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Sponsors

Donors

Tributes

Performers

Kathryn Huettel

*

Lark

Megan Phillips

*

Anhedonia

Angelina Samreny

*

Stage Directions

Setting

In a chapel in the middle of the desert, two girls meet for the first time in years. Together, they must grapple with their beliefs, an act of forgiveness, and the thought of an existence beyond the violence that has forged them.

There will be a talk-back immediately following the reading led by the Director, Anthony Gervais.

Songs & Scenes

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Production Staff

Director

Anthony Gervais

Associate Artistic Director

Ashley White

Venue Staff

School Administration Staff

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Musicians

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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

Thank you to our Fresh Ink partner, Creative Pinellas!

*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.

Meet the Cast

Kathryn Huettel

*

Lark

(

)

(

)

Pronouns:

she/her

Kathryn Huettel (she/her/hers) is a graduate of St Leo University with a degree in Theater Studies. She has been seen on stage in performances such as The Lightning Thief: The Percy Jackson Musical as Annabeth Chase (ThinkTank), The 25th Annual Putnam County Spelling Bee as Marcy Park (Stageworks), The Wolves as #25 (ThinkTank), The Day You Begin school tour as Min (American Stage), Twelfth Night as Fabian (Jobsite), and more. She also loves crafting accessories and decor from recycled materials like plastic bags and magazine paper. Recently, she has been professionally voice acting for childrens’ podcasts on Gokidgo.com and comic dubbing on YouTube. Kathryn is super excited to have the pleasure of performing a new and upcoming piece!

Megan Phillips

*

Anhedonia

(

)

(

)

Pronouns:

she/her

Megan is excited to make her acting debut at American stage! Last year you could catch her as the stage craft fellow at American stage. Currently she is attending the University of South Florida working to achieve her bachelors degree as a theatre performance major. She would like to thank family and friends for supporting her.

Angelina Samreny

*

Stage Directions

(

)

(

)

Pronouns:

she/her

Angelina Samreny is excited to be working again with American Stage as the Stage Directions Reader of “Bonefruit”. Angelina was part of American Stage’s Lift Every Voice: New Play Festival 2024, and prior to that, could be seen as the Serpent in American Stage’s production of The Diaries of Adam & Eve. Angelina is a classically trained vocalist whose performance experience includes: In the Heights (ensemble); The Hunchback of Notre Dame (ensemble); The Little Mermaid (Andrina/Mer-Sister); Moises el Musical (Egyptian handmaid/ensemble), and various Spanish Zarzuelas (operettas) with Spanish Lyric Theatre. Angelina has also sung with the Master Chorale of Tampa Bay and in the Assisi Performing Arts Festival in Italy. Angelina is an Ecuadorean, Italian, Lebanese American who speaks Spanish and basic Italian. Angelina was raised traveling the world with a military family with strong storytelling traditions. When she’s not acting, she can be found working as an immigration paralegal, regularly performing as a vocalist, or gardening.

Meet the Team

Anthony Gervais

*

Director

(

)

Pronouns:

he/him

Anthony Gervais is a St. Pete native actor, director, and writer. Most recently, he directed a production of Every Brilliant Thing, which first played at The Studio@620 and was then re-mounted by The Off-Central Players. Other credits include The Last Five Years (Off-Central), Forsythian Dweller’s Club (Bittersweet Arts Company), and The Joy of Life (New Ground Theatre), which he also wrote and devised with his cast. As an actor, he was last seen at American Stage in White Rabbit Red Rabbit and as Harry Houdini in Ragtime. Anthony is an artist in residence at The Studio@620, and proudly holds a BFA from The Boston Conservatory. Love and thanks to his family, Dylan, and Lara.

Leah Plante-Wiener

*

Playwright

(

)

Pronouns:

Originally from Montreal, Canada, Leah is a New York-based playwright and performer currently pursuing her MFA in playwriting at Columbia University. Showings of Leah’s work include Bonefruit at The Tank, the Samuel French Off Off Broadway Short Play Festival, and Playwrights Horizons Theatre School; Process Play at 938 Collective; Clothmommy, Wiremommy at Columbia University; and Tilly Birdbones at The Road Theatre’s Summer Playwrights Festival. Leah’s work has also been produced through Soho Playhouse, the Chain Theatre, SUNY Purchase, Round the Bend, We Who Wander, and the Broke People Play Festival. Upcoming projects include Warm Science (The Brick, ?! New Works Festival), Gutbelly (Columbia University) and a reading of Bonefruit (American Stage, Fresh Ink). Leah is a fan of the absurd and the unpleasant. BFA: NYU Tisch.

