Million Dollar Quartet Christmas

Grantors

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Sponsors

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Special Thanks

Donors

Tributes

Performers

(in alphabetical order)

Trevor Dorner

*

Jerry Lee Lewis Understudy

Dan Middleditch

*

Male Understudy

Chandler Reeves

*

Dyanne Understudy

Jared Freiburg

*

Jerry Lee Lewis/Music Captain

Kathleen Macari

*

Dyanne

Matthew Mucha

*

Sam Phillips

Jamie Pittle

*

Fluke

Bill Scott Sheets

*

Johnny Cash

Michael Sinclair

*

Brother Jay

Alex Swindle

*

Elvis

Zack Zaromatidis

*

Carl Perkins

STANDBYS

Elvis Presley, Carl Perkins, Johnny Cash - Dan Middleditch

Jerry Lee Lewis - Hunter Semrau

Dyanne - Brynn Smith-Jenkins

Setting

Sun Records Studio, Memphis, Tennessee. December 4, 1956

This show will be performed without an intermission.

Songs & Scenes

One Act (No Intermission)

"Home for the Holidays" – Company

Music by Robert Allenand, Lyrics Al Stillman This Composition is used by permission of the Publisher. All Rights Reserved.

"Santa Claus is Back in Town" – Company

Music and Lyrics by Jerry Leiber and Mike Stoller This Composition is used by permission of the Publisher. All Rights Reserved.

"O, Christmas Tree" – Dyanne & Carl Perkins

Music and Lyrics by Ernst Anschütz This Composition is used by permission of the Publisher. All Rights Reserved

"Don't Be Cruel" – Elvis Presley

Music and Lyrics by Otis Blackwell and Elvis Presley This Composition is used by permission of the Publisher. All Rights Reserved

"Blue Christmas" – Company

Music and Lyrics by Billy Hayes and Jay W. Johnson This Composition is used by permission of the Publisher. All Rights Reserved.

"Cotton Top" – Carl Perkins

Music and Lyrics by Carl Perkins This Composition is used by permission of the Publisher. All Rights Reserved.

"Go Tell It On the Mountain" / "I Shall Not Be Moved" – Company

This Composition is used by permission of the Publisher. All Rights Reserved.

"Chantilly Lace" – Jerry Lee Lewis

Music and Lyrics by Jiles Perry "The Big Bopper" Richardson This Composition is used by permission of the Publisher. All Rights Reserved.

"Santa Baby" – Dyanne

Music and Lyrics by Joan Javits and Philip Springer This Composition is used by permission of the Publisher. All Rights Reserved.

"Que Sera, Sera" / "Let the Good Times Roll" / "Hot Diggity" / "Tutti Frutti" – Company

"Que Sera, Sera" Music and Lyrics by Jay Livingston and Ray Evans; "Let the Good Times Roll" Music and Lyrics by Shirley Goodman and Leonard Lee; "Hot Diggity" Music and Lyrics by Al Hoffman and Dick Manning; "Tutti Frutti" Music and Lyrics by Little Richard and Dorothy LaBostrie These Compositions are used by permission of the Publisher. All Rights Reserved.

"Ring of Fire" – Johnny Cash

Music and Lyrics by June Carter Cash and Merle Kilgore This Composition is used by permission of the Publisher. All Rights Reserved.

"Boogie Woogie Santa Claus" – Company

Music and Lyrics by Leon T. René This Composition is used by permission of the Publisher. All Rights Reserved.

"Bad Kid" – Jerry Lee Lewis

Music and Lyrics by Jerry Lee Lewis This Composition is used by permission of the Publisher. All Rights Reserved.

"Silent Night" – Company

Music by Franz Xaver Gruber, Lyrics by Joseph Mohr This Composition is used by permission of the Publisher. All Rights Reserved.

"Rockin' Around the Christmas Tree" / "Jingle Bell Rock" – Company

"Rockin’ Around the Christmas Tree" Music and Lyrics by Johnny Marks; "Jingle Bell Rock" Music and Lyrics by Joseph Carleton Beal and James Ross Boothe This Composition is used by permission of the Publisher. All Rights Reserved.

"I'll Be Home for Christmas" – Company

Music by Walter Kent, Lyrics by Kim Gannon This Composition is used by permission of the Publisher. All Rights Reserved.

