Artboard-25
Artboard-25
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Notes
Program Info
Connect
People

Grantors

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Sponsors

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Sponsors

Donors

Donors

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Meet Our Donors

Tributes

Tributes

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Our Tributes

Performers

Garrett Adams

*

Camper

Maggie Benson

*

Aunty Em/Cerberus/Fury

William Blankenship

*

Mr. Brunner/Chiron/Vienna Boy’s Choir Member

Sydney Faith Blaszak

*

Camper/Oracle

Carter Jackson Cecil

*

Grover

Carter Cecil

*

Grover

Megan Corbett

*

Camper

Drew D’Alessandro

*

Percy Jackson

Violet Farmer

*

Sally Jackson

Cora Hazel Goad

*

Silena

Kristin Hall

*

Echidna - Cerberus - Fury

Callie Hine

*

Camper

Callie Hine

*

Camper

Callie Hine

*

Camper/Bianca

Macalan Johnson

*

Luke Castellan

Walker Johnson

*

Ares

Lily Lenkowski

*

Camper/Echo/News Castser

Breya Nelson

*

Hades

Ruth Parsons

*

Charon

Sharv Patel

*

Mr. D

Amelia Raring

*

Camper/Thalia

Eva Rose Sarver-Wolf

*

Annabeth Chase

Brent Saunders

*

Camper/Echo/Mozart

Natalie Thorell

*

Clarisse

Hannah Turnbull

*

Camper

Aaron Walters

*

Poseidon

Setting

There will be a 15 minute intermission.

Songs & Scenes

No items found.

Production Staff

Executive Director
Matt Shields
Director
Francesca Reilly
Assistant Director
Keeley Morgan
Choreographer
Keeley Morgan
Music Director
Bethany Costello
Stage Manager
Eli Riederich
Director of Production
Savannah Woodruff
Lighting Designer
Savannah Woodruff
Sound Designer
Samuel Wood
Costume Designer
Savannah Woodruff
Props Designer
Savannah Woodruff
Scenic Designer
Matthew Shields
Assistant Stage Manager
Kamryn Cox
Run Crew
Mo Riego De Dios
Run Crew
Alaya Lewis
Spot Op
Autumn Farmer
Carpenters/Electricians
Trenten Woods Samuel Wood

Venue Staff

School Administration Staff

No items found.

Musicians

No items found.

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

*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.

Cast
Creatives
Cast
Creatives

Meet the Cast

Garrett Adams

*

Camper
(
)
(
)
Pronouns:
He/Him

Garrett Adams is a 7th grader at North Cross School.  His love for the theatre began in the 4th grade when he auditioned for The Wizard of Oz and was cast as The Wizard. He went on to play Daddy Warbucks in Annie and Nigel in Matilda under the direction of Thomas Costello at NCS. Last December, he played Ralphie in A Christmas Story at Mill Mountain Theatre and counts it as one of the best seasons of his life. Most recently, he played the role of Sky in Mamma Mia! at North Cross. Garrett is thrilled to be back on Trinkle stage in The Lightning Thief. He is so grateful for the amazing community he has discovered at Mill Mountain Theatre and for all of the people who make it feel like a second home.

Maggie Benson

*

Aunty Em/Cerberus/Fury
(
)
(
)
Pronouns:

Maggie is excited to make her stage debut at Mill Mountain Theatre. An 8th grader at William Byrd Middle School, she has spent the past couple of years taking classes at Mill Mountain and has loved the friendships and sense of community it provides. She enjoys all of her classes, especially Civics, and hopes to one day become a pediatric psychiatrist because of her love for working with children. When she’s not on stage, Maggie plays lacrosse and enjoys volunteering in the community, including at local libraries. She would like to thank the directors and staff at Mill Mountain for this opportunity, and her parents for their constant support.

William Blankenship

*

Mr. Brunner/Chiron/Vienna Boy’s Choir Member
(
)
(
)
Pronouns:
He Him His

William (Liam) Blankenship is a sophomore at Cave Spring High School and has been in the arts for 3 years and has been in 1 play and 4 Musicals His next performance is unknown at the time but he hopes to be in more productions in the near and far future and knows that his family, friends, and past teachers directors will support him the whole way.

Sydney Faith Blaszak

*

Camper/Oracle
(
)
(
)
Pronouns:
She/Her

Sydney Blaszak is a 15-year-old sophomore at Cave Spring High School and a student in the Mill Mountain Theatre Conservatory. She is thrilled to be making her main stage debut. Recent credits include Cinderella (Giant/Ensemble), Beetlejuice Jr. (Ensemble), The Little Mermaid Jr. (Adella), The Lion King Jr. (Shenzi), Shrek The Musical Jr. (Pinocchio), and The Little Mermaid Jr. (Ariel). This summer, Sydney will make her off-Broadway debut in Matilda as a Big Kid in New York City. She would like to thank her family for their constant support and Mill Mountain Theatre for this amazing opportunity.

