Grantors

Donors

We are so grateful to the many donors and sponsors that make it possible for us to create high-quality, live theatrical programming for the greater Tuscaloosa community. We couldn't do it without YOU! Making a tax deductible donation to Theatre Tuscaloosa is easy. To learn more about our giving levels and benefits, visit https://www.theatretusc.com/sponsorships or call us at 205.391.2277.

Donors

Super Star

$10,000+

Claire Friday

Executive Producer

$2,500-$4,999

Butch & Karen Chandler

Kathy Grissom

David Lewis & Penny Miller

Dianne & Bill Teague

Producer's Circle

$1,000-$2,499

David & Gabrielle Cruz-Uribe

Dr. Trudier Harris

Kathryn Hornsby

Drs. Ralph and April Lane

Paul & Susan Looney

Drs. Jamie & Keisha Lowther

Drs. Linda and Terry Olivet

Kim C. Palm

Annette Pickett

Judi Rabel

Janice and Grier Stewart

Dr. John Walker

Dennis & Carolyn Dahl

Jim Jolly

Director's Circle

$500-$999

Anonymous

Kimberly Bailey

DeAlva Blocker

Ms. Donna Boles

Sissie Browning

Drs. Bob and Peggy Collins

Rush H. Crawford

Vickie & Mike Davis

Mike and Annie Ellis

Roger Frost

Donald and Brenda Garner

Dr. Phil and Linda Grote

Amna & Devin Handley

Beverly A. Kissinger

Bradley Logan

John & Virginia McMoy

Virginia L. McPhearson

Charles and Hattie Nash

Ronald Patterson

Mary & William Petty

Rev. Paul and Angie Pradat

Sandra Hall Ray

J Robinson Strategic Sourcing

Kelsey & Richard Rush

Brenda & Sonny Ryan

Dr. & Mrs. Roger Sayers

Dianna & David Shaw

Carole W. Smith

George & Jenny Thagard

Drs. Ross and Julie Vaughn

Susan GA Warner

Rick and Tricia White

John M Wiest

Designer's Circle

$250-$499

Susan Benke

Sandra & Ralph Besnoy

Kenyatta Browne

Anna Gann

In Memory of Jane "Gigi" Gillock

Will Grimsley

Mac E. Hackney III

Lynn Hamric

Madeleine M. Hill

Mr. and Mrs. Wayne Hutton

Casey and Joseph Johnson

Anika Lodree, Ph.D.

Camille Mendle

Jim and Kathy Merrell

Dr. & Mrs. Robert Pieroni

Leslie Poss

Carol Prickett

Roger & Sandra Reed

Stars

$100-$249

Anonymous x5

Marlene Barnett

Alan & Glinda Blackshear

The Bonneville Family

Sarah Kay Bridges

Glenna Brown

Robert Byrd

Georgia Cannon

Ramona Caponegro

Ken and Pam Cottingham

Dr. and Mrs. W Donald Crump

Penny Davis

Dr. Joanne and Mr. James Davis

Rita Doughty

Nicole DuBose

Susan Duff-Koniak

Nancy Dupree

Gerald and Jane Eure

J. Fiveash

Grace M. Gilchrist

Lynn Gregory

Peggy Hamner

Jackie Harover

Phyllis and Tom Henderson

Bobby Ray Hicks

Jim & Carolyn Hill

Frank & Sheila Hilleke

Patricia Jessup

Talia Johnson

Joy and Bobby Jones

Guil Kicker

Ann B. Larson

Reita Mann

Louise Manos

Babs McCurley

Nancy McDaniel

Lyndell & LeNa McDonald

Phillip & Brenda Morris

McKittrick H. Moss

Linda Parsons

Carroll & Scott Phelps

Lee and Betty Pike

Leslie Poss

Jim and Gerrie Roberts

Dr. and Mrs. Rick Rogers

Carol Schladerbach

Carolyn Schmitt

Mrs. Al Sneckenberger

Richard M. Snow

Judy Spadoni

Debra & James Steadman

Renae & Timothy Summerlin

In Memory of Sherry Thompson

Kristi Thomson

Andrea Watson

Ann Weeden

David and Libby Williams

Steve & Sharon Wilson

Gary Wise

Laura and Ben Woolf

Denise Yanaura

Carver DeWitt & Palm In memory of Warren Spruill

Ensemble

$25-$99

Anonymous X 2

Meg Copeland

Nahree Doh

Rona Donahoe

David Hardy

Harley Sabbagh Kelley

Suzanne Koski

Easty Lambert-Brown

Sandra Sayer Lary

Joanne & Robert Lukasik

Gary & Melissa Medders

David & Tina Miller

Carol Naylor

Lois Palecek

Andy & Minda Paxton

Charles Ross

Helen Spradley

Mr. and Mrs. Roy Thrash Jr.

Supporters of Community Karaoke

Tributes

Performers

Jackson Blankenship

Boy

Averie Bonneville

Mrs. Bumbrake

Chloe Canterbury

Mack

Margaret Carr

Smee

Joshua DeBell

Alf

Donald Falls II

Captain Robert Falcon Scott

Heather Gann

Grempkin

Lilly Grantham

Ensemble

Michael Green, Jr.