"I'll Be Home for Christmas" (Reprise) – Elvis Presley

Music by Walter Kent, Lyrics by Kim Gannon This Composition is used by permission of the Publisher. All Rights Reserved.

"Santa Claus is Coming to Town" - Elvis & Company

Music and Lyrics by J. Fred Coots and Haven Gillespie This Composition is used by permission of the Publisher. All Rights Reserved.

"Mele Kalikimaka" – Dyanne & Company

Music and Lyrics by R. Alex Anderson This Composition is used by permission of the Publisher. All Rights Reserved.

"God Rest Ye Merry Gentlemen" – Johnny Cash & Company

This Composition is used by permission of the Publisher. All Rights Reserved.

"Jingle Bells" – Jerry Lee Lewis & Company

Music and Lyrics by James Lord Pierpont This Composition is used by permission of the Publisher. All Rights Reserved.

"Run, Rudolph, Run" – Carl Perkins & Company

Music and Lyrics by Johnny Marks and Marvin Lee Brodie This Composition is used by permission of the Publisher. All Rights Reserved.

*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

Production Staff

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Venue Staff

School Administration Staff

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Musicians

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Board Members

Student Advisory Board

Director's Note

“Oh there’s no place like home for the holidays…”

For me, Million Dollar Quartet has always been a story about family. That Elvis Presley, Johnny Cash, Carl Perkins and Jerry Lee Lewis all found themselves coming up together under the roof and guidance of Sam Phillips at Sun Records is integral to all their stories. But the four will be forever linked not only by the fateful night they spent together at 706 Union Avenue in Memphis, Tennessee on December 4th, 1956, but also by their shared journey from poverty to stardom and all the highs and lows in between - a brotherhood they all deeply understood and recognized in each other.

In creating this holiday reimagining of Million Dollar Quartet, we asked ourselves what more could we say that the original did not. The holidays, which for many are a time of great joy, are also a time when the world pauses for a moment and we have the opportunity to reflect on where we are, where we’ve been and where we’re going. This evening spent at Sun Records is no different. Families gather, traditions are formed, grievances are aired, songs are sung, and memories are sown. And when the holidays are over, we go our separate ways, hopefully with a perspective that we didn’t have before.

Million Dollar Quartet Christmas couldn’t have happened without the wonderful family of collaborators who came together and poured their hearts and talents into bringing this show to life. No matter how you celebrate, I hope this new musical brings you a fraction of the joy that it brought us to create it.

‍ ‍— Scott Weinstein, Director

Meet the Cast

Trevor Dorner

*

Jerry Lee Lewis Understudy

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)

Pronouns:

Trevor is thrilled to be joining the National Tour of MDQX! Favorite credits include:National Tour: Million Dollar Quartet (Jerry Lee Lewis). Regional: Million Dollar Quartet (Jerry Lee Lewis), Heritage Theatre Fesitval; Murder for Two (The Suspects), Playhouse on Park and Gretna Theatre; Sister Act (Monsignor, Joey, Pablo u/s), Arts Center of Coastal Carolina; The Full Monty (Malcolm u/s), Engeman Theatre; Footloose (Rev Shaw), Bigfork Summer Playhouse. Ohio Northern University Theatre: Company (Bobby), Drowsy Chaperone (Aldolpho), Nine (Guido Contini).

Jared Freiburg

*

Jerry Lee Lewis/Music Captain

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Pronouns:

A native of Des Moines, IA, Jared began playing piano at age 5 by way of his Grandmother, being influenced by 1950s musical styles among her records, and quality time watching re-runs of The Lawrence Welk Show. After briefly attending the Bob Cole Conservatory of Music, Jared joined the first production of Million Dollar Quartet onboard the Norwegian Getaway cruise ship and continued to portray Jerry Lee Lewis there for four years. Jared has also produced his own Jerry Lee Lewis tribute concert, and is the bandleader for Jared Freiburg & The Vagabonds, a 50s style trio that performs regularly on land and at sea. He is honored to be reprising the role of “The Killer” once more for his first national tour.