Carter Cecil

*

Grover
(
)
(
)
Pronouns:
He/Him

Hi! I’m Carter and I’ve been acting since the 1st grade. This is my 5th production with MMT and I’m elated to be apart of this show. You may recognize me from Shrek, where I played Lord Farquaad. Or from A Year With Frog and Toad, where I played Toad. When I’m not on stage, I’m competing for the LBHS Speech and Debate Team. This past season I won States for Humorous Interpretation (I love to talk). As always, thank you for supporting the arts!

Carter Jackson Cecil

*

Grover
(
)
(
)
Pronouns:
He/Him

Hello! I’m Carter Cecil, and I’ve been involved in theatre since kindergarten. Some of my favorite roles include Phineas Trout in Willy Wonka Jr., Jay in Lost In Yonkers, Toad in A Year With Frog & Toad, and Lord Farquaad in Shrek! I’m thrilled to be playing Grover in The Lightning Thief and can’t wait to bring this story to life!

Megan Corbett

*

Camper
(
Janis Joplin
)
(
Janis Joplin
)
Pronouns:
She/Her

Megan is a freshman at Salem High School. Her favorite past credits include In Bloom (Eileen), Shrek (Teen Fiona), Chrysalis (Little Mirage), Into the Woods (Witch and Little Red), Frozen (Young Anna), and most recently Alice @ Wonderland (Mad Hatter). She is excited to return to Mill Mountain Theater for another fun filled show. She is also an active participant in Mill Mountain Theater conservatory, and would like to thank Mill Mountain for the opportunity to continue what she loves!

Drew D’Alessandro

*

Percy Jackson
(
)
(
)
Pronouns:

Drew D'Alessandro is excited to be back again with Mill Mountain. His most recent Mill Mountain credits include: Shrek (Peter Pan, Knight), Peter and the Starcatcher (Boy, Peter), Finding Nemo Jr. (Gill, Ensemble), Elf (Charlie, Ensemble, Michael u/s), and Matilda (Tommy, Ensemble). Other favorite credits include: James and the Giant Peach (James), A Christmas Story (Schwartz), Little Women (Laurie), and many more. Drew is an MMT Conservatory student, and a rising sophomore at CSHS where he is active in their drama program. He encourages all Half-Bloods to get headed to the exits now, but otherwise hopes you enjoy the show.

Violet Farmer

*

Sally Jackson
(
)
(
)
Pronouns:
she/her

Violet Farmer is delighted to return to the Trinkle stage for her sixth MMT production. Violet is a 9th grader at Salem High School. Her favorite credits include Tessie in Annie, Ariel in The Little Mermaid, and Pinocchio in Shrek. Violet is an accomplished singer, composer and pianist who has been recognized for her original music in MTNA and Virginia PTA Reflections. Outside of theater she enjoys cheerleading, hiking, and reading. She hopes that the audience enjoys The Lightning Thief  as much as she does! Violet wishes to thank her mom for driving her everywhere, Bethany Costello, and the whole team at MMT for the incredible opportunity to be a part of this show.

Cora Hazel Goad

*

Silena
(
Echos/Lost Soul
)
(
Echos/Lost Soul
)
Pronouns:
She/Her

Cora is so excited to be a part of The Lightning Thief! She is a 9th grader at Patrick Henry High School and a student at MMT Conservatory. You may have seen her in Mill Mountain’s Frog and Toad. Some of her other favorite credits include Elf Jr (Various Roles), Seussical Jr (Mayzie), and Mean Girls Jr (Karen). Other than performing, Cora enjoys writing music and books, and spending time outdoors. Cora would like to thank the MMT staff for everything they do, her family and friends for their flexibility and support, and the Nelsons and Turnbulls for driving her to rehearsal.

Kristin Hall

*

Echidna - Cerberus - Fury
(
)
(
)
Pronouns:

Callie Hine

*

Camper
(
Bianca
)
(
Bianca
)
Pronouns:
She/Her

Callie is eager to make her MMT debut! She has learned much about the arts and teamwork through her involvement with the MMT conservatory. Callie’s love for acting began at a young age, starting with school plays, and performing in community theater. A few of her favorite past productions include: High School Musical Jr. (Gwen/Ensemble), Grease (Jan), Footloose (Gavin/Ensemble), and Matilda Jr. (Miss Honey). In her free time, she enjoys being outside, loving on her pets, and playing clarinet. She would like to thank the MMT staff and directors, friends, and family for this opportunity and for all of the support they have given. She hopes you enjoy The Lightning Thief!

Callie Hine

*

Camper
(
Bianca
)
(
Bianca
)
Pronouns:
She/Her

Callie is eager to make her MMT debut! She has learned much about the arts and teamwork through her involvement with the MMT conservatory. Callie’s love for acting began at a young age, starting with school plays, and performing in community theater. A few of her favorite past productions include: High School Musical Jr. (Gwen/Ensemble), Grease (Jan), Footloose (Gavin/Ensemble), and Matilda Jr. (Miss Honey). In her free time, she enjoys being outside, loving on her pets, and playing clarinet. She would like to thank the MMT staff and directors, friends, and family for this opportunity and for all of the support they have given. She hopes you enjoy The Lightning Thief!

