Artboard-25
Artboard-25
Artboard-25
Notes
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Grantors

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Sponsors

Donors

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Meet Our Donors

Tributes

Tributes

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Our Tributes

Performers

Marci J. Duncan

*

Angela

Kerry Sandell

*

Lauren

Setting

The Summer of 2020
There will be no intermission. Play is 90-minutes.

Songs & Scenes

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Production Staff

Director
James Webb
Lighting Designer
Savannah Woodruff

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

*Appearing through an Agreement between this theatre and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

Actors’ Equity Association (“Equity”), founded in 1913, is the U.S. labor union that represents more than 51,000 actors and stage managers, Equity fosters the art of live theatre as an essential component of society and advances the careers of its members by negotiating wages, improving working conditions and providing a wide range of benefits, including health and pension plans. Actors’ Equity is a member of the AFL-CIO and is affiliated with FIA, an International organization of performing arts unions. www.actorsequity.org

United Scenic Artists ● Local USA 829 of the I.A.T.S.E represents the Designers & Scenic Artists for the American Theatre

ATPAM, the Association of Theatrical Press Agents & Managers (IATSE Local 18032), represents the Press Agents, Company Managers, and Theatre Managers employed on this production.

Cast
Creatives

Meet the Cast

Marci J. Duncan

*

Angela
(
Playwright
)
(
Playwright
)
Pronouns:

Marci J. Duncan is an accomplished actress, educator, and creator of the Artists at Play acting technique, a framework rooted in play, presence, and truthful storytelling. A native of Florida, she has starred in numerous stage productions and independent films and television shows, earning acclaim for her powerful performances. She is known for her work(actor/playwright) in Dissonance: The Play, a thought-provoking production that explores themes of race, identity, and social justice. Duncan is also a dedicated professor of acting at the University of West Florida, where she mentors aspiring performers. With an MFA in Acting, she strives to inspire through her work on stage, screen, and in the classroom, grounding her practice in the Artists at Play technique—where artists lead in love through play.  

Kerry Sandell

*

Lauren
(
)
(
)
Pronouns:
she/her

Kerry Sandell holds a Bachelor's degree in Theatre Performance and a Master's degree in Strategic Communication from The University of West Florida. She is passionate about connecting people through storytelling, which was the genesis for developing Dissonance with Marci. A few of her past theatrical credits inclue M'Lynn in Steel Magnolias, Ruth in Collected Stories (which she also produced), the titular role in Medea, Kate in Dancing at Lughnasa, Meg in Crimes of the Heart, and Mary in On the Verge. This is her first play collaboration with more on the way.

Meet the Team

James Webb

*

Director
(
)
Pronouns:

James Webb is a New York-based playwright, director and educator, whose work is centered on the southern Black experience. His plays include The Contract (Lorraine Hansberry National Playwriting Award); Mississippi Crossroad (O'Neill Semifinalist); The House of Jean-Rene; Wrestling with Angels, a hip-hop children's musical; and Sibling Rivalry. His work has been presented at the National Black Theatre Festival, Ensemble Theatre Studio/LA, Kraine Theatre NYC, FAMU Essential Theatre, Confrontation Theatre, and Producer's Club. Webb is an Assistant Professor of Theatre and Communications at Bronx Community College and spends his summers as a resident playwright for the Irene C. Edmond Youth Theatre.

Savannah Woodruff

*

Lighting Designer
(
)
Pronouns:
she/they

Born and raised in Southern Pines, North Carolina, Savannah has been a resident of Roanoke since they graduated with a BFA in Technical Production from The University of North Carolina at Greensboro. Savannah is an aficionado of a variety of arts and crafts, and is thrilled to be able to continue working and growing (and crafting!) with Mill Mountain Theatre. They are grateful for the support of their family, including their cats, in all of their endeavors.

Media

No items found.
2021 National Touring Cast

Pre-Show Snack or
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Don’t let the evening end when the curtain comes down. With The Marquee Local, you can find the perfect place for a pre-show snack, an evening meal, or a post-show cocktail. Enjoy exclusive deals from our local partners as you catch up, discuss the show, and create memories to last a lifetime.

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Fortunato

Italian
|
104 Kirk Ave SW

Located in the heart of the Blue Ridge Mountains in Roanoke, Virginia, Fortunato is the region's only traditional Italian kitchen & Neapolitan style pizzeria.

Fortunato

Italian
|
104 Kirk Ave SW

Located in the heart of the Blue Ridge Mountains in Roanoke, Virginia, Fortunato is the region's only traditional Italian kitchen & Neapolitan style pizzeria.