Kathleen Macari

*

Dyanne

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Pronouns:

Kathleen Macari is a New York City resident who started her Million Dollar Quartet journey exactly two years ago while aboard the Norwegian Cruise Line Getaway ship. She is so elated to be back to doing what she loves! With a B.F.A. in Theatre Performance from Niagara University, she has traveled around performing many plays and musicals since graduating, most notably as Millie Dillmount (Thoroughly Modern Millie), Suzy Hendrix (Wait Until Dark), and Viola (Twelfth Night, Stratford-upon-Avon, England). She is so thankful for everyone who has supported her through the years!

Dan Middleditch

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Male Understudy

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Pronouns:

Dan Middleditch is so excited to be a part of the MDQX family! Past credits include Elvis Presley (Million Dollar Quartet, Norwegian Cruise Line) and Buddy Holly (The Buddy Holly Story). He is also an original music artist, and feel free to follow his social media.

Matthew Mucha

*

Sam Phillips

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Pronouns:

Matthew Mucha is so grateful and thrilled to be back on stage after the whirlwind of the past year and a half. Favorite credits include Memphis at CFRT (Huey) and the First National Tour of Bandstand (André/Ensemble). MMC BFA Acting/Musical Theatre graduate. Co-creator and Co-host of Second Act Snacks, the Broadway web series that combines food and theatre (@secondactsnacks). Endless thanks to his team at ATB Talent and DeeHart Talent. Big love to his family and Jaime.

Jamie Pittle

*

Fluke

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Pronouns:

Jamie Pittle is thrilled to be a part of the world premiere of Million Dollar Quartet Christmas. Off-Broadway: Missed Connections (Original Cast). Chicago: Heartbreak Hotel (Original Cast). Regional: The Buddy Holly Story, Million Dollar Quartet. He is currently the drummer/eye candy for Jared Freiburg & The Vagabonds. Thanks to the MDQX team, my family, my dogs, and Savannah.

Chandler Reeves

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Dyanne Understudy

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Pronouns:

Chandler Reeves is so excited to rock out with the MDQX cast! Some favorite credits include “Unlock’d” (Off-Broadway), “Sweeney Todd” (Lincoln Center with the NY Philharmonic), and “The Little Mermaid” (The Fireside Theatre). Chandler has also been seen in concerts at 54 Below, Joe’s Pub, and Playwrights Horizons in New York, and has performed internationally at Hong Kong Disneyland. Thank you to my sweet and supportive family and friends. Love love.

Bill Scott Sheets

*

Johnny Cash

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Pronouns:

Musical theatre credits include: Million Dollar Quartet (Norwegian Cruise Line, Paramount Theatre/Chicago, The Phoenix Theatre Company, Arkansas Repertory Theatre, Berkshire Theatre Group, PCPA) and Ring of Fire (Capital Repertory Theatre). Bill’s performed as a guest entertainer in December of ’63 (TAD Management). Bill was born and raised in Owasso, OK. He received his Bachelor's in Music Education at Oklahoma State University. Bill would like to thank his wife, family, and dog for their love and support.

Michael Sinclair

*

Brother Jay

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Pronouns:

A Chicago-area native, Michael was part of the Chicago production of Million Dollar Quartet for four years. He plays regularly in theaters across Chicago and can be heard on recordings by Clara May, Dick Prall and Preston Graves. A man of many genres, Michael has big band, symphonic, jazz and contemporary projects under his belt, but he is particularly pleased to be playing the early rock & roll music he grew up hearing on his dad's 45s. Michael has been a member of Jared Freiburg & the Vagabonds for the last two years. Theater credits include Hats! starring Melissa Manchester, Gotta Dance starring Stephanie Powers and Rent directed by David Cromer.

Alex Swindle

*

Elvis

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Pronouns:

Alex Swindle is a 28-year-old singer, musician, National Grand Champion and 2015 Ultimate Elvis Top Ten World Finalist from Birmingham, Alabama. Growing up in a household of musicians, Alex discovered his passion for performing at a very young age. After twelve years of performing as an Elvis tribute artist, Alex brings to the stage the thrill and charged atmosphere that’s reminiscent of young Elvis in his Sun Record days of 1945. A genuine southern gentleman, Alex presents to his audience a raw talent and compelling charm much like Elvis at the beginning of his career.