Prentiss

Bailee Henderson

Molly Aster

Glen Johnson

Fighting Prawn

Bradley Logan

Lord Leonard Aster

Lizzie Lulue

Ensemble

Hilary Maddox

Teacher

Nicholas Vasilios Pappas

Black Stache

Colby Skinner

Ensemble

Meredith Vaughn

Hawking Clam

Hannah Wilks

Ensemble

Elana Woodall

Sanchez

Cade Woodward

Ted

Wescott Youngson

Bill Slank

Setting

Somewhere between England and Neverland.

There will be one 15-minute intermission.

Songs & Scenes

No items found.

Production Staff

Director

Molly Page

Musical Director

Nicholas Vasilios Pappas

Stage Manager

Amber Beck Burroughs

Costume Design

Jeanette Waterman

Scenic Design

Therrin J. Eber

Lighting Design

Alex Scott Thomas

Assistant Stage Managers

Ella Perkins Nate Kulbacki

Scene Shop Assistants

Kaylin Moden (SSCC Visual Art Student) Jesse Weaver (SSCC THR113 Student) Terry Olivet

Costume Shop Assistant

Amber Beck Burroughs

Sound Technician

Terai Bolden

Spotlight Operator

Garrett Burroughs

Assistant Scenic Design

Inji Ha

Venue Staff

School Administration Staff

Executive Producer

Michael Thomas Walker

Managing Director

Adam Miller

Resident Costumer

Jeanette Waterman

Technical Director

Wheeler Kincaid

Scene Shop Foreman

Patrick O'Sullivan

SSCC Theatre Program Coordinator

Molly Page

Artistic Director Emeritus

Paul K. Looney

Audience Services Manager

Sophie Webber

Management Office Staff

Angelique Ferguson Charles Prosser

Official Photographer

Porfirio Solórzano

Graphic Designer

Toya Carter

Musicians

Band Leader

Elijah Pugh

Keyboard

Amy Ashley

Bass

William Crawford

Percussion

Riley Parker

Board of Directors

President

Steven Yates, PhD

President-Elect

Ray Taylor

Secretary

Sontonia Stephens

Treasurer

William "Bill" Teague

Immediate Past President

Kim Palm

Board Members

Averie Bonneville Peggy Collins, PhD Rush Crawford David Cruz-Uribe, PhD Vickie Davis Nicole DuBose* Kathy Grissom Amna Khan Handley Amanda Ingram, PhD Jim Jolly Harley Sabbagh Kelley Jonathan Koh, PhD* Bradley Logan Paul Looney Keisha Lowther, MD Louise Manos Ronald Olivet, MD Rev. Paul Pradat Judi Rabel Kelsey Rush Cooper Shattuck Dianna Shaw William Teague

*Ex-officio

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

Theatre Tuscaloosa Staff and Board of Directors
Shelton State Community College Fine Arts Department Faculty
Morgan Windham and the SSCC Cosmetology Department
THR 113,131, and 281 students and Lizzie Lulue, Lilly Grantham, and Averie Bonneville
Brandon Vick

*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

This play (with music) challenges us to have faith. Faith to experience a story we know in a brand new way, faith to be “just a boy for a while.” Faith that with a little hope, a kooky cast of characters surrounding you, and a sprinkling of starstuff, even the most hopeless of stories can lead to….well, an awfully big adventure.

Peter and the Starcatcher is a play for storytellers. We welcome you to our bedtime story; and ask that, even for just a few moments, you allow yourself to become a part of its telling with us. Be it Sailor, or Lost Boy, or nattering Nana, or brave girl, or the most famous of Captains; we are Pan.

Don’t forget to crow,

Molly Page, Director

Prohibited: Video, Audio, and Photographic Recordings

The videotaping or making of electronic or other audio and/or visual recordings of this production and distributing recordings or streams in any medium, including the internet, is strictly prohibited, a violation of the author(s)'s rights and actionable under United States copyright law.

Reminders

Management Office Hours
Monday–Thursday 9 a.m.–3 p.m. Friday 9 a.m.–Noon
One hour before performances
24-Hour Online Sales: theatretusc.com

Exclusive Ticketing Partner:

Theatre Tuscaloosa's exclusive ticketing partner is AudienceView. For your security, always begin your online ticket purchase at our secure website: https://www.theatretusc.com or purchase by phone at 205.391.2277.

Seating Policies: All performances begin promptly. Every audience member must have a ticket before entering the theatre. Will-Call ticket holders are advised to arrive 30 minutes before show time. Cell phones must be silenced during performances. Babes in arms are not permitted in the theatre.

Ticket Exchanges: There are no refunds on single ticket sales or complimentary tickets. Exchanges on non-expired tickets may be done for a $2.00 per ticket fee. Arrange exchanges by calling the Management Office 24 hours before the performance of the original tickets. Expired tickets cannot be exchanged.

Late Seating: As a courtesy to our performers and all of our patrons, latecomers will be seated at the House Manager’s discretion in available seating in the back of the theatre until intermission. At intermission, regularly assigned seats may be taken.

Mailing List: Please leave your name, email, and address at the Management Office or click here to join online.

Advertising: Our playbills are read by a captive audience of thousands of people per production. To become an advertiser or corporate sponsor, visit the “Get Involved” section of theatretusc.com. You may also call 205.391.2277 or stop by the Management Office for more information.