Marquee Deal!

Have a group ticket? Show your MMT Ticket stub to receive 10% off your meal! Valid for one-time use only at participating restaurants.

Martin's

Tavern
|
413 1st St SW

Casual dining on burgers, BBQ & other bar food in an open tavern setting with live music & a patio. ‍

Martin's

Tavern
|
413 1st St SW

Casual dining on burgers, BBQ & other bar food in an open tavern setting with live music & a patio. ‍

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The Hangry Bulldog

Burgers and Bratwurst
|
32 Market Square SE #134 inside.

We are a family-orientated business who enjoy sharing our culinary combinations! Get 15% off when you show your ticket stub from any Mill Mountain show!

The Hangry Bulldog

Burgers and Bratwurst
|
32 Market Square SE #134 inside.

We are a family-orientated business who enjoy sharing our culinary combinations! Get 15% off when you show your ticket stub from any Mill Mountain show!

Marquee Deal!

Get 15% off your meal when you show your ticket stub or ticket from your phone for any Mill Mountain Theatre production.

The Pine Room

American
|
110 Shenandoah Ave NE

From the snack n' share options and hearth flatbreads to the farmland offerings and signature items, The Pine Room features American Rustic cuisine that presents simplistic, sustainable, and high-quality ingredients in an inviting presentation.

The Pine Room

American
|
110 Shenandoah Ave NE

From the snack n' share options and hearth flatbreads to the farmland offerings and signature items, The Pine Room features American Rustic cuisine that presents simplistic, sustainable, and high-quality ingredients in an inviting presentation.

Marquee Deal!

Have a group ticket? Show your MMT Ticket stub to receive 10% off your meal! Valid for one-time use only at participating restaurants.

The Regency Room

American
|
110 Shenandoah Ave NE

Enjoy dining al fresco! Spring is here and it's patio season! The Regency Room and The Pine Room Pub are the perfect place to enjoy dinner or drinks on the patio with spring in the air!

The Regency Room

American
|
110 Shenandoah Ave NE

Enjoy dining al fresco! Spring is here and it's patio season! The Regency Room and The Pine Room Pub are the perfect place to enjoy dinner or drinks on the patio with spring in the air!

Marquee Deal!

Have a group ticket? Show your MMT Ticket stub to receive 10% off your meal! Valid for one-time use only at participating restaurants.

Awful Arthur's‍

Seafood
|
108 Campbell Ave SE

Modern tavern offering varied seafood, bar bites & a raw bar plus sports on TV & live music.

Awful Arthur's‍

Seafood
|
108 Campbell Ave SE

Modern tavern offering varied seafood, bar bites & a raw bar plus sports on TV & live music.

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Corned Beef & Co‍

Gastropub
|
107 S Jefferson St

Sports bar serves sandwiches & pub grub in expansive digs equipped with pool tables & countless TVs.

Corned Beef & Co‍

Gastropub
|
107 S Jefferson St

Sports bar serves sandwiches & pub grub in expansive digs equipped with pool tables & countless TVs.

Marquee Deal!

Crescent City Bourbon and Barbecue

Barbecue
|
19 Salem Ave SE

The smoked meat is made with care and passion in a stick burner smoker and indoor wood burning smoker.

Crescent City Bourbon and Barbecue

Barbecue
|
19 Salem Ave SE

The smoked meat is made with care and passion in a stick burner smoker and indoor wood burning smoker.

Marquee Deal!

Jack Brown's Beer & Burger Joint

Hamburger
|
210B Market St SE

Bar chain serving creative burgers & a lengthy list of beers in a casual, funky space.

Jack Brown's Beer & Burger Joint

Hamburger
|
210B Market St SE

Bar chain serving creative burgers & a lengthy list of beers in a casual, funky space.

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Nawab Indian Cuisine

Indian
|
118A Campbell Ave SE

Indian classics & all-you-can-eat buffet lunches, served in a low-key traditional dining room.

Nawab Indian Cuisine

Indian
|
118A Campbell Ave SE

Indian classics & all-you-can-eat buffet lunches, served in a low-key traditional dining room.

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Wasabi's

Japanese
|
214 Market St SE

Casual Japanese restaurant offering a large sushi menu, plus maki, traditional entrees & bento.

Wasabi's

Japanese
|
214 Market St SE

Casual Japanese restaurant offering a large sushi menu, plus maki, traditional entrees & bento.

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Raise a Glass

Sidecar

Tavern
|
413 1st St SW

Casual dining on burgers, BBQ & other bar food in an open tavern setting with live music & a patio.