Zack Zaromatidis

*

Carl Perkins

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Pronouns:

Zack Zaromatidis is thrilled to be in Million Dollar Quartet Christmas! He was last seen as Donny Novitski in the first National Tour of the Tony Award winning Musical, BANDSTAND. Zack is also an accomplished guitarist, and his band ‘All My Sons’ has their self titled album streaming on all platforms. He’d like to thank his family, Em, BLOC Agency and the whole MDQX team.

Meet the Team

Colin Escott

*

Book Writer

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Pronouns:

Colin Escott was born in England and currently lives near Nashville, Tennessee. He co-wrote Million Dollar Quartet.

Scott Weinstein

*

Director

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Pronouns:

Scott Weinstein is an award-winning Director and Writer based in New York City. His work as a director has been seen at major regional theaters around the country and he recently won the Joseph Jefferson award for his Actor-Musician, chamber style re-conception of Ragtime with Griffin Theatre, where he is an ensemble member. Scott was the Associate and Resident Director for the Broadway National Tour, Las Vegas and Chicago productions of the hit musical Million Dollar Quartet. He has developed new work at the Rhinebeck Writers Retreat, Pittsburgh CLO, The American Music Theatre Project, The Marriott Theatre, Route 66 Theatre, The Rev, Norwegian Creative Studios and others. Graduate of Northwestern University and proud member of the Stage Directors and Choreographers Society. He is represented by William Morris Endeavor.

Chuck Mead

*

Music Supervision, Arrangements, and Orchestrations

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Pronouns:

Chuck Mead is best known for being one of the founding members of three time Grammy nominated, Country Music Association Award winning country music group BR5-49. Between 1996 and 2005 the band released seven successful records before disbanding. In 2006 he started work as Music Supervisor/Director of the Tony Award winning Broadway musical “Million Dollar Quartet.” A member of the original creative team, he shaped the music for the Chicago, Broadway, West End, Las Vegas, and National Tour productions of MDQ all the while touring the world with his band and releasing four critically acclaimed solo albums. In 2017, Mead oversaw the music for the CMT television series “Sun Records” and in 2021 worked as Music Supervisor for the upcoming feature film “Neon Highway.”

Jonny Baird

*

Associate Music Supervisor

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Pronouns:

Jonny Baird is excited to be a part of the Million Dollar Quartet family as the associate music director and co-music arranger. For the past 5 years he has been Music Supervisor for Norwegian Cruise Line. Shows includes Million Dollar Quartet, Priscilla Queen of the Desert, After Midnight, Winelovers the Musical. Broadway: Annie Revival. Tours: Bring It On, Sister Act. Jonny also orchestrates and arranges music throughout New York City. He was an orchestrator for the Virginia Symphony. Favorite shows he has music directed: Jersey Boys, Ragtime, Bat Boy, The Who’s Tommy, Les Miserables, Double Threat Trio. He holds a B.F.A. in Musical Theatre at Shenandoah Conservatory. He would like to thank everyone at the Phoenix Theatre Company and Madison Wells Live for having him. He’d also like to thank his family and friends for the countless support.

Tasha Spear

*

Associate Director

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Pronouns:

Tasha Spear is thrilled to be back working on Million Dollar Quartet Christmas. She was a part of the World Premiere team last year, as well. Tasha is a New York based director and choreographer. She holds a BA in Critical Theory & Social Justice and an MFA in Theatre Directing. Some credits include Death Deadlines (Director), Miss Julie (Director), Grímnismál (Or, the Magpie Play) (Director), Polyphemus (Director and Co-Developer), Grease (Assistant Director), Cabaret (Assistant Director), and Footloose (Choreographer).

Tasha Spear

*

Assistant Director

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Pronouns:

Tasha Spear is a New York based theatre maker who holds a BA in Critical Theory & Social Justice from Occidental College and an MFA in Theatre Directing from the University of Essex. Some previous credits include: Grímnismál (Director- Command Fringe Festival), Miss Julie (Director- Thunder Bay Theatre), Who’s on Zoom? (Director- Lake Placid Center for the Arts), Grease (Assistant Director- Marriott Theatre Lincolnshire), Cabaret (Assistant Director- East 15) and Polyphemus (Director- Stagebrush Theatre).