Callie Hine

*

Camper/Bianca
(
(Echos)
)
(
(Echos)
)
Pronouns:
She/Her

Callie is eager to make her MMT debut! She has learned much about the arts and teamwork through her involvement with the MMT conservatory. Callie’s love for acting began at a young age, starting with school plays, and performing in community theater. A few of her favorite past productions include: High School Musical Jr. (Gwen/Ensemble), Grease (Jan), Footloose (Gavin/Ensemble), and Matilda Jr. (Miss Honey). In her free time, she enjoys being outside, loving on her pets, and playing clarinet. She would like to thank the MMT staff and directors, friends, and family for this opportunity and for all of the support they have given. She hopes you enjoy The Lightning Thief!

Macalan Johnson

*

Luke Castellan
(
)
(
)
Pronouns:

Macalan is thrilled to be a part of this electric production of Percy Jackson and the Lightening Thief. He is a current sophomore at Patrick Henry High School and a member of MMT’s Musical Theatre Conservatory. Favorite past roles include: ELF (Buddy), Little Shop of Horrors (he has played both the roles of Orin and Audrey 2!), Beauty and the Beast (Lumiere), Finding Nemo (Crush), Shrek Jr (Shrek), Newsies Jr (Jack Kelly). Macalan was honored to perform as a student spotlight at MMT’s performances of Waitress last spring and last month in 9 to 5. A huge thanks to the entire cast, crew, and creative team at MMT.

Walker Johnson

*

Ares
(
Gabe, Kurt Cobain
)
(
Gabe, Kurt Cobain
)
Pronouns:

Walker is thrilled to be on the Trinkle Stage for the first time in Percy Jackson and the Lightening Thief! He is a current 8th grader at James Madison Middle School. Having previously worked the spotlight in MMT productions, Walker is excited to step out of the shadows and onto the stage as Ares, Gabe, and the iconic Kurt Cobain. Previous stage credits include: High School Musical Jr. (Jack Scott), Peter and the Starcatcher (Smee), and Frozen Jr. (Weselton). Huge thanks to the entire cast and crew - break a leg!

Lily Lenkowski

*

Camper/Echo/News Castser
(
)
(
)
Pronouns:
she/her

Breya Nelson

*

Hades
(
Squirrel
)
(
Squirrel
)
Pronouns:

Breya Nelson is excited to be in their first MMT main stage production! After playing the role of Prentiss in MMT’s “Peter and the Starcatcher,” they decided to audition for another season. They’d like to thank their parents, their siblings, their close friends, and their cats!

Ruth Parsons

*

Charon
(
Bus driver
)
(
Bus driver
)
Pronouns:
she/her

Ruth Parsons is thrilled to be back on her home stage at the Waldron at Mill Mountain Theatre (MMT)! She is especially excited to be performing in her second Rick Riordan–inspired production this year, having previously appeared as The Kid in Monstersongs. Some of her favorite onstage credits include Matilda, Jr., Peter & the Starcatcher, Legally Blonde, Jr., Matilda, and The Women. Her on-screen credits include roles in the short films Blossom and Dark Horse. Ruth trains at the Mill Mountain Theatre Conservatory, Broadway Artists Alliance, The Prep NYC, and SCAPA. She would like to thank her friends, family, and all of her teachers and mentors for their support. Follow Ruth @ruthparsonsofficial on Instagram!

Sharv Patel

*

Mr. D
(
)
(
)
Pronouns:
He/Him

Sharv Patel is a sophomore at Cave Spring High School where he is apart of choir and recently went to ACDA All-Regional Choir. This is his second MainStage performance with Mill Mountain Theatre. You may have previously seen him as Donkey in Shrek TYA. He is so grateful for the opportunity to be able to experience this show and cast. He would also like the thank his Mom (Purvi), Dad (Brijesh), Brother (Tatva), and Girlfriend (Braelyn) for the help getting prepared for this show. Enjoy the performance of The Lightning Thief!

Amelia Raring

*

Camper/Thalia
(
)
(
)
Pronouns:
She/Her

Amelia, a freshman at Hidden Valley and a Mill Mountain Theatre Conservatory student, is thrilled to share the magic of The Lightning Thief with you today! You may recognise Amelia from the MMT production of To Kill A Mockingbird where she played Scout, Ted in Peter and the Starcatcher, and as an orphan in Annie. She also performed in Burton Center of Performing Arts's Hadestown: Teen Edition (Fate), Hidden Valley's Cinderella (Ensemble), MMT’s Matilda (Matilda), Write Stuff, and Peter and Wendy (Master Panther). Other credits include Grandin Film Lab’s Wysteria: the Series (Young Mary), StageCenter Louisiana’s productions of Matilda (Lavender), The Little Mermaid Jr. (Flounder), and Annie Jr. (Tessie). Outside of theatre, Amelia enjoys reading, cross country, and bo staff training. She extends her heartfelt appreciation to Mill Mountain Theatre's staff, her family and friends, and remember: “The things that make you different are the things that make you strong.” Enjoy the show!