Sidecar

Tavern
|
413 1st St SW

Casual dining on burgers, BBQ & other bar food in an open tavern setting with live music & a patio.

Marquee Deal!

Have a group ticket? Show your MMT Ticket stub to receive 10% off your meal! Valid for one-time use only at participating restaurants.

Three Notch'd Brewing Co.

European
|
411 1st St SW

The food menu features traditional European foods like handmade sausages in traditional German, Polish, and English styles, as well as Belgian hand-cut fries, mussels, steak frites, and Polish pierogies.

Three Notch'd Brewing Co.

European
|
411 1st St SW

The food menu features traditional European foods like handmade sausages in traditional German, Polish, and English styles, as well as Belgian hand-cut fries, mussels, steak frites, and Polish pierogies.

Marquee Deal!

‍Have a group ticket? Show your MMT Ticket stub to receive 10% off your meal! Valid for one-time use only at participating restaurants.

Twisted Track Brewpub

Pub
|
523 Shenandoah Ave NW

In addition to hand crafted beer, we offer pub fare with yet another twist and a selection of wines, ciders and soft drinks – something for everyone.‍

Twisted Track Brewpub

Pub
|
523 Shenandoah Ave NW

In addition to hand crafted beer, we offer pub fare with yet another twist and a selection of wines, ciders and soft drinks – something for everyone.‍

Marquee Deal!

Have a group ticket? Show your MMT Ticket stub to receive 10% off your meal! Valid for one-time use only at participating restaurants.

Benny Marconi's

Pizza
|
120 Campbell Ave SE

Serving huge slices of pizza in downtown Roanoke, VA. Established in 2012.

Benny Marconi's

Pizza
|
120 Campbell Ave SE

Serving huge slices of pizza in downtown Roanoke, VA. Established in 2012.

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Billy's

American
|
102 Market St SE

Buzzy dining room with a full wooden bar plating refined American cuisine such as lobster Alfredo.

Billy's

American
|
102 Market St SE

Buzzy dining room with a full wooden bar plating refined American cuisine such as lobster Alfredo.

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Fork in the Market

American
|
32 Market Square SE

Quirky, independent eatery offering updated comfort food, a full bar, a patio & live music nightly.

Fork in the Market

American
|
32 Market Square SE

Quirky, independent eatery offering updated comfort food, a full bar, a patio & live music nightly.

Marquee Deal!

Texas Tavern

American
|
114 Church Ave SW

Family-owned since 1930, this 24/7 diner offers breakfast, burgers, sandwiches & its popular chili.

Texas Tavern

American
|
114 Church Ave SW

Family-owned since 1930, this 24/7 diner offers breakfast, burgers, sandwiches & its popular chili.

Marquee Deal!

While You Wait

With the help of our friends at Theatrely.com, Marquee Digital has you covered with exclusive content while you wait for the curtain to rise.

Broadway’s Top Influencer Agency OUR TIME INFLUENCE Announces Key Expansion Of Staff
Kobi Kassal
September 16, 2026

Your favorite influencer’s favorite influencer agency is growing. Today, it was announced that Our Time Influence, founded by Carly Heitner, has appointed Amanda Chin as the Chief Operating Officer of the company. 

In her new role, Chin will work alongside Heitner to oversee operations and support the company’s continued growth and expansion. 

“Bringing Amanda on as COO is such an exciting next step for Our Time Influence,” said Heitner. “As the company continues to grow, I knew I wanted someone who could help us think bigger, build smarter and take what we’ve created to the next level. I’m so excited to have Amanda joining me in this next chapter.”

Chin’s appointment comes as OTI continues to expand its work across Broadway, live entertainment, arts and culture. As chief operating officer, Chin will oversee the business development, day-to-day operations, and work closely with Heitner on the company’s long-term strategy and growth.

“What Carly built with Our Time Influence in such a short time is incredibly exciting, and I’m thrilled to be joining the company at such a pivotal moment,” said Chin. “There’s a tremendous opportunity to continue building on that momentum, and I’m looking forward to working alongside Carly to scale the business, strengthen operations and help shape what comes next.”

Amanda Chin joins OTI as chief operating officer after four years at Tony Award-winning producing and general management company Wagner Johnson Productions, where she worked on more than 30 productions, including Stereophonic, Good Night, and Good Luck, John Proctor is the Villain, and Oedipus. Beyond her work in theater production, Amanda volunteers with the National Asian Artists Project and helped develop the NAAP Broadway Community Chorus, which has grown from performances at PS 124 to a residency at the Edison Hotel.