Volunteers: Theatre Tuscaloosa needs your help! If you have a special talent or just want to help, we want to hear from you! Call the Management Office at 205.391.2277 or sign up on our website.

Gift Cards: To the person who has everything, give the gift of theatre—perfect for birthdays, anniversaries, holidays, etc. Call the Management Office at 205.391.2277 to learn more or purchase on our website.

Theatre Tuscaloosa is a proud member of:

Logos of various organizations: AACT, Alabama Conference of Theatre, Chamber of Commerce of West Alabama, and SETC.

Indigenous Land Statement

Theatre Tuscaloosa recognizes that our organization, infrastructure, and the larger Tuscaloosa community are built on Choctaw lands, while the surrounding region encompasses Creek territories as well.

The histories of many Native nations are deeply rooted in Alabama, while the present and future lives of our neighbors—including the Poarch Creek, Mississippi Choctaws, and other tribal communities—remain closely connected to this land. Theatre Tuscaloosa affirms its commitment to tell stories that reflect and preserve the experiences of all Alabamians, including Alabama’s indigenous people.

Created in consultation with Dr. Mairin Odle, Assistant Professor of American Studies, The University of Alabama

~Adopted by Board of Directors, October 2020

Meet the Cast

Jackson Blankenship

*

Boy

(

)

(

)

Pronouns:

He/Him

Jackson Blankenship is an actor and 3rd year student at the University of Alabama in the BFA Acting Program. Previous Credits include: U/S "William" (Desert Oceans) at UA Theatre and "Johnny Cade" (The Outsiders) at Crimson Stage.

Averie Bonneville

*

Mrs. Bumbrake

(

)

(

)

Pronouns:

she/her

Averie Bonneville is a recent graduate of Shelton State Community College. Past shows she's worked on as crew include stage managing Masterclass and Arsenic & Old Lace and assistant stage managing Erma Bombeck: At Wit's End with Theatre Tuscaloosa. She also has performed in several shows with Theatre Tuscaloosa, including the roles of Bev (Graceland), Marfa (Anastasia), Sister Mary Patrick (Sister Act), and Darlene (The Diviners). Averie is grateful to work with such a talented cast! She thanks her family for supporting her endeavors and Theatre Tuscaloosa for giving her the opportunities to work with such a wonderful company.

Chloe Canterbury

*

Mack

(

SSCC Student

)

(

SSCC Student

)

Pronouns:

Chloe Canterbury is so excited to be on stage in Peter and the Starcatcher! She is currently a freshman at Shelton State Community College. Most recently, she has appeared in Anastasia (Street Sweeper #2/Ensemble) and Antigone (Ismene) with Theatre Tuscaloosa and Shelton. When she's not on stage acting or singing, she's in the ring announcing wrestlers with New Era Wrestling in Parrish. Chloe thanks her friends and family for their unconditional support in all she does.

Margaret Carr

*

Smee

(

)

(

)

Pronouns:

Margaret Carr has been in the Tuscaloosa theatre community her whole life. Past Theatre Tuscaloosa credits include "Rizzo" (Grease), "Jada Giles" (Launch Day), "Evelyn Nesbit" (Ragtime) and "Ghost of Christmas Past" (A Christmas Carol). In her free time, Margaret likes to rewatch Bob’s Burgers, play with her kitty cats, and play video games with her friends. She would like to thank her brother, Wilson, who taught her that it’s okay to be silly.

Joshua DeBell

*

Alf

(

)

(

)

Pronouns:

Joshua is very excited that his first show with Theatre Tuscaloosa is Peter and the Starcatcher since it is one of his all-time favorite plays. He currently works as an archivist at the University of Alabama in Tuscaloosa, where he is processing Richard Shelby's papers.

Donald Falls II

*

Captain Robert Falcon Scott

(

SSCC Student

)

(

SSCC Student

)

Pronouns:

Donald Falls II is a communications student at SSCC. He is excited about performing this show and meeting new people. His past credits include “Ensemble” (A Christmas Story), “Sgt. Fogarty/Ensemble” (Chicago), and “Ensemble” (Anything Goes). He thanks his friends and family for their support.

Heather Gann

*

Grempkin

(

)

(

)

Pronouns:

Heather Gann holds a B.A. in News Media and Spanish from UA. She is excited to reunite with several familiar faces in this show and meet some new ones! Previous Theatre Tuscaloosa credits include "Officer O'Hara" (Arsenic & Old Lace) and "Haemon" (Antigone). With The Actor's Charitable Theatre, Heather has played "Ouiser" (Steel Magnolias, understudy cast) and “Joey Primo" (Rock of Ages). When she's not on stage, Heather works as a Breaking News Reporter for AL.com. She thanks Justin and Phil for being the greatest fan club a girl could ask for.

Lilly Grantham

*

Ensemble

(

)

(

)

Pronouns:

Lilly Grantham is excited to be back on stage with Theatre Tuscaloosa. Her last performance with Theatre Tuscaloosa was as "Juliana" (The Great Christmas Cookie Bake-off). When she isn’t acting, Lilly enjoys being involved with her choir and band programs at Echols Middle School.

Michael Green, Jr.