Eva Rose Sarver-Wolf

*

Annabeth Chase
(
)
(
)
Pronouns:
she/they

Eva Rose is thrilled to be back on the Mill Mountain Theatre Mainstage for her senior year. Her past roles with MMT include Onstage Manager/Tall & Terrible Frog in A Year with Frog & Toad, Anchor in Finding Nemo Jr., Duffy in Annie, and Mama Bear in Shrek TYA. She has been a proud member of the Mill Mountain Theatre Conservatory for two years, and this year is honored to have been elected to serve on the Student Advisory Board in addition to traveling to the SouthEastern Theatre Conference the past two years with her peers from Conservatory. 


She’s currently in her senior year at Community High School and has recently committed to Columbia College Chicago to major in Music Production and minor in Vocal Performance. 


She’s very excited to be closing out her time in high school with her friends at Mill Mountain Theatre as she takes on the role of Annabeth Chase in The Lightning Thief.

Brent Saunders

*

Camper/Echo/Mozart
(
)
(
)
Pronouns:
he/him

Brent Saunders is a sophomore at Lord Botetourt High School and is thrilled to be returning to the Trinkle Mainstage! Favorite Mill Mountain Theatre credits include A Christmas Story (Scut Farkus), Shrek (Big Bad Wolf), Finding Nemo, Jr. (Grouper/Reef Kid/Moonfish), Matilda (Eric), and Peter and Wendy (Tootles). Other recent roles include The Addams Family (Lucas Beineke) Beetlejuice, Jr. (Adam Maitland), The Little Mermaid (Flounder), Legally Blonde (Chad/Aaron Schultz), Junie B. Jones, Jr. (Herb), Lost in Yonkers (Arty), and Willy Wonka, Jr. (Mike Teavee). Brent would like to thank his friends, family, and everyone at Mill Mountain Theatre for their continuous support! Enjoy the show!

Natalie Thorell

*

Clarisse
(
)
(
)
Pronouns:

Natalie is thrilled to be back on the Trinkle Mainstage at Mill Mountain Theatre! She is a 9th grader at Hidden Valley High School. Some of her favorite credits include Cinderella (Charlotte/Dance Captain), Peter and the Starcatcher (Molly Aster), Beetlejuice, The Musical (Miss Argentina/Dance Captain), Annie, The Musical (Kate/Servant/Dance Captain/Swing), Shrek TYA (Ugly Duckling/Blind Mouse/Dance Captain), Elf, The Musical (Tiara/Swing), and The Sound of Music (Gretl). Natalie is a member of the Kevin Jones Performing Arts Studio, MMT Conservatory, Divine Dance Center, and the HVHS Vocal Ensemble. She is very grateful for this opportunity and hopes you enjoy the show. GO TEAM RED!

Hannah Turnbull

*

Camper
(
Echo/Greyhound
)
(
Echo/Greyhound
)
Pronouns:
she/her

Hannah is excited to perform on the Trinkle Mainstage for the first time! She began acting in 2024 and has loved being part of productions like Seussical Jr. (Bird Girl), The Little Mermaid Jr. (Ensemble), and The Wizard of Oz Jr. (Glinda). When she’s not on stage, she enjoys playing the bass and piano as well as singing and creating her own music on her ukelele. She would like to thank her family and friends for always cheering her on.

Aaron Walters

*

Poseidon
(
Farmer & Voice of Kronos
)
(
Farmer & Voice of Kronos
)
Pronouns:
He/him

Aaron Walters (Poseidon/Farmer/Voice of Kronos) is excited about his MMT debut! Favorite previous credits include: Bridge to Teribithia (Mr. Aarons), Little Women the Musical (Braxton), These Shining Lives (Tom), and Percy Jackson the Lightning Thief (Poseidon) all at Cave Spring High School where he is a Junior. Aaron is ecstatic to have the opportunity to play Poseidon twice! Gratitudes to cast, crew, Family, and friends!!

Meet the Team

Bethany Costello

*

Music Director
(
)
Pronouns:
she/her

Bethany Costello is a Roanoke-based Music Director, Educator and Theatre Artist. A BFA Musical Theatre Graduate of the SC School of the Arts and the proud Conservatory Music Director at Mill Mountain Theatre, Bethany loves sharing her passion for joy-centered, accessible performing arts locally and nationally. This passion has led her to working on regional premiers, national tours and creating with companies such as The REV Theatre Company, The Kennedy Center, Florida Repertory Theatre, Mill Mountain Theatre, Virginia Children’s Theatre, Lexington Children’s Theatre, Missoula Children’s Theatre, CentreStage and Anderson University. Favorite creative team credits include: MATILDA, FINDING NEMO JR., TUCK EVERLASTING, ANNIE JR., SISTER ACT, SHE LOVES ME and every Musical Theatre Conservatory Class she has been blessed to teach at Mill Mountain Theatre. Bethany hopes to empower students of all ages and backgrounds by listening to their stories, equipping them with new tools to effectively engage with others and reminding them of their greatest power: themselves. 

