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Grantors

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Sponsors

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!

Donors

Super Star
$10,000+

Claire Friday

Executive Producer
$2,500-$4,999

Kathy Grissom

David Lewis & Penny Miller

Dianne & Bill Teague

Meet Our Donors

Tributes

Tributes

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Our Tributes

Performers

Colton Crowe

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Thomas Franklin

James McGahey

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Bobby Crone

Charles A Prosser

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Senator E.W. Higgins

Jeff Terrell

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Garth Williams

Setting

Montgomery, Alabama, 1959
There will be one 15-minute intermission.

Songs & Scenes

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Production Staff

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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
Layla Khan-Hickman, Charles Prosser, Mary Beth Webber, Sophia Webber
Graphic Designer
Toya Carter
Official Photographer
Porfirio Soloranzo
Artistic Director Emeritus
Paul K. Looney

Musicians

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Board of Directors

President

Kim Palm

Vice President

Steven Yates

Secretary

Sontonia Stephens

Treasurer

Kathy Grissom

Immediate Past President

Cooper Shattuck

Board Members

Nate Blakley Averie Bonneville Kenyatta "Ya Ya" Browne Peggy Collins, PhD Rush Crawford David Cruz-Uribe, PhD Vickie Davis Nicole DuBose* Amna Khan Handley Jim Jolly Harley Sabbagh Kelley Jonathan Koh, PhD* Bradley Logan Paul Looney Louise Manos Ronald Olivet, MD Judi Rabel Kelsey Rush Dianna Shaw William Teague

*Ex-officio **Emeritus

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, UA Department of Theatre and Dance, Ray Taylor, Mr. Burch Formal Wear, Eat My Beats, Porfirio Solórzano, Channing Marlowe, Lisa Waldrop Shattuck, UAB Department of Theatre, David Jones, Lyndell McDonald, Visit Tuscaloosa, the SSCC Ambassadors, The Crimson White, and The Actors' Charitable Theatre.

*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.

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

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 turned off 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 visit theatretusc.com to join.

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.

Cast
Creatives

Meet the Cast

Colton Crowe

*

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.

James McGahey

*

Bobby Crone
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)
(
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Pronouns:

James McGahey holds degrees in Theatre from Millsaps College (BA) and Ole Miss (MFA). 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.

Charles A Prosser

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Senator E.W. Higgins
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)
(
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Pronouns:
he/him

Charles Prosser has been associated with Theatre Tuscaloosa in many ways since 1991. From onstage to backstage to front of house, Charles has had a glorious 34 year run with Theatre Tuscaloosa. Throughout the years some of Charles' favorite acting roles include Carl Magnus in A Little Night Music, Vice-Principal Panch in The 23rd Annual Putnam County Spelling Bee, Edna in Hairspray, Benjamin Franklin in 1776, Max Bialystock in The Producers, and Tevye in Fiddler on the Roof. Charles is a retired secondary school teacher of 27 years and has made the most of his amateur and professional acting/directing carreer by working with many organizations in and out of Alabama including the Oklahoma Shakesperean Festival where he was a professional actor and director for 5 summer seasons.  Charles wishes his friend and former Executive Producer at Theatre Tuscaloosa, Tina Turley, a joyous and creative retirement.

Jeff Terrell

*

Garth Williams
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)
(
)
Pronouns:
he/his

Jeff Terrell holds an 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 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.

Meet the Team

Layla Khan-Hickman

*

Management Office Associate
(
)
Pronouns:
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.

Lyndell T McDonald

*

Lighting Designer
(
)
Pronouns:
he/him

Lyndell T. McDonaldcurrently 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

*

Managing Director
(
)
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 vice president of the Alabama Conference of Theatre. Adam thanks Paige, Kai, Quinn, Luc, and Luna, for their love and support.