*

Prentiss

(

)

(

)

Pronouns:

Michael T. Green, Jr. is an 8th-grade student at Echols Middle School. He has been involved in theatre since 2022. Past Actor's Charitable Theatre credits include "Schwartz" (A Christmas Story) and "Ensemble" (Beetlejuice). With Tuscaloosa Children's Theatre, Michael played "The Mayor of Munchkin City/Jitterbug" (The Wizard of Oz Youth Edition), "Chum/Sea Chorus" (Finding Nemo Jr.), and "Tommy" (Matilda Jr.). With Theatre Tuscaloosa, he recently appeared in Scrooge. Michael thanks his family for their love and support.

Bailee Henderson

*

Molly Aster

(

)

(

)

Pronouns:

Bailee Henderson is a freshman at UA majoring in Public Relations and Theatre (BFA Acting Program) from Cullman, AL. She has loved performing since she was a little girl including 11 years of dance, being an active member of Cullman High School Fine Arts, interning at Heirlooms Fine and Performing Arts, and being a ventriloquist. She has competed at various theatre competitions, winning several theatre awards and honors including Best Supporting Actress at state during her junior year of high school. She has performed at the Southeastern Theatre Conference and the International Thespian Festival. Previous favorite roles include: “Frenchie” (Grease), “Tracy” (Hairspray), “Winnie Foster” (Tuck Everlasting), and “Liesl” (Sound of Music). Besides participating in theatrical activities, Bailee is a member of the Alpha Zeta chapter of Phi Mu. She thanks her family for always believing in her and her best friends/sorority sisters for their endless amounts of love and support.

Glen Johnson

*

Fighting Prawn

(

Theatre Tuscaloosa All Star Cast Member

)

(

Theatre Tuscaloosa All Star Cast Member

)

Pronouns:

Glen Johnson is delighted to be appearing again at the Bean-Brown Theatre. Recent performances with Theatre Tuscaloosa include Anastasia (“General Kalinksy” and four other characters) and Antigone (King Creon). He gives a special Tip-of-the Hat to his lovely wife of 43 years Kitty Johnson.

Bradley Logan

*

Lord Leonard Aster

(

)

(

)

Pronouns:

Bradley Logan is delighted to return to the Bean-Brown stage for this magical story of hope and imagination. A graduate of The University of Alabama with degrees in Interior Design and Marketing, Bradley serves as Director of Interior Design at Lathan McKee Architects in Hoover, AL.

Audiences may recognize him from past roles, including “Gleb Vaganov” (Anastasia), “Captain” (Anything Goes), “Stanford White/Conductor” (Ragtime 2017/2024), “Bobby DeWayne” (The Hallelujah Girls), “Bill Austin” (Mamma Mia!), “Fred” (A Christmas Carol), and “the Minstrel” (Once Upon a Mattress).

Professionally, Bradley is an award-winning designer whose work includes performing arts facilities such as Hoover High School Performing Arts Center and Benjamin Russell High School. His passion for both design and performance informs his creative approach, allowing him to bring storytelling and artistry to both stage and space.

Bradley sends his love to the heavens to his mom, and to his partner, Jason, the RGM, and the DadSquad.

Lizzie Lulue

*

Ensemble

(

)

(

)

Pronouns:

Lizzie Lulue is from New Orleans, Louisiana, and is no stranger to being on stage. She has been in various musical productions in the New Orleans area since 2018, her favorites being Joseph and the Technicolor Dreamcoat, Seussical Jr., Matilda Jr., and The Prom. Her favorite role was that of "Chimney Sweep" (Mary Poppins Jr.) She is a freshman at the University of Alabama majoring in communicative disorders. This is Lizzie's second role in Alabama having appeared in Scrooge, and she is looking forward to continuing to be a productive member of Theatre Tuscaloosa!

Hilary Maddox

*

Teacher

(

)

(

)

Pronouns:

Hilary Is a Tuscaloosa native and a double Gemini that loves baton twirling and naps. Hilary is excited to be working with this fabulous cast of pirates, sailors, and mermaids. Hilary’s most recent productions were Young Frankenstein and Rock of Ages with The ACT. This is Hilary’s first production with Shelton State, and she hopes to do many more in the future. When Hilary is not on stage, she is a manager for TJX Corporation in the Birmingham market. Hilary thanks her supportive friends that encouraged her to audition for this production and the production team that has made this a wonderful experience.

Nicholas Vasilios Pappas

*

Black Stache

(

Musical Director

)

(

Musical Director

)

Pronouns:

Nicholas Vasilios Pappas is a multi-hyphenate theatre artist based in Tuscaloosa. Recent acting credits include "Various" (Big River) with Virginia Samford Theatre, "Dance Teacher Pat" (Dance Nation) with Theatre Downtown, "Manny" (Master Class) with Theatre Tuscaloosa, and "Louis/Billy" (Sunday in the Park with George) with Terrific New Theatre. All thanks and love to Theresa, Michael, Sam, Stella, Harmony, and Asa.

Colby Skinner

*

Ensemble

(

)

(

)

Pronouns:

Colby Skinner is thrilled to be returning to the stage in Peter and the Starcatcher. While this marks his first production since 2015, Colby is delighted to rediscover his passion for performing with such a talented company. By day, he works as a Title Closer, but he has enjoyed trading the office for the high seas. He thanks the cast, crew, and his family for their incredible support during his return to the theater.