Autumn Farmer

*

Spotlight Operator
(
)
Pronouns:
she/her

Autumn is excited to be debuting a new skill as spotlight operator for MMT. Autumn is a 6th grader at Andrew Lewis Middle School and loves all things theatre. Her favorite acting credits include playing Annie (Annie), Nemo (Finding Nemo Jr), Miss Hannigan (Annie Jr), Matilda (Matilda Jr), and Captain Hook (Peter Pan Jr). When she’s not on stage, Autumn is a competitive gymnast, dancer, and artist. She loves shining a light on all of the amazing performers on stage for The Lightning Thief!*

Keeley Morgan

*

Asst. Director
(
Choreographer
)
Pronouns:

Keeley Morgan is a performer from Panama City, FL and a graduate of the University of West Florida with her BFA in Musical Theatre. She is currently the Company Manager and Social Media Coordinator for MMT. She recently performed with Mill Mountain in their productions of Cabaret (Frenchie), The Musical Adventures of Flat Stanley (Mrs. Lambchop), To Kill A Mockingbird (Mayella Ewell), The Complete Works of William Shakespeare Abridged (Daniel), Annie (Grace Farrell), Waitress (Choreographer/Ensemble) and A Christmas Story (Miss Shields). Asst. Directing and Choreographing The Lightning Thief has been a dream and she couldn’t be more proud of all the hard work the students and the production team have put into this production. She hopes you all enjoy the show!

Francesca Reilly

*

Director
(
)
Pronouns:
She/Her

Francesca Reilly is a performer and educator whose love for theatre began at 9 years old. A Northern Virginian turned Roanoke native, Francesca moved to the Star City after graduating with her Bachelor’s in Music and now holds her Master’s in Music Education. Since graduating, she has had the privilege of touring with the state children’s theatres of Virginia and North Carolina. Some of her favorite acting credits include Junie B. Jones (Junie), Goodnight Moon (Mouse), and Mill Mountain’s educational tour Stellaluna (Pinduli). Francesca also has the privilege of serving as MMT’s Director of Education, teaching the talented upcoming stars of the Valley. Francesca would like to thank the cast, crew, staff, as well as her friends and family for all their love and continuous support, with extra love sent out to Kipp and KJ.

Eli Riederich

*

Stage Manager
(
)
Pronouns:
they/them

Eli is a California native, Virginia-based theatre practitioner who graduated with their BA in Theatre and Environmental Studies, with certificates in Arts Management and Batten Leadership. Eli is also a graduate of the Stella Adler Art of Acting Studio, and is currently pursuing their MA in New Play Development from Hollins. Since receiving their degree in theatre, Eli has served as the Education Associate at Virginia Children’s Theatre and Teaching Artist for Smith Mountain Lake Good Neighbors, bringing theatre education to students who don’t have access all over Virginia! In the past few years, Eli has participated in a variety of jobs around MMT, including but not limited to: Teaching Artist, Stage Manager, and Wardrobe Runner. Additionally, Eli directs, writes plays, and acts; favorite credits include What’s Haunting You by David Veatch (Director) and Frieda by ArLynn Parker (Actor).

Matt Shields

*

Executive Director
(
)
Pronouns:
he/him

Matt Shields is an accomplished arts leader and theatre professional, currently serving as the Executive Director of Mill Mountain Theatre in Roanoke, Virginia. A graduate of Radford University, Shields has built his career through a wide range of hands-on roles at Mill Mountain Theatre, including Carpenter, Designer, Costume Shop Manager, Technical Director, Director of Production, and Company Manager. This breadth of experience has given him a deep understanding of both the artistic and operational sides of regional theatre.

In addition to his leadership at Mill Mountain Theatre, Shields serves as the Vice Chair of the Professional Division of the Southeastern Theatre Conference (SETC), where he contributes to the advancement of theatre professionals across the region. He has worked in a variety of theatrical roles around the country, bringing a broad perspective to his work, but is proud to now call Roanoke home.

Under his leadership, Mill Mountain Theatre continues to thrive as a cultural cornerstone, known for its professional productions and commitment to arts education. In recognition of his impact and leadership, Shields was named to Virginia Business Magazine’s “30 Under 30” list in 2025.

Savannah Woodruff

*

Director of Production
(
)
Pronouns:
They/she

Savannah Woodruff was born and raised in Southern Pines, North Carolina, where she was encouraged to become involved in technical theatre in high school. Savannah is a graduate of The University of North Carolina at Greensboro, and received a BFA in Technical Production. Prior to joining the Mill Mountain Theatre staff, she worked as a member of Weston Playhouse Theatre Company’s Intern Company. Savannah is grateful for the support of her family (and especially her cats) in her endeavors, and is thrilled to be able to continue working and growing with Mill Mountain Theatre.

Cast
Creatives

Media

No items found.
2021 National Touring Cast

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2026 Tony Awards Winners Full List
Kobi Kassal
June 7, 2026

The votes are in and it’s time to pop the champagne. After a fantastic year of theatre here in New York, it's time to award the best and celebrate all those who work tirelessly here in the Broadway community. The winners will be announced tonight at the 79th Annual Tony Awards at Radio City in a ceremony hosted by Pink.