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FYRE FEST THE MUSICAL Is Currently In Development With Taika Waititi and Rita Ora As Producers
Kobi Kassal
September 8, 2025

Yes you read that headline correctly. It was announced today that a new musical comedy about Billy McFarland and the infamous Fyre Festival is currently in development featuring a book by Bryan Buckley, music by Paul Epworth, and scenic design by David Korins. Buckley is also set to direct. 

The new musical has an all-star producing team behind it including Academy Award winner Taika Waititi, Rita Ora, Matthew Weaver, and Hungry Man Productions. 

“I never saw myself doing a theatrical musical comedy,” said director and bookwriter Bryan Buckley. “But then again, I never saw something completely mind-bendingly ridiculous and intriguing as what went down with Fyre-festival.  A spectacular failed endeavor—that will haunt a generation forever. I cannot wait to get this show out to the world. And yeah man, this time there will actually be music or your money back.”

“Working in the theater is always fun,” said Taika Waititi. “I mean I haven't done it for 15 years because it was no longer fun, but I've been told it will be fun this time. And I believe them. When Bryan Buckley told me he wanted to make a musical about the Fyre Festival, I said "Who the hell is Bryan Buckley?" I then remembered we've been friends and work mates for 15 years so it was kinda hard to say no. Honestly, I think the idea is exciting, weird, and potentially disastrous, which seems apt and is how I like to work. I can't wait to get started and snatch me some of that sweet American theatre money.”

It’s not just a Greek-sized tragedy of one man’s con. It’s a satirical indictment of an entire generation. Fyre Fest the Musical. It’s about as wrong as a bad idea can go. 

In celebration of FYRE FEST THE MUSICAL’s announcement, Hungry Man Productions will release a 100 foot barge from Staten Island into New York Harbor, anchoring in Brooklyn for a historic launch event. Additional guerilla art installations will take place in New York City throughout the week.

Nick Blaemire’s SOON is Headed Off-Broadway This October
Kobi Kassal
September 8, 2025

Nick Blaemire's apocalyptic chamber musical Soon will premiere Off-Broadway this October at the East Village Basement, an intimate venue located at 321 East 9th Street in Manhattan. It will be the first musical produced in the downtown space, in a two-week limited run from October 29th to November 9th.

With Will Blum set to direct, the cast includes Ava Delaney in her New York debut as Charlie, Nicholas Podany (Harry Potter and the Cursed Child) as Jonah, Mike Millan (Huzzah!, Buyer and Cellar) as Steven and Mylinda Hull (Gypsy, The Connector) as Adrienne. Music Direction and Orchestrations are by Wiley DeWeese (Girl from the North Country, Lightning Thief). 

Soon follows twentysomething Charlie, who has taken to the couch to face the end of the world. As her loved ones encourage her to get out and make the most of the little time left, Charlie chooses to watch TV and eat peanut butter. But she can only avoid the apocalypse for so long, before she's forced to look at her own role in her self-imposed solitude...

"I love big stories in small containers, and Soon is a prime example of that," said Nick Blaemire, who wrote the book, music and lyrics. "A musical about an East Village apartment that takes place in a real East Village apartment is the kind of unique theatergoing experience I crave as an audience member, so to have found the perfect space to pull it off is a miracle. And to tell a story that speaks to the times we're living through in an indirect but hopefully humorous and resonant way makes this opportunity all the more exciting."

The creative team will include lighting and scenic design by Chris Bowser (Ghost Quartet, Three Houses), costume design by Gina Ruiz (F*ck 7th Grade), props design by Oona F.I.B, associate music director and copyist Dylan Kaufman and production stage manager Sarah L. Adams. Key art is by Mark McGillivray (Anora). 

Soon is produced by Tricia Small. 

For tickets, visit SoonMusical.com

CABARET To Close On Broadway Early; Billy Porter Departs Production Due To Illness
Kobi Kassal
September 7, 2025

You only have two more weeks to hear the music play down at the August Wilson. Cabaret at the Kit Kat Club will end its Broadway run on Sunday, September 21. At the time of closing, the musical revival will have played 18 preview perofrmances and 592 regular performances.

