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

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

Sandra Hall Ray

J Robinson Strategic Sourcing

Kelsey & Richard Rush

Dr. & Mrs. Roger Sayers

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

Dr. & Mrs. Robert Pieroni

Leslie Poss

Carol Prickett

Roger & Sandra Reed

Stars

$100-$249

Anonymous x4

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

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

Talia Johnson

Joy and Bobby Jones

Guil Kicker

Ann B. Larson

Reita Mann

Louise Manos

Babs McCurley

Nancy McDaniel

Phillip & Brenda Morris

McKittrick H. Moss

Linda Parsons

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

Rona Donahoe

David Hardy

Suzanne Koski

Easty Lambert-Brown

Sandra Sayer Lary

Joanne & Robert Lukasik

Gary & Melissa Medders

David & Tina Miller

Carol Naylor

Lois Palecek

Andy & Minda Paxton

Helen Spradley

Mr. and Mrs. Roy Thrash Jr.

Supporters of Community Karaoke

Tributes

Performers

Sophia Marie Allen

Lily Whitfield

Colton Crowe

Thomas Franklin

Jordan A. Hall

Joshua Moore

James McGahey

Bobby Crone

Molly Page

Emily Wheelock Reed

Charles A. Prosser

Senator E.W. Higgins

Jeff Terrell

Garth Williams

Steven Yates

Herschel Webb & Henry Branch

Setting

Montgomery, Alabama, 1959

There will be one 15-minute intermission.

Songs & Scenes

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Production Staff

Director

Kenyatta "YaYa" Browne

Stage Manager

Averie Bonneville

Costume Design

Jeanette Waterman

Scenic Design

Therrin J. Eber

Lighting Design

Lyndell T. McDonald

Sound Design

Jonathan Proctor

Props Design

Katy-Mei Williams

Assistant Stage Manager

Katy-Mei Williams

Sound Board Operator

Terai Bolden

Master Electrician

Jonathan Proctor

Scene Shop Assistants

Terry Olivet Jonathan Proctor LaTrina Williams

Dressers

Amber Beck Kim Palm

Wardrobe Assistant

Colleen Barkey

Costume Shop Assistants

Amber Beck THR113-Theatre Workshop Students

House Managers

Dora Alexander Laurie Bonneville Toya Carter Sara-Margaret Cates Carol DeVelice Sarah Kathryn Bonds Ethridge Dianna Shaw

Venue Staff

School Administration Staff

Managing Director

Adam Miller

Technical Director

Wheeler Kincaid

Resident Costumer

Jeanette Waterman

Scene Shop Foreman

Patrick O'Sullivan

SSCC Theatre Program Coordinator

Molly Page

Management Office Staff

Angelique Ferguson Layla Khan-Hickman Charles Prosser Mary Beth Webber Sophia Webber

Graphic Designer

Toya Carter

Official Photographer

Porfirio Solórzano

Artistic Director Emeritus

Paul K. Looney

Musicians

No items found.

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

The Noon Show, The Tuscaloosa News, Mark Hughes Cobb, Alabama Public Radio, WVUA23, Kip Tyner, Great Day Tuscaloosa, Tuscaloosa Thread, UA Department of Theatre and Dance, Ray Taylor, Mr. Burch Formal Wear, Eat My Beats, Porfirio Solórzano, Channing Marlowe, Lisa Waldrop Shattuck, Lyndell McDonald, Visit Tuscaloosa, the SSCC Ambassadors, and The Crimson White.

*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.

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 prior to performances
24-Hour Online Sales: theatretusc.com

Exclusive Ticketing Partner: AudienceView
AudienceView Logo Theatre Tuscaloosa's exclusive ticketing partner is AudienceView. For your security, always begin your online ticket purchase at our secure sebsite: 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 prior to the performance of the original tickets. Expired tickets cannot be exchanged.

Late Seating As a courtesy to our performers and all of our patrons, late comers 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 ever ything, 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:

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

Sophia Marie Allen

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Lily Whitfield

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)

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Pronouns:

she/her

Sophia Allen holds her Associate in Arts Degree from Shelton State Community College and is currently enrolled at The University of Alabama pursuing her degree in elementary education. Sophia has had the most amazing time bringing her character, Lily, to life and she is so excited to share this incredible story with audiences! Sophia thanks her family, close friends, and the Shattucks for all of their unconditional love and support in her many endeavors.