*Winners will be bolded in real time.

Best Musical

The Lost Boys

Schmigadoon!

Titaníque

Two Strangers (Carry A Cake Across New York)

Best Play

The Balusters

Giant

Liberation

Little Bear Ridge Road

Best Revival of a Musical

Ragtime

Cats: The Jellicle Ball

The Rocky Horror Show

Best Revival of a Play

Becky Shaw

Arthur Miller's Death of a Salesman

Every Brilliant Thing

Fallen Angels

Oedipus

Best Book of a Musical

The Lost Boys

David Hornsby and Chris Hoch

Schmigadoon!

Cinco Paul

Titaníque

Marla Mindelle, Constantine Rousouli and Tye Blue

Two Strangers (Carry a Cake Across New York)

Jim Barne and Kit Buchan

Best Original Score (Music and/or Lyrics) Written for the Theatre

Arthur Miller’s Death of a Salesman

Music: Caroline Shaw

August Wilson’s Joe Turner’s Come and Gone

Music: Steve Bargonetti

The Lost Boys

Music & Lyrics: The Rescues

Schmigadoon!

Music & Lyrics: Cinco Paul

Two Strangers (Carry a Cake Across New York)

Music & Lyrics: Jim Barne and Kit Buchan

Best Performance by an Actor in a Leading Role in a Play

Will Harrison, Punch

Nathan Lane, Arthur Miller’s Death of a Salesman

John Lithgow, Giant

Daniel Radcliffe, Every Brilliant Thing

Mark Strong, Oedipus

Best Performance by an Actress in a Leading Role in a Play

Rose Byrne, Fallen Angels

Carrie Coon, Bug

Susannah Flood, Liberation

Lesley Manville, Oedipus

Kelli O’Hara, Fallen Angels

Best Performance by an Actor in a Leading Role in a Musical

Nicholas Christopher, Chess

Luke Evans, Richard O’Brien’s The Rocky Horror Show

Joshua Henry, Ragtime

Sam Tutty, Two Strangers (Carry a Cake Across New York)

Brandon Uranowitz, Ragtime

Best Performance by an Actress in a Leading Role in a Musical

Sara Chase, Schmigadoon!

Stephanie Hsu, Richard O’Brien’s The Rocky Horror Show

Caissie Levy, Ragtime

Marla Mindelle, Titaníque

Christiani Pitts, Two Strangers (Carry a Cake Across New York)

Best Performance by an Actor in a Featured Role in a Play

Christopher Abbott, Arthur Miller’s Death of a Salesman

Danny Burstein, Marjorie Prime

Brandon J. Dirden, Waiting for Godot

Alden Ehrenreich, Becky Shaw

Ruben Santiago-Hudson, August Wilson’s Joe Turner’s Come and Gone

Richard Thomas, The Balusters

Best Performance by an Actress in a Featured Role in a Play

Betsy Aidem, Liberation

Marylouise Burke, The Balusters

Aya Cash, Giant

Laurie Metcalf, Arthur Miller’s Death of a Salesman

June Squibb, Marjorie Prime

Best Performance by an Actor in a Featured Role in a Musical

Ali Louis Bourzgui, The Lost Boys

André De Shields, Cats: The Jellicle Ball

Bryce Pinkham, Chess

Ben Levi Ross, Ragtime

Layton Williams, Titaníque

Best Performance by an Actress in a Featured Role in a Musical

Shoshana Bean, The Lost Boys

Hannah Cruz, Chess

Rachel Dratch, Richard O’Brien’s The Rocky Horror Show

Ana Gasteyer, Schmigadoon!

Nichelle Lewis, Ragtime

Best Scenic Design of a Play

Hildegard Bechtler, Oedipus

Takeshi Kata, Bug

Chloe Lamford, Arthur Miller's Death of a Salesman

David Korins, Dog Day Afternoon

David Rockwell, Fallen Angels

Best Scenic Design of a Musical

dots, Richard O’Brien’s The Rocky Horror Show

Soutra Gilmour, Two Strangers (Carry a Cake Across New York)

Rachel Hauck, Cats: The Jellicle Ball

Dane Laffrey, The Lost Boys

Scott Pask, Schmigadoon!

Best Costume Design of a Play

Brenda Abbandandolo, Dog Day Afternoon

Qween Jean, Liberation

Jeff Mahshie, Fallen Angels

Emilio Sosa, The Balusters

Paul Tazewell, August Wilson’s Joe Turner’s Come and Gone

Best Costume Design of a Musical

Linda Cho, Ragtime

Linda Cho, Schmigadoon!

Qween Jean, Cats: The Jellicle Ball

Ryan Park, The Lost Boys

David I. Reynoso, Richard O’Brien’s The Rocky Horror Show

Best Lighting Design of a Play

Isabella Byrd, Dog Day Afternoon

Natasha Chivers, Oedipus

Stacey Derosier, August Wilson’s Joe Turner’s Come and Gone

Heather Gilbert, Bug

Heather Gilbert, The Fear of 13

Jack Knowles, Arthur Miller’s Death of a Salesman

Best Lighting Design of a Musical

Kevin Adams, Chess

Jane Cox, Richard O’Brien’s The Rocky Horror Show

Donald Holder, Schmigadoon!