Diego Garzón

*

Sound Designer

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Pronouns:

Diego is a musician, sound engineer and music producer, with only 10 years of experience, he has worked in music and entertainment industry, producing and designing audio content for commercial brands like: Coca Cola, Pepsi, Toyota, Chevrolet and more. As sound engineer he works for Norwegian Cruise Lines doing the engineering of their new builds, he has worked as associated sound designer and production audio for Jersey Boys onboard Norwegian Bliss and Kinky Boots onboard Norwegian Encore. Diego is currently working as head of sound for the new cruise ship Norwegian PR1MA which will have several productions including SUMMER The Donna Summer musical.

Izumi Inaba

*

Costume Designer

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Pronouns:

Izumi Inaba is so excited to be working on this production with Scott after such a long wait! She is originally from Tokyo, Japan, and now based in Chicago, where she has designed over a couple hundred projects. In recent years, she also enjoys working on regional productions that she gets to collaborate with new artists. In 2019, she was chosen to exhibit at Prague Quadrennial as one of the featured designers of the United States. Upcoming projects include Dishwasher Dreams at Writers Theatre and Nightwatch at Goodman Theatre.

dots

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Scenic Designer

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Pronouns:

dots is a design collective based in New York City specializing in designing environments for narratives, experiences and performances. Hailing from Colombia, South Africa and Japan, we are Santiago Orjuela-Laverde, Andrew Moerdyk&Kimie Nishikawa. We approach every project with diversity of thought and burning curiosity and, above all, we believe in the value of the whole being greater than the sum of its individual parts.

Ryan J O'Gara

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Lighting Designer

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Pronouns:

Broadway- Thoughts of a Colored Man. National Tour: Juke Box Hero, A Night with Janis Joplin, Vocalocity and The Little Prince. Various productions for Cirque du Soleil, Norwegian Cruise Line, Tokyo Disney Sea, New York City Opera, Paper Mill Playhouse, Walnut Street Theatre, Drury Lane- Chicago (2019 Jeff Nomination), TUTS, Baltimore Center Stage, Syracuse Stage, North Carolina Theatre, Bucks County Playhouse, Signature Theatre DC, Laguna Playhouse, New Victory Theatre, Lincoln Center Festival, Capital Repertory Theatre and Bristol Riverside Theatre (2016 Barrymore Award). Associate Lighting Designer for over 25 Broadway productions, currently: Aint’ too Proud, Come from Away, and Hamilton. O’Gara graduated from NCSA.

Ryan J Stofa

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Associate Lighting Designer

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Pronouns:

Ryan J. Stofa is New York based Lighting Designer, but his hometown is Newark, DE! His recent credits include: Lighting Design: Till it Stops, Culture Lab BIC; This is About My Mother, New York Winterfest; The Gifts of the Magi, The Walnut Street Theatre. Associate Lighting Design: Blippi Live! National Tour; The Fre, The Flea Theater. Ryan is a graduate of The University of the Arts with a BFA in Theatre Design & Technology. He would like to thank his Mother, Father, and fiancé, Cara, for their endless support. Thanks again to OG and HB.

Kat C Zhou

*

Assistant Lighting Designer

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Pronouns:

Kat C. Zhou is a lighting designer for theatre, dance, and opera, currently based in New York City. Her designs have been seen at the American Modern Opera Company, Company ONE, Speakeasy Stage, the Greater Boston Stage Company, and the Boston Playwrights’ Theatre. She is also the inaugural recipient of the Howell Binkley Fellowship (2021). Formerly, she served as the artist-in-residence at the Signet Society (2018-2020), and was the president/managing director of the Harvard-Radcliffe Gilbert & Sullivan Players (2013-2017). She holds an MFA in lighting design from Boston University and an AB in mathematics from Harvard College.

Jonah Camiel

*

Moving Light Programmer

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Pronouns:

Jonah Camiel is a New York City based Moving Light Programmer from Boston, MA. Broadway: Thoughts of a Colored Man, King Lear, True West. Off-Broadway: Cambodian Rock Band, Octet, Twelfth Night, Miss You Like Hell, Kings. Regional: The Sound of Music (Asolo Rep), Next to Normal (Bristol Riverside), What the Constitution Means to Me (The Kennedy Center), Show Boat (Shubert Theatre Boston). Cruise Lines: Virgin Voyages & Norwegian Cruise Lines.