Colton Crowe

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Thomas Franklin

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)

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Pronouns:

he/him

Colton Crowe holds a B.S. in Mass Communication from the University of Montevallo and an M.S. in Strategic Communication from Troy University. Past Theatre Tuscaloosa credits include "B Flat" (Second Samuel), "Smudge" (Forever Plaid), and "Jester" (Once Upon a Mattress). Colton is grateful to his family and friends for cheering him on, both on and off the stage.

Jordan A. Hall

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Joshua Moore

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Pronouns:

Jordan A. Hall holds a B.S. in Theatre from the University of Montevallo and is currently a teacher at Paul W. Bryant High School. Past Theatre Tuscaloosa credits include “Matt Henneburger” (Redstone), “Ensemble” (Grease), and “Bubba” (Girls' Weekend). A few roles Jordan performed at UM include “Tom Collins” (Rent) and “Charlie” (Pill Hill). Additional stage credits include “Crooks” (Of Mice and Men). Jordan thanks family, friends, mentors, and, most importantly, God, for their encouragement and support.

James McGahey

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Bobby Crone

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)

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Pronouns:

James McGahey holds degrees in Theatre from Millsaps College (B.A.) and Ole Miss (M.F.A.). He first trod the boards 61 years ago in the Millsaps Players' production of The Unsinkable Molly Brown and most recently with the Demopolis Canebrake Players as Kris Kringle in Miracle on 34th Street. In between, he has played (among others) "Tom" (The Glass Menagerie), "deSade" (Marat/Sade), "Luther Billis" (South Pacific ), "Henry II" (The Lion in Winter), "Rev. Hale" (The Crucible), and "Dogberry" (Much Ado About Nothing). Alabama Story is his Theatre Tuscaloosa debut.

Molly Page

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Emily Wheelock Reed

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Pronouns:

she/her

Molly Page holds a B.A. in English from UA and an M.A. in Theatre from Louisiana Tech. Past Theatre Tuscaloosa credits include "Kate Keller" (Miracle Worker) and "Brooke Ashton" (Noises Off). Regional credits include "Maggie" (Cat on a Hot Tin Roof), "Mayella Ewell" (To Kill a Mockingbird), and "Beatrice" (Much Ado About Nothing). Graduate credits include "Claire" (Proof) and "Blanche/Amanda" (Two By Tenn: An Evening of Tennessee Williams). Molly is a proud alumna of the Walt Disney College Program, where she was a Fairy Godmother in Training at the Bibbidi Bobbidi Boutique. She serves as the Theatre Program Coordinator and Instructor of Theatre at Shelton State. Molly thanks Roger, Riggs, Fiona, and Oz.

Charles A. Prosser

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Senator E.W. Higgins

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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.

Jeff Terrell

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Garth Williams

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he/his

Jeff Terrell holds a B.Ed. in Music from Samford University, an M.Div. from New Orleans Seminary, and an M.S. and Ph.D. from the University of Southern Mississippi. During the day, he is a psychologist working at the VA in Tuscaloosa. He has played “Matt Huckabee” in the Fantasticks and “Paul Berthalet” in Carnival at North Cobb High School. More recently, he played “Adam Pontipee” in Seven Brides for Seven Brothers at the Cullman Community Theater. Jeff is grateful to his wife of 40 years, DeAnne, for her love and support.

Steven Yates

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Herschel Webb & Henry Branch

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Steven Yates is an associate dean in UA’s College of Communication & Information Sciences. Recent Theatre Tuscaloosa credits include "Count Ipolitov/Czar" (Anastasia), "Grevin" (Launch Day world premiere), "Sam Carmichael" (Mamma Mia!), and "Alan" (God of Carnage). Thanks, Mom, for your endless support. LYB!

Meet the Team

Averie Bonneville

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Stage Manager

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Pronouns:

she/her

Averie Bonneville is a current student at Shelton State Community College. Past shows she's worked on as crew include stage managing Masterclass 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 excited for this new experience in stage managing a show of this size and 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.

Kenyatta Browne

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Director

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)

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She/Her

Kenyatta “YaYa” Browne holds a B.S. in communications from Mississippi College and an M.S. and M.B.A. from Western Governors University. She’s worked professionally in Atlanta and Miami on stage, print, and commercial projects. Credits include “Amah” in Harlem Duet, “Mrs. Breedlove” in The Bluest Eye, and “Wanda” in Crowns with Tony Award winner, Melba Moore. She’s been seen on the Theatre Tuscaloosa stage as “Mabel” in Crowns and as “Clairee” in Steel Magnolias. “It is an honor to contribute to the beautiful art of telling the stories you may not otherwise hear.”

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.