Adam Honoré, Cats: The Jellicle Ball

Adam Honoré and Donald Holder (Lighting Design) and 59 Studio (Projection Design), Ragtime

Jen Schriever and Michael Arden, The Lost Boys

Best Sound Design of a Play

Justin Ellington, August Wilson’s Joe Turner’s Come and Gone

Tom Gibbons, Oedipus

Lee Kinney, The Fear of 13

Josh Schmidt, Bug

Mikaal Sulaiman, Arthur Miller’s Death of a Salesman

Best Sound Design of a Musical

Kai Harada, Cats: The Jellicle Ball

Kai Harada, Ragtime

Adam Fisher, The Lost Boys

Brian Ronan, Richard O’Brien’s The Rocky Horror Show

Walter Trarbach, Schmigadoon!

Best Direction of a Play

Nicholas Hytner, Giant

Robert Icke, Oedipus

Kenny Leon, The Balusters

Joe Mantello, Arthur Miller’s Death of a Salesman

Whitney White, Liberation

Best Direction of a Musical

Michael Arden, The Lost Boys

Lear deBessonet, Ragtime

Christopher Gattelli, Schmigadoon!

Tim Jackson, Two Strangers (Carry a Cake Across New York)

Zhailon Levingston and Bill Rauch, Cats: The Jellicle Ball

Best Choreography

Christopher Gattelli, Schmigadoon!

Ellenore Scott, Ragtime

Ani Taj, Richard O’Brien’s The Rocky Horror Show

Omari Wiles and Arturo Lyons, Cats: The Jellicle Ball

Lauren Yalango-Grant and Christopher Cree Grant, The Lost Boys

Best Orchestrations

Doug Besterman and Mike Morris, Schmigadoon!

Ethan Popp, Kyler England, Adrianne “AG” Gonzalez and Gabriel Mann, The Lost Boys

Lux Pyramid, Two Strangers (Carry a Cake Across New York)

Brian Usifer, Chess

Andrew Lloyd Webber, David Wilson, Trevor Holder and Doug Schadt, Cats: The Jellicle Ball

Tony Wins By Production

Arthur Miller’s Death of a Salesman - 6

The Lost Boys - 4

Ragtime - 4

Schmigadoon! - 4

Cats: The Jellicle Ball - 3

Fallen Angels - 1

Giant - 1

Liberation - 1

Oedipus - 1

Becky Shaw - 1

Richard O’Brien’s The Rocky Horror Show

Two Strangers (Carry a Cake Across New York)

August Wilson’s Joe Turner’s Come and Gone

The Balusters

Chess

Bug

Titaníque

Dog Day Afternoon

Every Brilliant Thing

The Fear of 13

Marjorie Prime

Little Bear Ridge Road

Punch

Waiting for Godot

Critic’s Notebook: INDIAN PRINCESSES + GIRL, INTERRUPTED
Joey Sims
June 5, 2026

Senior Critic Joey Sims has been busy around town catching the latest of what Off-Broadway has to offer. His thoughts below:

INDIAN PRINCESSES

In a forthright letter slipped inside the playbill for Indian Princesses, playwright Eliana Theologides Rodriguez acknowledges the harmful and offensive origins of her new play’s title—while also contextualizing that title within her own history with the unfortunate YMCA program. 

“Though the mission of the program is wholesome––helping fathers and children bond through earthy adventures and community-building––its reality is a complete bastardization of Native American culture,” Rodriguez writes. While she does not identify as Native, Rodriguez notes that her own tribal heritage was lost in past generations due to forced assimilation. 

“I do not know a word of my ancestors’ languages,” the playwright adds. “But I remember every word of our 2008 [camp] tribal chant.” 

Rodriguez’s thorny choice of setting—one that raises questions around identity, colonialism and inherited trauma—offers more than enough material for one play. But in this messy and overstuffed new work, now at Atlantic Theater Company through June 7, the legacy of that now-renamed program is just one of many overlapping concerns. 

This ambitious work follows five girls of color taking the “Indian Princesses” program with their hapless white fathers, all of whom struggle to communicate around race with their daughters. Some supernatural themes slip in along the way, along with thoughtful reflections on grief, toxic masculinity and the messy bonds formed between young girls. 

Juggling an array of locations and thematic concerns, director Miranda Cornell can’t find a center. Honoring each girl’s distinct questions around race and inherited culture makes for an ungainly if occasionally moving work. Native culture is ultimately an afterthought, which leaves the play’s premise feeling awkwardly opportunistic. 

But in quiet moments between fathers and daughters, Rodriguez does hit on occasional flashes of transcendence, suggesting an exciting new voice ready to tackle big ideas. 