SPRING AWAKENING Has Found Its Cast Off-Broadway
Kobi Kassal
September 16, 2026

Into the woods…? Seaview has announced the complete principal cast for Spring Awakening, Duncan Sheik and Steven Sater’s seminal musical based on the play by Frank Wedekind. Previews are set to begin Friday, November 27, 2026.

The company includes Jack Bateman as ‘Georg,’ Jada Simone Clark as ‘Thea,’ Leif Coomer as ‘Ernst,’ Ryo Kamibayashi as ‘Moritz,’ newly minted Theatrely31: Class of 2026 Ashlyn Maddox as ‘Wendla,’ Nando Morland as ‘Otto,’ Antonio Porciello as ‘Hanschen,’ Khadija Sankoh as ‘Martha,’ Grace Slear as ‘Anna,’ Tyler Jordan Wesley as ‘Melchior,’ and Amalia Yoo as ‘Ilse.’ Bateman and Porciello were among the cast members selected from the production’s open casting call in July, through which 2,532 performers were seen. 

"Seaview is incredibly proud to bring this extraordinary work back to the stage at Studio Seaview and to have the opportunity to introduce New York audiences to a remarkable new generation of talent,” said producer Greg Nobile. “This is an exceptional group of actors who are fearless, deeply talented, and represent the future of our industry. We feel incredibly honored to give them the opportunity to bring their unique voices to this seminal work. They are the kind of artists who make you excited about where theater is headed next." 

A limited number of in-person, front row rush tickets will be available through Saturday, December 12 on the day of each preview for $40 per ticket when the Studio Seaview box office opens. Maximum of two tickets per person, subject to availability. 

Joining previously announced creative team members Taymor, Rowlson-Hall, and Matias are Christine Jones & Brett Banakis (Scenic Design), Kaye Voyce (Costume Designer), Brian MacDevitt (Lighting Design), Cody Spencer (Sound Design), Jeremy Chernick (Special Effects Designer), Cynthia Meng (Music Director/Conductor), David Lai (Music Coordinator), Ann James (Intimacy Coordinator), Drew Leary (Fight Coordinator), C.A. Johnson (Creative Consultant), Miranda Cornell (Associate Director), Gigi Buffington (Voice & Text Coach), and The TRC Company / Xavier Rubiano, CSA and Peter Van Dam, CSA (Casting). Elizabeth Allen serves as the Production Stage Manager. Sean Gorski / Hudson Theatrical Associates serves as Production Manager with Jonathan Whitton / Seaview as General Manager. 

This new production will bring Spring Awakening into an intimate Off-Broadway setting, returning the musical to the raw force and urgency of Frank Wedekind’s once-banned 1891 play. Feral, honest, compassionate, and unflinching, the production will explore the experience of young people caught between desire, repression, fear, and discovery — then and now. 

To purchase tickets and for more information about Spring Awakening, please visit springawakening.com

Rosie O’Donnell Returns To Broadway For Short Stint In THE ROCKY HORROR SHOW This October
Alan Koolik
September 16, 2026

If you missed her one-woman show earlier this summer, don’t fret! Today it was announced that comedian Rosie O’Donnell will return to Broadway in Richard O’Brien’s The Rocky Horror Show as the “Narrator” for a two-week special limited run from Tuesday, October 6 through Sunday, October 18, 2026. She steps in for Rachel Dratch who will step aside for two weeks but returns Tuesday, October 20, 2026. 

 The Rocky Horror Show cast currently includes Lorna Courtney as “Janet”, Rachel Dratch as “Narrator,” Amber Gray as “Riff Raff,” Kevin McHale as “Brad”, Jimin Moon as “Rocky”, George Salazar as “Eddie/Dr. Scott”, Sherie Rene Scott as “Magenta”, Jake Shears as “Frank-N-Furter”, Valentina as “Columbia” as well as Renée Albulario, Anania, Boy Radio, Tassy Kirbas, Preston Perez, Caleb Quezon, Andres Quintero, Larkin Reilly, Paul Soileau and John Yi. 

Tickets for the critically and widely-acclaimed musical have been extended twice since the show opened, and are currently on sale through Sunday, February 28, 2027 at Studio 54 on Broadway.

The Rocky Horror Show directed by Tony Award-winner Sam Pinkleton began previews on March 26, 2026, and opened officially on Thursday, April 23, 2026. The creative and design team includes choreography by Theatrely31: Class of 2026 Ani Taj, music supervision by Kris Kukul, set design by dots, costume design by David I. Reynoso, lighting design by Jane Cox, sound design by Brian Ronan, wig & hair design by Alberto “Albee” Alvarado and make-up design by Sterling Tull.

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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