Media

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2021 National Touring Cast

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Beth Leavel, Matt Doyle, Kevin Chamberlin to Star in World Premier of WHEN PLAYWRIGHTS KILL in Boston

Emily Wyrwa

January 15, 2026

Boston’s about to get deadly. Tony Award winners Beth Leavel, Matt Doyle, and Marissa Jaret Winokur will take the stage alongside Kevin Chamberlin, Adam Heller, and Tomás Matos in the world premier production of When Playwrights Kill at Boston’s Huntington Theatre this April. The play will run for a strictly limited engagement from April 3 to 18, 2026.

When Playwrights Kill is written by Matthew Lombardo and will be directed by Noah Himmelstein. It tells the story of aspiring playwright Jack Hawkins, played by Doyle, who is on the verge of Broadway glory. His dreams are dashed when he’s forced to hire Brooke Remington, a notoriously difficult diva played by Leavel, as she derails his play’s out of town tryout in Boston. The director, played by Chamberlin, is in a frenzy as he attempts to keep Brooke Remington and Jack Hawkins from killing each other (literally).

Adam Heller will portray Freddie Carlton, a down-on-his-luck producer determined to resurrect his career at any cost. Marissa Jaret Winokur appears as Liz Jennings, the unruffled production stage manager trying valiantly to impose order to the chaos while Tomás Matos plays Tobias Deschanel, a fabulous felon who inexplicably lands the job as the diva’s prompter.

Further casting and creative team will be announced soon. When Playwrights Kill is produced by Naughty Playwright, LLC, Bryan McCaffrey, Laura Z. Barket, Alan Seales, Raymond Esposito, Amy Wen, and Jason and Kira Turchin. General Management is BPM Theatrical. Casting by Nick Peciaro, CSA.

When Playwrights Kill plays at The Huntington Theatre on Huntington Avenue in Boston from April 3 to 18, 2026. For tickets and more information, visit here.

HELL’S KITCHEN To End Run On Broadway

Alan Koolik

January 15, 2026

Today it was announced that Hell’s Kitchen will end its run on Broadway after nearly two years on Sunday, February 22, 2026. Original company member and Tony nominee Brandon Victor Dixon will return to the role of Davis beginning Tuesday, January 27, 2026 through the remainder of the run.

The musical made its world premiere on October 24, 2023 down at The Public Theater before moving uptown to the Shubert Theatre where it celebrated its opening night on April 20, 2024. The show went on to be nominated for 13 Tony nominations, and took home two for Maleah Joi Moon and Kecia Lewis.

Inspired by 17-time Grammy Award-winner Alicia Keys’ own experiences growing up in the Hell’s Kitchen neighborhood adjacent to the Broadway theatre district, Hell’s Kitchen centers a story, a sound and a community often underrepresented on the mainstream stage. Through the coming-of-age story of Ali, the musical celebrates the diversity of New York, the power of mentorship, the discovery of young talent and the power of community, with a cast and audiences reflective of the cultural makeup of the city it portrays.

The musical welcomed presidents, Supreme Court justices, cultural icons, decorated athletes and global superstars – and raised over $1.5 million for charity in partnership – while at the same time, launched new stars, celebrated legendary artists and reshaped Broadway’s cultural landscape throughout its extraordinary run, as it continues to travel around the country in a multi-year national tour and will go on to launch international productions in South Korea, Germany and Australia.

Ariana Grande and Jonathan Bailey Will Star In New Revival Of SUNDAY IN THE PARK WITH GEORGE In London Next Year

Kobi Kassal

January 14, 2026

Oh what a celebration we’ll have today! It was announced that Jonathan Bailey and Ariana Grande will team up again following Wicked for a new stage production of Stephen Sondheim’s Sunday in the Park with George. Performances will begin at the Barbican Centre in London during Summer 2027.

Directed by Marianne Elliot, this new production of Sondheim and James Lapine’s epic work will be designed by Tom Scutt.

More information regarding the production and casting will be announced at a later date.

Tickets for the season at the Barbican will go on sale in May 2026 and will only be sold via the official Barbican website and box office. To be the first to hear details and all further information about the production, sign-up at www.sundayintheparkmusical.com.

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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