———

GIRL, INTERRUPTED

The gentleness of new musical Girl, Interrupted comes as a welcome surprise. Susanna Kaysen’s 1993 memoir, recounting her time in a psychiatric hospital, was previously spiced-up for its 1999 film adaptation with a number of dramatic embellishments. It’s a gripping film, but not the most sensitive exploration of mental health. 

For this gorgeously conceived stage adaptation scored by singer-songwriter Aimee Mann, book writer Martyna Majok has taken quite the opposite tack. Her text keeps us firmly grounded in Susanna’s perspective, as a tremendous Julianna Canfield narrates directly to the audience with a haunted detachment. In director Jo Bonney’s tender production, Susanna’s time at McLean Hospital is given a dreamlike quality, while the psychological struggles of Susanna and other girls are treated with careful nuance. 

__wf_reserved_inherit
Girl, Interrupted | Photo: Joan Marcus

Certainly, this approach runs a risk of sucking the emotional intensity out of the proceedings. But a soft touch is not the same as looking away. Majok’s adaptation confronts the systemic failures of the system in which these women are trapped with clear-eyed forthrightness, while Bonney ensures their depths of despair are always simmering under the surface—and, very occasionally, boil up without warning. But overall, this creative team is extending a moving sort of kindness to its audience. The pain can be understood without being inflicted again. 

Still, I did long for a bit more emotional variance in Mann’s score. The composer sticks almost entirely to her signature melancholy style, providing serene tunes with an aching soul. The music is beautiful, and blends seamlessly with Majok’s book. But in Susanna’s darkest moments, a harsher sound perhaps is called for, yet never arrives.  

Critic’s Notebook: INDIAN PRINCESSES + GIRL, INTERRUPTED
Joey Sims
June 5, 2026

Senior Critic Joey Sims has been busy around town catching the latest of what Off-Broadway has to offer. His thoughts below:

INDIAN PRINCESSES

In a forthright letter slipped inside the playbill for Indian Princesses, playwright Eliana Theologides Rodriguez acknowledges the harmful and offensive origins of her new play’s title—while also contextualizing that title within her own history with the unfortunate YMCA program. 

“Though the mission of the program is wholesome––helping fathers and children bond through earthy adventures and community-building––its reality is a complete bastardization of Native American culture,” Rodriguez writes. While she does not identify as Native, Rodriguez notes that her own tribal heritage was lost in past generations due to forced assimilation. 

“I do not know a word of my ancestors’ languages,” the playwright adds. “But I remember every word of our 2008 [camp] tribal chant.” 

Rodriguez’s thorny choice of setting—one that raises questions around identity, colonialism and inherited trauma—offers more than enough material for one play. But in this messy and overstuffed new work, now at Atlantic Theater Company through June 7, the legacy of that now-renamed program is just one of many overlapping concerns. 

This ambitious work follows five girls of color taking the “Indian Princesses” program with their hapless white fathers, all of whom struggle to communicate around race with their daughters. Some supernatural themes slip in along the way, along with thoughtful reflections on grief, toxic masculinity and the messy bonds formed between young girls. 

Juggling an array of locations and thematic concerns, director Miranda Cornell can’t find a center. Honoring each girl’s distinct questions around race and inherited culture makes for an ungainly if occasionally moving work. Native culture is ultimately an afterthought, which leaves the play’s premise feeling awkwardly opportunistic. 

But in quiet moments between fathers and daughters, Rodriguez does hit on occasional flashes of transcendence, suggesting an exciting new voice ready to tackle big ideas. 

———

GIRL, INTERRUPTED

The gentleness of new musical Girl, Interrupted comes as a welcome surprise. Susanna Kaysen’s 1993 memoir, recounting her time in a psychiatric hospital, was previously spiced-up for its 1999 film adaptation with a number of dramatic embellishments. It’s a gripping film, but not the most sensitive exploration of mental health. 

For this gorgeously conceived stage adaptation scored by singer-songwriter Aimee Mann, book writer Martyna Majok has taken quite the opposite tack. Her text keeps us firmly grounded in Susanna’s perspective, as a tremendous Julianna Canfield narrates directly to the audience with a haunted detachment. In director Jo Bonney’s tender production, Susanna’s time at McLean Hospital is given a dreamlike quality, while the psychological struggles of Susanna and other girls are treated with careful nuance. 

__wf_reserved_inherit
Girl, Interrupted | Photo: Joan Marcus

Certainly, this approach runs a risk of sucking the emotional intensity out of the proceedings. But a soft touch is not the same as looking away. Majok’s adaptation confronts the systemic failures of the system in which these women are trapped with clear-eyed forthrightness, while Bonney ensures their depths of despair are always simmering under the surface—and, very occasionally, boil up without warning. But overall, this creative team is extending a moving sort of kindness to its audience. The pain can be understood without being inflicted again. 

Still, I did long for a bit more emotional variance in Mann’s score. The composer sticks almost entirely to her signature melancholy style, providing serene tunes with an aching soul. The music is beautiful, and blends seamlessly with Majok’s book. But in Susanna’s darkest moments, a harsher sound perhaps is called for, yet never arrives.  

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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