Ashton Michael Corey

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Associate Sound Design

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Pronouns:

Ashton Michael Corey has worked extensively as a lighting and sound designer in NYC and Arizona for the last decade and is thrilled to be back at it. Recent sound design and associate/production audio credits include Come Back Once More (NYC), Medicine The Musical (Off-Broadway), The Vanity (Off-Broadway), Tick, Tick… BOOM! (Off-Broadway Revival), and Soundtrack 63 (Concert). Amidst a busy freelance schedule, Ashton also served as an audio supervisor at Lincoln Center before returning to Arizona last year. He is thrilled to be back at Phoenix Theatre and is grateful for the dedicated audiences who are helping theatre return.

Douglas Clarke

*

Props Designer

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Pronouns:

NYC: Project Theater, Fallen Swallow/Laughing Pigeon, The Juilliard School & Playwright Horizons. Regionally: Adventure Theatre, Round House Theatre, Kennedy Center Family Theater, Shakespeare Theatre Company, Ford’s Theatre, Folger Theatre, Signature Theatre, Muhlenberg Summer Musical Theatre, Children’s Theatre of Charlotte, Town Hall Arts Center, Vintage Theatre, Lincoln Community Playhouse, Childsplay, Arizona Broadway Theatre, Arizona Theatre Company & The Phoenix Theatre Company. He also presented Dead Man’s Cell Phone as part of the World Stage Design exhibition in Taipei, Taiwan. Douglas is a member of the United Scenic Artists local 829. MFA – University of Maryland, College Park.

Hannah K Davis

*

Associate Costume Designer

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Pronouns:

Hannah Davis is a freelance costume coordinator and wardrobe supervisor who lives in Northern Maine with their partner Bryant and pup Presley, The Production Pup. Most recently Hannah was the Costume Shop Manager at The Barnstormers and The Arkansas Repertory Theatre. Hannah's other theatre credits include We Are The Tigers (off Broadway), A Charlie Brown Christmas, Live on Stage, Commonwealth Shakespeare Company and Ringling Brothers Barnum and Bailey Circus. Hannah dedicated this performance and every performance here on out to Jim. Thanks for putting a paintbrush in my hand. Much love to Bryant and Presley who continue to welcome me home with open arms and puppy kisses.

Jasmin Holton

*

Production Stage Manager

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Pronouns:

Jasmin is thrilled to join the World Premiere of Million Dollar Quartet Christmas, the national tour! Jasmin is a Professional Stage Manager & Events Manager with a career that spans many genres including Regional Theatre, Theme Park, Cruise Ships, Cirque, Aerial and Opera. At, thirteen Jasmin wanted to Tap Dance & Act but while performing in her first professional theatrical production, she was more interested in what was happening offstage than on it. Jasmin holds her BFA in Stage Management with a minor in Hospitality Management from the University of Central Florida. For the past nine years, Jasmin worked as a Production Stage Manager for Norwegian Cruise Line; traveling around the world to over 100 countries. Favorite show credits onboard include: Million Dollar Quartet, After Midnight, Legally Blonde, Burn the Floor and Le Cirque Bijou. Prior to Cruise Ships Jasmin stage managed for over 10 years, with various theatres and productions all over the world. She is skilled in management of Trade Shows, Large-Scale Events, Dance, Theatre and Festivals. Some of her past stage management credits include Playhouse on the Square, Circuit Playhouse, Dallas Theatre Center, Adrienne Arsht Center, Olympia Theatre, Dr. Phillips Center for the Performing Arts, Coconut Grove Playhouse, Orlando Shakes Theatre Company, Mad Cow Theatre and Walt Disney World.

Evan Bernardin Productions

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General Management

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Pronouns:

Evan Bernardin Productions is a full-service theatrical management company that provides general and production management for productions and immersive experiences. Select credits include: Fairycakes,Seven Deadly Sins, Million Dollar Quartet (Tour), Charlie Brown Christmas (Tour), Afterglow, and We Are The Tigers. Additional collaborative projects have included performances at Lincoln Center, The United Nations, The Harvard Club, The White House, Cornell University, Georgetown's Gaston Hall, The Culture Project, The Ohio Theatre and The Metropolitan Museum of Art.