Meredith Vaughn

*

Hawking Clam

(

)

(

)

Pronouns:

Meredith is thrilled to be back on stage with Theatre Tuscaloosa! A BFA graduate from the University of Montevallo, her credits include: Narnia: the Musical (“Edmund,” Birmingham Children’s Theatre), Anastasia (“Anya Understudy,” Theatre Tuscaloosa), The Wizard of Oz (“Glinda/Wicked Witch”, Birmingham Children’s Theatre), Master Class (“Sophie,” Theatre Tuscaloosa), and Chitty Chitty Bang Bang (“Ensemble,” Virginia Samford Theatre). She thanks her family, friends, starcatchers, and rockstars alike for their constant love and support! You can catch up with her theatrical endeavors on Insta/TikTok: MerKatVau

Hannah Wilks

*

Ensemble

(

SSCC Student

)

(

SSCC Student

)

Pronouns:

Hannah Wilks is a student at Shelton State Community College on a theatre scholarship. While this is her debut on the Bean-Brown's stage, she has previously played "Miss Honey" (Matilda, Jr.) at Tuscaloosa Area School for the Performing Arts and "Sister Mary Robert" (Sister Act) at Bryant High School. Hannah has also participated in Trumbauer and Junior Thespian since she was in middle school. She thanks Molly Page and her fellow cast mates for this opportunity and her friends and family for their support.

Elana Woodall

*

Sanchez

(

)

(

)

Pronouns:

she/her

Elana Woodall is making her Theatre Tuscaloosa debut with this production! Previous credits include "Old Sally" (Oliver), "Vera" (Smoke on the Mountain), "Waitress #1" (Rock of Ages), and "Nun" (Sound of Music). Elana thanks her UA support system and lovely friends for always being here and encouraging her to "do hard things." She also thanks her cats, Leo and Tilly, for enduring multiple nights of impromptu living room performances in preparation for this production.

Cade Woodward

*

Ted

(

)

(

)

Pronouns:

Cade Woodward is thrilled to make his theatre debut in Peter and the Starcatcher. A SAG-AFTRA actor, his film credits include Salem’s Lot (Warner Bros.) as “Ralph Glick,” A Quiet Place (Paramount) as “Beau Abbott,” and Avengers: Endgame (Marvel) as “Nathaniel Barton.” His television credits include Hawkeye (Disney+) as “Nathaniel Barton,” Chicago Med (NBC) as “Henry Mitchell,” and FBI: International (CBS) as “David Milgrave.” Cade has trained since the age of five and loves bringing stories to life on both stage and screen. He is grateful for this opportunity and thanks his directors, castmates, and family for their constant support.

Wescott Youngson

*

Bill Slank

(

)

(

)

Pronouns:

Wescott is so happy to be part of this amazing production. Past credits include Anastasia (Ensemble), Antigone (“Messenger”), Best of Enemies (“C.P. Ellis”), Noises Off (“Selsdon”), and Christmas Belles (“Dub”). Thank you for supporting the arts in Tuscaloosa.

Meet the Team

Amber Beck Burroughs

*

Stage Manager

(

)

Pronouns:

Amber Beck Burroughs is a sophomore at Shelton State Community College studying medical social work. For the past year, she has served Theatre Tuscaloosa as a costume work study and previously served as stage manager for Shelton State Theatre Department’s Antigone. This is her first mainstage production as stage manager. Amber also served as a dresser for Alabama Story and an assistant stage manager for Scrooge. Amber thanks Garret Burroughs for all his love and support.

Therrin J. Eber

*

Scenic Designer

(

)

Pronouns:

He/Him

Therrin is excited about another season with Theatre Tuscaloosa! He is an award-winning, Birmingham, Alabama-based, scenic and lighting designer, an Assistant Professor, and the Head of Design and Technology at the University of Alabama at Birmingham Department of Theatre. Therrin holds an M.F.A. in theatre from The University of Alabama and a B.A from Purdue Fort Wayne. Some of his favorite past work from around the country includes Machinal (off-B’Way), Ragtime, Anything Goes, Anastasia (Theatre Tuscaloosa), Made For More (Magnificat), Sweeney Todd, The Drowsy Chaperone, and Little Women (UA), Pagliacci, Barber of Seville (Opera Louisiane), God of Carnage, Two Gentlemen of Verona, and Freaky Friday (UAB). When not working, he loves spending time in the kitchen making extravagant meals with his wife Sara, his doodles, Oliver Twist and Liza Minelli, and his cat, Bob Fosse. None of the animals do the cooking, though they have aspirations.

Molly Page

*

Director

(

)

Pronouns:

she/her

Molly Page is a multi-hyphenate theatre artist with over two decades of regional, educational and professional experience. She is the Theatre Program Coordinator for the Shelton State Fine Arts Department; where she teaches a variety of courses, recruits students, and in 2027 will direct SSCC students as they premiere an original work at the Edinburgh Fringe Festival as part of the International Collegiate Theatre Festival. She holds a BA in English from the University of Alabama and an MA in Theatre from Louisiana Tech. Molly was most recently seen on the Bean-Brown stage in Alabama Story (“Emily Wheelock Reed”) and Scrooge: The Musical (“Mrs. Cratchitt”). Regional credits include: Cat on Hot Tin Roof (“Maggie”), Much Ado About Nothing (“Beatrice”), Sense & Sensibility (“Elinor Dashwood”), and Peter and the Starcatcher (“Lord Leonard Aster”). She won the 2019 Bham Broadway World Award for Best Show for her direction of Theatre of Gadsden's record-breaking production of Annie. She is a former Fairy Godmother in Training with the Walt Disney Company. Molly thanks Roger for the love and support during "show season."