Therrin J. Eber

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Scenic Designer

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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.)

Angelique Ferguson

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Management Office Work Study

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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!

Layla Khan-Hickman

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Management Office Associate

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she/her

Layla Khan-Hickman is an Emmy-nominated documentary filmmaker. She will graduate from The University of Alabama with a degree in communication and information sciences. She is also a Witt Fellow with the Dr. Robert E. Witt University Fellows Program, where she studies social innovation and leadership. Layla works in the Management Office at Theatre Tuscaloosa where she handles marketing and communications. She also works as a producer with the Digital Media Center at The University of Alabama. Layla has always loved the performing arts and loves working with theatrical people every day.

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.

Paul K. Looney

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Artistic Director Emeritus

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Paul K. Looney, after 25 years at the helm of Theatre Tuscaloosa and establishing the Theatre Department of SSCC, Paul is retired and currently a studio artist. While leading Theatre Tuscaloosa, Paul helped found The Alabama Stage and Screen Hall of Fame. He also founded the Jasmine Hill Production Company and became the technical director of The Alabama Shakespeare Festival for its first two seasons in Montgomery. He is widely recognized for his skills as a director, designer, and performer. Paul’s work has been seen on the stages of The Alabama Shakespeare Festival, The Asolo Theatre, Jenny Wiley Summer Music Theatre, Summerfest, UAB Town & Gown Theatre, University of Montevallo Theatre, and UA Theatre. Movie and television sets plus stages all over America (from Broadway to Hollywood) are graced by actors and technicians who perfected their skills on Theatre Tuscaloosa stages under Paul’s direction. He has received numerous Druid Arts Awards and the prestigious Governor’s Arts Award.

Lyndell T. McDonald

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Lighting Designer

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he/him

Lyndell T. McDonald^†currently serves as Associate Professor and Technical Director for Dance at The University of Alabama. He is a member of the International Alliance of Theatrical Stage Employees (IATSE) local 78 stage union. One of his most recent projects was Scenic Director and Scenic Designer for The World Games 2022 opening and closing ceremonies in Birmingham, AL. His lighting design credits include: The Color Purple, LaRonde, The Grapes of Wrath, The Piano Lesson, and Romeo and Juliet to name a few. He has produced work for the Alabama Shakespeare Festival, Urbanite Theatre, American Ballet Theatre, Opera Birmingham, Revival Theatre Company, Theatre Tuscaloosa, and more. Lyndell also owns an event lighting and production company, 2L7, LLC. The company manages and designs lighting and decor for special events including formal galas, fundraisers and weddings. Visit his websites LYNDELL2L7.com or 2L7Productions.com.

Adam M. Miller

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Managing Director

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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 vice 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.

Jonathan Proctor

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Sound Designer

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Jonathan Proctor is excited to be making his design debut at Theatre Tuscaloosa! Jonathan has spent the last decade of his career going on all sorts of adventures - from building custom pipe organs to carving ice sculptures, but he has loved spending his time in a theatre most of all. Jonathan's primary focus is in sound design, but he also enjoys working in the scene shop and being involved wherever he can. Favorite past credits at Northeast State CC in Blountville, TN, include playing "Donny Dubrow" (American Buffalo) and "Joseph Garcin" (No Exit), as well as sound designing for Crimes of the Heart and Animal Farm. Jonathan thanks his incredible partner, Amber, for all of her love and support.

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.

Jeanette Waterman

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Costume Designer

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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.

Sophie Webber

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Management Office Associate

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Sophie is the Fundraising Coordinator for Theatre Tuscaloosa, managing donor relations and leading the annual Lights, Camera, Auction! fundraiser since 2023. She also serves on the hospitality committee, enhancing patron engagement. 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, Max, and Melissa for their love and support.

Mary Beth Webber

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Management Office Associate

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Pronouns:

Mary Beth Webber is thrilled to join Theatre Tuscaloosa as a Management Associate! A Tuscaloosa native, she grew up performing and working backstage here. She recently returned from touring nationally with Broadway productions of Fiddler on the Roof and My Fair Lady and is excited to give back to her theatrical roots.

Katy-Mei Williams

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Props Designer

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Assistant Stage Manager

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Pronouns:

Katy-Mei is a senior at UA in Studio Art. She assisted with props for Theatre Tuscaloosa's productions of Anastasia (2025) and The Great Christmas Cookie Bake-Off (2022). She worked in the Management Office 2021-2023 while a student at SSCC. She plans to return to SSCC next year to study technical theatre. She thanks YaYa and Wheeler for this opportunity.