Ming-Shiuan Mayson Pu

*

Company Manager

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Pronouns:

Mayson is delighted to be joining the tour of Million Dollar Quartet Christmas. Mayson is a Company and Stage Manager from Taiwan who thrives in an innovative, collaborative and high energy environment. For the past few years she has been working internationally with different Cruise Companies and is now making her way back to land. Past credits include productions at: Norwegian Cruise Line, Weston Playhouse, Holland America Cruise Line, Fountain Theatre, Big League Productions, and the Gateway Playhouse. She would like to thank her family for their support and the team at Evan Bernadin for giving her this opportunity.

Media

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2021 National Touring Cast

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See Who’s Joining The Company Of STRANGER THINGS: THE FIRST SHADOW On Broadway

Alan Koolik

December 4, 2024

Seems more people are joining the Upside Down! Today, further casting was announced for the upcoming Broadway production of Stranger Things: The First Shadow which brings performances at the Marquis Theatre on Friday, March 28, 2025 before an official opening night on Tuesday, April 22, 2025.

Joining the previously announced Louis McCartney as Henry Creel, the company will include Rosie Benton (Patriots) as Virginia Creel, Alex Breaux (“Stranger Things” Season 5) as Dr. Brenner, Nicky Eldridge (Broadway Debut) as Bob Newby, Andrew Hovelson (Lucky Guy) as Principal Newby, Alison Jaye (“Shameless”) as Joyce Maldonado, Emmy Award nominee T.R. Knight (“Grey’s Anatomy”) as Victor Creel, Emmy Award nominee Gabrielle Nevaeh (Nickelodeon’s “That Girl Lay Lay”) as Patty Newby and Burke Swanson (Back to the Future: The Musical) as James Hopper, Jr.

Further casting will be announced in January 2025.

Before the world turned upside down. Hawkins, 1959: a regular town with regular worries. Young Jim Hopper’s car won’t start, Bob Newby’s sister won’t take his radio show seriously and Joyce Maldonado just wants to graduate and get the hell out of town. When new student Henry Creel arrives, his family finds that a fresh start isn’t so easy…and the shadows of the past have a very long reach.

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The cast is shaping up for who will be joining Tony Award winner Jonathan Groff as Bobby Darin in Just In Time on Broadway this March. He will be joined by Joe Barbara, Tony Award winner Michele Pawk, Lance Roberts, Caesar Samayoa, Christine Cornish, Julia Grondin, Valeria Yamin, John Treacy Egan, Tari Kelly, Matt Magnusson, Khori Michelle Petinaud, and Larkin Reilly.

The new musical begins previews at Broadway’s Circle in the Square Theatre on Friday, March 28, 2025 ahead of an official opening night on Wednesday, April 23, 2025.

Developed and directed by Tony Award winner Alex Timbers, the Circle in the Square Theatre will be transformed into an intimate night club where the great American entertainer’s meteoric journey - from soaring highs to crushing lows – is brought to life by Groff, a cast of 16, and features a live on-stage band performing Bobby Darin’s iconic hits including “Beyond the Sea,” “Splish Splash,” “Dream Lover,” and “Mack the Knife.”

The production features a book by Warren Leight and Isaac Oliver, music supervision and arrangements by Andrew Resnik, and choreography by Shannon Lewis.

Full casting and creative team will be announced at a later date.

Jack Serio To Direct Ken Urban’s DANGER AND OPPORTUNITY Off-Broadway

Alan Koolik

December 3, 2024

Theatrely31 alum Jack Serio will direct Danger and Opportunity, a new play by Ken Urban this March. The new production will premiere at the East Village Basement, located at 321 East 9th Street in Manhattan.

Christian and Edwin are a married gay couple in a rut when Margaret – Christian’s ex-girlfriend from Catholic high school – gets in touch after twenty years. At Edwin’s urging, Christian invites her over for drinks. The trio embarks on an unexpected journey together, testing the limits of what defines a contemporary relationship.

Danger and Opportunity marks a busy 2024-2025 season for both Ken Urban and Jack Serio. The Off-Broadway premiere of Urban’s A Guide for the Homesick is set to begin performances December 6 at DR2 Theatre for a limited engagement through February 2, 2025. Meanwhile, Serio will direct Academy Award-winner Brendan Fraser in the world premiere of Samuel D. Hunter’s Grangeville, February 4 – March 16, 2025, at Signature Theatre.

The cast and creative team for Danger and Opportunity will be announced at a later date.

Please visit www.dangerandopportunity.com for more information

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By: Maia Penzer

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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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