Dr. Elijah Pugh

*

Band Leader

(

)

Pronouns:

Dr. Pugh directs the Concert Ensemble and Jazz Ensemble at Shelton State Community College. Prior to his time at Shelton State he spent three years as Instructor of Upper Brass at Stillman College. Sought after as a pedagogue Dr. Pugh regularly presents masterclasses and clinics at universities throughout the southeastern United States. He also presents regularly at middle and high schools. He has also had the opportunity to present at several conferences including three times at the Trumpet Festival of the Southeast, The American College Trumpet Teacher’s Forum, and the National Association of Collegiate Wind and Percussion Instructors Conference.

Equally adept as a performer he regularly performs with the Tuscaloosa Symphony Orchestra, Theatre Tuscaloosa, The Tuscaloosa Big Band where he plays lead trumpet and serves as Assistant Music Director, and the Tuskaloosa Brass Quintet of which he is a founding member. Beyond Tuscaloosa, Dr. Pugh has performed with symphony orchestras on both the east and west coasts both as principal and as a section player. He has performed with popular music artists The Temptations, The Four Tops, India Arie, LeAnn Rimes, Tony! Toni! Toné, and others. His international credits include Canada, The Bahamas, Brazil, and Greece. Dr. Pugh can also be heard on several recordings including Bainbridge Island Symphony presents Peter and the Wolf, Forbes Plays Forbes, and the sound track for the film The Lost Captain. A lover of musical theater, he has performed for national Broadway tours and theater companies on both coasts including more than ten shows with Theatre Tuscaloosa.

Alex Scott Thomas

*

Lighting Design

(

)

Pronouns:

Alex Scott Thomas is a live production technician from Augusta, GA, who has recently moved to Tuscaloosa with his wife Avery Lewis. He is excited to design his first show here at Shelton State! Favorite lighting design credits include The Bacchae (August Univeristy 2024), Reflections of a Bathroom Mirror (AU 2024), Ruby: The Story of Ruby Bridges (Augusta Players 2025) and Beetlejuice (Augusta Players 2025). He has most recently designed lights, sound, set and composed an original score for Clue (Crimson Stage) and will be lighting designing / operating Madison Merkel’s original show Premium (UA) in the upcoming weeks.

Jeanette Waterman

*

Costume Designer

(

)

Pronouns:

Jeanette Waterman has served as the full-time costumer since 2000, having designed costumes for more than 90 productions. She is a native of Mobile who studied clothing and textile design at UA, and she has also costumed independent films and regularly assists local schools with their productions. Jeanette won the Outstanding Costumes award for her design of Launch Day, which was featured in the national American Association of Community Theatre Festival (AACTFest) in Louisville, KY, in 2023.

Toya Carter

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Graphic Designer

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Toya Carter is a graduate of Alabama State University (ASU) with a bachelor’s degree in graphic arts. Before returning to Shelton State as a media specialist, Toya gained experience in various positions working as a veteran affairs secretary, merchandise cast member, art gallery assistant, graphic designer, and a peace corps volunteer. In her personal time, Toya enjoys reading comic books, building homes, and spending time with family and friends.

Angelique Ferguson

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Management Office Work Study

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Pronouns:

She/her

Angelique holds an Associates of Arts in Acting for Camera and Film from the American Musical and Dramatic Academy. She is currently studying Business at Shelton State Community College. Past credits include "Dynamite Girl" and Ensemble (Hairspray) at Buzz Theatre in 2019 and "Mona Lipschitz" (Chicago) at Temple High School Theatre. Angelique thanks BarBara and Gerald Ferguson!

Wheeler Kincaid

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Technical Director

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Wheeler Kincaid is thrilled to be in his 16th season with Theatre Tuscaloosa as technical director after working in NYC as a designer and production manager in venues such as Classic Stage Company, Theatre Row Studios, 59 East 59 Theatres, New 42nd Street Studios, Minetta Lane Theatre, and The New York Musical Theatre Festival.

Adam M. Miller

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Managing Director

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Pronouns:

he/him

Adam M. Miller has been Theatre Tuscaloosa's managing director since 2010. He holds an M.F.A. in theatre management/arts administration from UA, having interned at the Alabama Shakespeare Festival. Previously, Adam was a Marketing Manager for the UA College of Continuing Studies and the Director of Marketing and PR for the LSU Theatre Department and their affiliated Equity theatre, Swine Palace Productions. In addition to overseeing the business operations of Theatre Tuscaloosa, Adam also enjoys acting and directing from time to time, having recently appeared as "Vlad Popov" in Anastasia. His accolades include a Druid City Arts Award (Theatre Educator 2015) and AAF Tuscaloosa's Silver Medal and Dan Kilgo Community Service Awards. He currently serves as the president of the Alabama Conference of Theatre. Adam thanks Paige, Kai, Quinn, Luc, and Luna, for their love and support.

