny Burstein, Christopher Lowell, Tony Award winner Cynthia Nixon, and June Squibb. Squibb will play the title role.

Marjorie Prime will begin previews at the Hayes Theatre on West 44th Street on Nov. 20, with official opening set for Dec. 8. The production is directed by Anne Kauffman.

The play was a finalist for the 2015 Pulitzer Prize, and will mark playwright Jordan Harrison’s Broadway debut. It examines the blurred line between a life lived and a life remembered, begging the question of what you would say to someone you lost if you could see them again. And what if they’re a better listener now than when they were alive?

Set in the age of artificial intelligence, Marjorie is battling dementia as her daughter and son-in-law introduce her to a cutting-edge technology: a computer hologram resembling her late husband. The hologram, a Prime, becomes a bank of memories. As Marjorie’s health declines, her daughter must grapple with their relationship, and the impact of this human-robot dynamic.

The Broadway production will feature scenic design by Lee Jellinek, costume design by Márion Talán de la Rosa, lighting design by Ben Stanton, and sound design and original music by Daniel Kluger. Casting is by Daniel Swee, CSA.

In addition to Marjorie Prime, Second Stage Theater’s 2025-26 season will feature the Broadway debut of playwright Gina Gionfriddo with her play Becky Shaw directed by Trip Cullman. Off-Broadway, the season will include Meet the Cartozians directed by David Cromer, Meat Suit, or the shitshow of motherhood written and directed by Aya Ogawa, and The Receptionist directed by Sarah Benson.

Marjorie Prime begins performances at the Hayes Theatre on West 44th Street in New York City on Nov. 20, with opening set for Dec. 8. For tickets and more information, visit here.

Sherie Rene Scott Joins THE QUEEN OF VERSAILLES As Standby for Jackie Siegel

Emily Wyrwa

August 21, 2025

Another queen has entered the company! Sherie Rene Scott will join the Broadway company at the Standby for Jackie Siegel in The Queen of Versailles.

Siegel is normally played by Kristin Chenoweth, who will take on the role eight times a week. Scott will take the stage in particular performances only, which will be announced at a later date.

“Sherie is a true Broadway original, and she brings such heart and humor to everything she touches,” Chenoweth said in a statement. “Her sensibility is a perfect fit for our show, and her take on Jackie will be an event all on its own.”

Scott has been nominated for three Tony Awards for her work as a supporting actor in Dirty Rotten Scoundrels and as a writer and lead actor for the musical Everyday Rapture. She originated the roles of Amneris in The Disney/Elton John & Tim Rice musical Aida, Cathy in the original Off-Broadway production of The Last Five Years, and many more. She also founded the first independent Broadway and Off-Broadway cast album record label: the multiple Grammy winning Sh-K-Boom/Ghostlight Records.

In addition to Chenoweth and Scott, the Broadway company includes F. Murray Abraham, Melody Butiu, Stephen DeRose, Greg Hildreth, Tatum Grace Hopkins, Isabel Keating, and Theatrely31 alum Nina White.

The company will also include Yeman Brown, David Aron Damane, Drew Elhamalawy, Christopher Gurr, KJ Hippensteel, Cassondra James, Andrew Kober, Jesse Kovarsky, Pablo David Laucerica, Travis Murad Leland, Ryah Nixon, Shea Renne, Michael McCorry Rose, Grace Slear, Anne Fraser Thomas, and Jake Bentley Young.

The Queen of Versailles follows Jackie Siegel, played by Chenoweth, who rises from computer engineer to Mrs. Florida to billionaire. She marries David “The Timeshare King” Siegel, and becomes a mother to their eight children. Together, they plan to build the largest private home in American in Orlando: a $100 million house big enough for her dreams and inspired by the Palace of Versailles. As the Great Recession of 2008 looms, Jackie’s dreams start to crumble, highlighting the true cost of fame, fortune, and one family’s pursuit of the American dream.

The musical is based on Lauren Greenfield’s award-winning 2012 documentary film and the life stories of Jackie and David Siegel. Prior to transferring to Broadway, it had a box office record-breaking world premiere at Boston’s Emerson Colonial Theatre in the summer of 2024.

The Queen of Versailles begins previews at the St. James Theatre on West 44th Street in New York City on Oct. 8. Opening night is set for Nov. 9. For tickets and more information, visit here.

Exclusive Listen to "Something 'Bout a Mummy" from Full DEAD OUTLAW Original Broadway Cast Recording

Emily Wyrwa

August 21, 2025

Dead Outlaw’s cast album is officially alive! Yellow Sound Label and Audible, Inc. have announced the full Dead Outlaw: Original Broadway Cast Recording will be available in streaming and digital formats on Aug. 22.

Dead Outlaw features music and lyrics by David Yazbek and Erik Della Penna, book by Itamar Moses, conceived by David Yazbek, and directed by David Cromer. Its 2025 Broadway run at the Longacre Theatre received seven Tony Award nominations, including Best Musical. Its run at Audible’s Minetta Lane Theatre won the Drama Desk and Outer Critics Circle Awards for Best Musical, and was recorded and released on Audible with immersive sound design.

Theatrely has an exclusive first listen to “Somethin’ ‘Bout a Mummy,” performed by Dashiell Eaves, Thom Sesma, and Ken Marks.

Yellow Sound Label · 15 Somethin' 'Bout a Mummy - OBCR - 24b96k MASTER

Dead Outlaw: Original Broadway Cast Recording is produced by Dean Sharenow and David Yazbek; recorded, mixed, and mastered by Dean Sharenow; with all songs composed and written by David Yazbek and Erik Della Penna. Dean Sharenow was music supervisor, with orchestrations and arrangements by Erik Della Penna, Dean Sharenow, and David Yazbek. The band features Theatrely31 alum Rebekah Bruce, Erik Della Penna, Hank Heaven, Chiris Smylie, and Spencer Cohen.

The company includes Andrew Durand as Elmer McCurdy, Jeb Brown as Band Leader/Jarrett, Eddie Cooper as Coroner Johnson, Dashiell Eaves as Louis/Charles Patterson, Julia Knitel as Helen/Maggie, Ken Marks as George, Trent Saunders as Andy Payne, and Thom Sesma as Coroner Noguchi.

Dead Outlaw tells the true story of Elmer McCurdy, an early 20th-century outlaw who became a traveling corpse and accidental celebrity. After he fails at a train robbery, resulting in his untimely death, McCurdy’s body goes on a decades-long postmortem journey through carnivals, roadside attractions, and even Hollywood film sets. Dead Outlaw dives into the absurdity of fame, the inevitability of failure, and the meaning – or utter meaninglessness – of legacy.

Theatrely News

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

Theatrely News

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

Theatrely News

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

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

By: Maia Penzer

14 July 2023

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

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

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

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

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

‍

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

By: Kobi Kassal

29 May 2023

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

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

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

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

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

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

Yeah, right.

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

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

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

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

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

Sure enough, no tip.

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

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

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

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

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

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

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

“Could you be bothered to serve us?”

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

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

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

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

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

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

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

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

“Pickup order?” I ask.

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

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

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

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

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

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

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

‍

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

By: Kaitlyn Riggio

5 July 2022

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

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

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

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

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

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

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

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

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

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

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

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

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

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