Media

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2021 National Touring Cast

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While You Wait

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Exclusive: First Listen to "Mama's Done With Sweet" from BRONCO BILLY

Emily Wyrwa

October 23, 2025

Bronco Billy — The Musical is releasing its cast album Friday Oct. 24. The album was recorded live in performance during its critically acclaimed 2024 run at London’s Charing Cross Theatre.

Bronco Billy is a new musical comedy based on the 1980 Warner Bros film, starring and directed by Clint Eastwood, written by Dennis Hackin, by special arrangement with Warner Bros. Theatre Ventures. The musical features a book by Hackin, with music and lyrics by Chip Rosenbloom and John Torres, with additional lyrics by Michele Brourman. Orchestrations, arrangements and musical supervision are by David O.

Theatrely has an exclusive first listen to “Mama’s Done with Sweet.”

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Yellow Sound Label · 19_Mama's Done With Sweet

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The album features original cast members Emily Benjamin as Antoinette Lily, Tarinn Callender as Bronco Billy McCoy, and Victoria Hamilton-Barritt as Constance Lily, Gemma Atkins as Dee Dee Delaware, Jonathan Bourne as Sam Lily, Josh Butler as Lasso Leonard, Alice Croft as Mitzi Fritts, Chris Jared as Sinclair St. Clair, Karen Mavundukure as Doc Blue, Henry Maynard as Lefty Lebow, Alexander McMorran as Edgar White Lipton, Aharon Rayner as Joe Eagle, Helen K Wint as Lorraine, and Silas Wyatt-Barke as John Arlington, with swings Kalisha Amaris and David Muscat.

To pre-order the album on Apple Music, visit here.

Exclusive: First Listen to "Mama's Done With Sweet" from BRONCO BILLY

Emily Wyrwa

October 23, 2025

Bronco Billy — The Musical is releasing its cast album Friday Oct. 24. The album was recorded live in performance during its critically acclaimed 2024 run at London’s Charing Cross Theatre.

Theatrely has an exclusive first listen to “Mama’s Done with Sweet.”

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Yellow Sound Label · 19_Mama's Done With Sweet

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To pre-order the album on Apple Music, visit here.

Megan Hilty Sets Final Performance At DEATH BECOMES HER, Betsy Wolfe Will Join Company As Madeline Ashton

Kobi Kassal

October 20, 2025

Alive Forever can only last so long! Today, Universal Theatrical Group announced that Tony Award nominee Betsy Wolfe will join the company of Death Becomes Her as Madeline Ashton beginning January 16, 2026.

Wolfe was previously seen this summer in Joy The Musical, and last on Broadway in & Juliet.

Megan Hilty, who earned a Tony nomination for originating the role of Madeline Ashton, will depart the production on January 4, 2026. Tickets are currently on sale through June 7, 2026 and a North American tour will hit the road beginning Fall 2026, laughing at Playhouse Square in Cleveland, OH.

Madeline Ashton is the most beautiful actress (just ask her) ever to grace the stage and screen. Helen Sharp is the long-suffering author (just ask her) who lives in her shadow. They have always been the best of frenemies… until Madeline steals Helen’s fiancé away. As Helen plots revenge and Madeline clings to her rapidly fading star, their world is suddenly turned upside down by Viola Van Horn, a mysterious woman with a secret that’s to die for. After one sip of Viola’s magical potion, Madeline and Helen begin a new era of life (and death) with their youth and beauty restored…and a grudge to last eternity. Life’s a bitch and then you die. Or not!

Death Becomes Her features direction and choreography by Tony Award winner Christopher Gattelli, a book by Tony Award Nominee Marco Pennette, and an original score by Tony Award Nominees Julia Mattison and Noel Carey, and currently stars Tony Award nominees Megan Hilty (Madeline Ashton), Jennifer Simard (Helen Sharp), Christopher Sieber (Ernest Menville), and Grammy® Award winner Michelle Williams (Violet Van Horn) with Taurean Everett (Chagall) and Josh Lamon (Stefan). The cast also features Marija Abney, Sarita Colón, Kaleigh Cronin, Alexa De Baar, Natalie Charle Ellis, Michael Graceffa, Neil Haskell, Ximone Rose, Bethany Ann Tesarck, Mitch Tobin, Sir Brock Warren, Bud Weber, Ryan Worsing, Warren Yang, Kyle Brown, Kristine Covillo, Alex Hartmanm, Lakota Knuckle, McKinley Knuckle, Johanna Moise, Justin O’Brien, Amy Quanbeck and Dee Roscioli.

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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