Patrick O'Sullivan

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Scene Shop Foreman

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Patrick O’Sullivan grew up on California’s central coast and moved to Tuscaloosa in 2005. He received a B.F.A. in painting from UA and worked there as an arts technician in the department of art and art history for 10 years. He has also worked in landscaping, construction, and craft brewing. Patrick currently resides in Holt where he hosts occasional weekend concerts and dinners when the weather cooperates.

Charles A. Prosser

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Management Office Associate

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Pronouns:

he/him

Charles A. Prosser has been with Theatre Tuscaloosa since 1991. Onstage to backstage to front of house, Charles has had a 34-year run with Theatre Tuscaloosa. Some of Charles' favorite roles include "Carl Magnus" (A Little Night Music), "Edna" (Hairspray), "Benjamin Franklin" (1776), "Max Bialystock" (The Producers), and "Tevye" (Fiddler on the Roof). Charles is a retired secondary school teacher of 27 years. He's enjoyed both an amateur and a professional acting/directing career having worked with many organizations in and out of Alabama including the Oklahoma Shakesperean Festival. Charles was a professional actor and director there for five summer seasons.

Porfirio Solórzano

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Official Photographer

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Porfirio Solórzano, a Nicaraguan native, began his career in photojournalism in 1991 (New York Times Company). He worked at The Tuscaloosa News and left to set up his own freelance photography business, f8 Productions. Porfirio is Shelton State’s official photographer. His passion is readily apparent in his photographs.

Michael Thomas Walker

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Executive Producer

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Michael Thomas Walker is very excited to be joining the Theatre Tuscaloosa family. He has spent the last 11 years teaching acting and voice at the University of Montevallo and served as Chair of the theatre department for the past three years. He is a proud graduate from the University of Alabama, having received a BA in Theatre, and also holds an MFA in Acting from Rutgers University. Before that, Michael was working as an actor and director in NYC for over 13 years. He has worked at several Off-Broadway theatres, including Classic Stage Company, New Light Theater Project, Ensemble Studio Theatre, Jean Cocteau Repertory, and Boomerang Theatre Company. He has performed on national tours, including "Edna Turnblad"(Hairspray) and "Horton the Elephant" (Seussical the Musical). His film and television appearances include Boardwalk Empire, Dirty Little Secret, Now That’s Cute, and Non-Stop. Michael is a recipient of the Wildacres Playwriting Residency and was a finalist for the Edna St. Vincent Millay Colony Playwriting Residency. His interview-based solo show, BUBBA, received the Best Variety Show Award in the United Solo Festival, Best Solo Performance Award for the Planet Connections Festival, and was performed on NPR’s Tales From The South. He is a co-author of the play Canfield Drive, which received its world premiere production at The Black Repertory Theatre in St. Louis in 2019 and was also presented at the National Black Theatre Festival. He has also co-created the devised plays Septic and A Buzz in the Bankhead. He recently performed at Red Mountain Theatre in Birmingham, AL, as a part of their Human Rights Festival, helping to develop the new musicals Bar Mitzvah in Birmingham by Nissim Black and Ben Andron and She Reached for Heaven by Oliver Houser.

Sophie Webber

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Audience Services Manager

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Pronouns:

Sophia Webber is very excited to step into the role of Theatre Tuscaloosa’s Audience Services Manager. She is thrilled to combine her passion for the arts with her love of serving the community, whether it’s enhancing patron experiences, fostering donor relationships, or delivering exceptional customer care. She has led the annual Lights, Camera, Auction! fundraiser since 2023 and is a member of the Theatre Tuscaloosa hospitality committee. Sophie holds her bachelor's degree in general business administration with a minor in management from The University of Alabama, applying her skills to arts administration. She thanks her Mom, sisters, Max, and Melissa for their love and support.

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"I'm Overwhelmed with Gratitude" The 2026 Tony Nominees React To Their Nominations

Theatrely Staff

May 5, 2026

This morning was a very exciting moment for the theatre industry as the 2026 Tony Award Nominations were announced. Below, see live reactions from the various 2026 Nominees. Keep checking back throughout the day as we update the below.

"I am grateful to be counted among such luminaries as my friend Kelli O’Hara, the truly gifted Rose Byrne, an astonishing Susannah Flood, and the legendary Leslie Manville. I’m also thrilled for my BUG design team, who made a difficult job look deceptively simple." Carrie Coon, nominated for Best Performance by an Actress in a Leading Role in a Play for BUG.

“I think it most appropriate to quote from the song, ‘My legs may be tottery. I must go slow, and be careful of Old Deuteronomy.’” André De Shields, nominated for Best Featured Actor in a Musical for CATS: The Jellicle Ball

"My heart is pounding, pouring over with gratitude. Thank you to the Tony Committee for this humbling recognition. Returning to Broadway has been so artistically fulfilling and it moves me deeply to be witnessed and celebrated by the community. Gosh, I love the theater and I love being in The Rocky Horror Show in the limitless sandbox that Sam Pinkleton has cultivated. It is a gift to unleash Janet Weiss night after night. I can’t wait to keep sharing her with you." Stephanie Hsu, nominated for Best Performance by a Lead Actress for The Rocky Horror Show.