Billy Porter will also withdraw from the production due to a serious case of sepsis, his doctors noting that he will make a full recovery.

Marty Lauter (Theatrely 31 alum) and David Merino will share the role of the Emcee for the final performances, stay tuned to the show's social media pages for their schedules.

“It is with a heavy heart that we have made the painful decision to end our Broadway run on September 21. On behalf of all the producers, we’re so honored to have been able to bring this version of John Kander, Fred Ebb, and Joe Masteroff’s important masterpiece, Cabaret, to New York and to have opened the doors to our own Kit Kat Club for the year and a half we have been here. Billy was an extraordinary ‘Emcee’ bringing his signature passion and remarkable talent. We wish Billy a speedy recovery and I look forward to working with him again in the very near future. I personally invite audiences to return to the Kit Kat Club one last time to see the incandescent Marisha Wallace as ‘Sally Bowles,’ alongside the remarkably talented Marty and David, two actors who have been giving soul-stirring performances as ‘Emcee’ since we first opened last April," said producer Adam Speers.

Wallace, Lauter, and Merino are joined Calvin Leon Smith as ‘Clifford Bradshaw,’ 2024 Tony Award nominee Steven Skybell as ‘Herr Schultz;’ Ellen Harvey as ‘Fraulein Schneider,’ Henry Gottfried as ‘Ernst Ludwig,’ and Michelle Aravena as ‘Fritzie/Kost.’

The second year company of Cabaret also features Gabi Campo as ‘Frenchie,’ Jada Simone Clark as ‘Helga,’ Colin Cunliffe as ‘Hans,’ Julian Ramos as ‘Bobby,’ MiMi Scardulla as ‘Texas,’ Paige Smallwood as ‘Rosie,’ and Price Waldman as ‘Herman/Max.’ Swings for the production are Maya Bowles, Pedro Garza, Christian Kidd, Corinne Munsch, Chloé Nadon-Enriquez, and Karl Skyler Urban.

The Prologue Company, the dancers and musicians that welcome audiences to the club, feature dancers Sun Kim, Deja McNair-Kyles, and swing Ida Saki. The musicians of the Prologue are Brian Russell Carey (piano & bass), Francesca Dawis (violin), Keiji Ishiguri (dedicated substitute), Déa Thatcher (accordion), and Michael Winograd (clarinet).

Theatrely News
EXCLUSIVE: Watch A Clip From THEATER CAMP Starring Ben Platt, Noah Galvin, and Molly Gordon
Theatrely News
READ: An Excerpt From Sean Hayes Debut YA Novel TIME OUT
Theatrely News
"Reframing the COVID-19 Pandemic Through a Stage Manager’s Eyes"
EXCLUSIVE: Watch A Clip From THEATER CAMP Starring Ben Platt, Noah Galvin, and Molly Gordon
By: Maia Penzer
14 July 2023

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

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

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

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

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

READ: An Excerpt From Sean Hayes Debut YA Novel TIME OUT
By: Kobi Kassal
29 May 2023

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

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

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

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

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

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

     Yeah, right.

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

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

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

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

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

     Sure enough, no tip.

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

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

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

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

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

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

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

     “Could you be bothered to serve us?”

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

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

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

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

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

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

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

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

     “Pickup order?” I ask.

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

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

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

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

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

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

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

Reframing the COVID-19 Pandemic Through a Stage Manager’s Eyes
By: Kaitlyn Riggio
5 July 2022

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

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

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

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

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

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

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

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

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

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

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

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

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

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Let's Connect

Theatre is all about connection. Follow us to keep in touch and stay up to date on all the latest news!

Waiting for the Show to Start?

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Places in 5
Can you find the winning word in time?
Marquee Match
Find the match & take a bow.
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