"This is a bit of a moment for me. To be recognised in this way by such an esteemed body is as good as it gets. I couldn’t be prouder of Oedipus and the remarkable team I got to navigate this highly complex play with 8 times a week, most notably the magnificent Mark Strong." Leslie Manville, nominated for Best Performance by an Actress in a Leading Role in a Play for Oedipus.

"What a sweet, thrilling surprise! I'm humbled and happy to be in the company of these wonderful actors in my category. And I can't wait to celebrate tonight by playing this beautiful play with such a superb company. Wow." Richard Thomas, nominated for Best Performance by an Actor in a Featured Role in a Play for The Balusters.

"I’m beyond honored to have The Balusters included among this year’s Tony nominees—especially in a season with so many bold, beautiful new plays. The nomination is really a testament to the remarkable artists who brought the play to life—our astonishing director, Kenny Leon, our extraordinary ensemble of actors, our brilliant designers, and the tireless crew, along with everyone at MTC. I’m so grateful to get to make theater and be part of a community that continues to sustain and inspire me in so many ways." David Lindsay-Abaire, nominated for Best Play for The Balusters

"I am overwhelmed with gratitude for this honor. To be working in the theatre, let alone on Broadway, has been my dream since I transformed my grandparents' garage into a stage as a kid. More important than the personal honor is the deep sense of pride I have for my fellow collaborators who poured their souls into the monumental undertaking that is The Lost Boys. They are all my heroes and I am so grateful for the selflessness, rigor, and passion they brought to work every day. Congrats to all the nominees and all the countless artists and technicians who make every show possible and who continue to delight and inspire audiences 8 times a week on Broadway." - Michael Arden, nominated for Best Direction of a Musical and Best Lighting Design of a Musical.

"The Lost Boys was as much of a thrill ride to make as it is onstage. I am incredibly honored to be nominated amongst the best designers working on Broadway and as part of a creative team that was recognized across the board for this biggest of swings." Dane Laffrey, nominated for Best Scenic Design of a Musical for The Lost Boys.

“What fantastic news to wake up to. I was working out, not watching it directly, but I got a text. I’m grateful to the American Theatre Wing and the Broadway League. Congrats to all of the other nominees, what a spectacular group. My deepest thanks Scott Ellis and everyone at Roundabout. Scott is the most amazing leader, and he created the opportunity to bring this Noël Coward world to stage. And congratulations to Kelli, Rose, and Jeff Mahshie and everyone else involved. This is a total total thrill.” David Rockwell, nominated for Best Scenic Design of a Play for Fallen Angels

"I’m beyond excited to be nominated alongside the most daring collaborators. The Lost Boys took a big, fearless leap, and getting to take that jump with my collaborators is something that I will never forget. I am indebted to and so proud of the greatest lighting team on Broadway!" Jen Schriever, nominated for Best Lighting Design of a Musical for The Lost Boy

“I’m completely over the moon to be nominated for my work on Oedipus which was redesigned for New York after the initial London run. It was, and always is, a pleasure to be welcomed by the Broadway community.” Natasha Chivers, nominated for Best Lighting Design of a Play for Oedipus

“I’m currently on New Jersey Transit to Penn Station to go observe a brain surgery to research a television show I’m filming, but I think they are going to have to put me on an operating table because I cannot comprehend this news. I first heard from my manager David Williams and then my phone just started blowing up. I’m just trying to take it all in. Before David called, my phone sent me a notification about a memory from a year ago where my family was all gathered for my father’s funeral. And it’s so apropos because my dad has been with me this entire process and I just think about him and how supportive he was my entire life. And how I would have loved to have shared this with him in person. But I know I get to share it with him now and every day moving forward. Thank you, dad. Thank you Crystal, my wife, and Chase my son. And all of the Waiting for Godot team, Alex, Keanu, Michael, Zayn, Eric, and Jamie Lloyd, our director, our stage management team, the designers, and especially the crew at the Hudson Theatre who made it a joy to come to work every day. It’s really clarifying how many people it takes to arrive at a singular moment in your life, but it is just a really profound honor to represent everyone who worked so hard on the show and bringing it to the audiences. Here we go!” Brandon J. Dirden, nominated for Best Featured Actor in a Play for Waiting for Godot.

"I'm Overwhelmed with Gratitude" The 2026 Tony Nominees React To Their Nominations

Theatrely Staff

May 5, 2026

"I'm Overwhelmed with Gratitude" The 2026 Tony Nominees React To Their Nominations

Theatrely Staff

May 5, 2026

Theatrely News

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

Theatrely News

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

Theatrely News

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

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

By: Maia Penzer

14 July 2023

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

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

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

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

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

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

By: Kobi Kassal

29 May 2023

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

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

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

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

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

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

Yeah, right.

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

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

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

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

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

Sure enough, no tip.

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

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

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

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

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

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

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

“Could you be bothered to serve us?”

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

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

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

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

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

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

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

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

“Pickup order?” I ask.

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

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

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

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

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

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

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

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

By: Kaitlyn Riggio

5 July 2022

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

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

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

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

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

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

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

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

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

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

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

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

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

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