Thursdays at 4:15

Grantors

No items found.

Sponsors

Donors

Tributes

Performers

Carlyn Connolly

*

Woman

Setting

Time: Present Day Place: A Therapist's Office, Anywhere

The musical will run fifty minutes with no intermission.

Songs & Scenes

One Act (No Intermission)

Thursdays at 4:15

The Dream

Shadows

Connections

Self-Care

The Other Dream

Habits

A Funny Story

Kindness

Growing Pains

Employment

Ties That Bind

Production Staff

No items found.

Venue Staff

School Administration Staff

No items found.

Musicians

Piano

Mona Seyed-Bolorforosh

Cello

Andrew Nielson

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

Special thanks to Josh Walden, Stacia Fernandez, Jen Waldman, Joe Chisholm, Geoffrey Kidwell, Devin & Melissa Connolly, and Warren & Lynn Connolly—for studio space, dinners cooked, hands held, tears dried, and support beyond our wildest dreams.

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

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

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

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

Meet the Cast

Carlyn Connolly

*

Woman

(

)

(

)

Pronouns:

she/her

Carlyn Connolly is a NYC-based performer and start-up founder. Select regional credits include Cabaret (Fräulein Kost, u/s Sally Bowles; Alabama Shakespeare Festival), Company (Sarah, Arts Center of Coastal Carolina), The Great Gatsby (Jordan Baker, Ivoryton Playhouse), Fun Home (Helen Bechdel, Mill Mountain Theatre), The Sound of Music (Elsa Schraeder, Virginia Opera), Hello, Dolly! (Irene Malloy, Virginia Musical Theatre), and An American in Paris (Milo Davenport, Arts Center of Coastal Carolina). Carlyn has performed as a soloist with orchestras in the US, Canada, and across Asia. Love always to Mom, Dad, Devin, and Melissa, and endless thanks to Andre for this incredible honor.

Meet the Team

Andre Catrini

*

Book, Music, Lyrics & Arrangements

(

)

Pronouns:

he/him

Andre Catrini is a musical theatre composer/lyricist, musical director and accompanist based out of the Upper West Side of Manhattan, and has had the privilege of writing material for Carlyn Connolly to perform for more than fifteen years. He is a member of the BMI-Lehman Engel Advanced Musical Theatre Workshop, an alumnus of the ASCAP Johnny Mercer Songwriter’s Workshop (current ASCAP member) and a graduate of the College-Conservatory of Music at the University of Cincinnati (CCM). Andre is the recipient of the 2014 ASCAP Foundation Cole Porter Award, given “in recognition for his outstanding talent as a musical theatre composer and lyricist,” as well as a 2015 New Voices Project Merit Award. His song, “My World,” appears on the new album, 16 Stories, featuring the Australian Discovery Orchestra, and is available on Apple Music and Spotify. His musical The Astonishing Times of Timothy Cratchit (book by Allan Knee) had its UK premiere production at the Hope Mill Theatre in Manchester, England in the fall of 2019.

Andre is currently developing a musical with actress and activist Alexandra Billings based on her life story, titled S/He & Me, which will be workshopped in NYC this year. Other writing credits include: A Problem with the Pattersons (2020 O’Neill Music Theatre Conference, Semifinalist - book by Laura Zlatos) and The Wolf (book by Joe Calarco).

Laura Brandel

*

Director

(

)

Pronouns:

She/her

NYC based theater director, choreographer and champion of new work. Global Director of immersive Harry Potter: A Yule Ball Celebration. Presently in development with new feminist musicals: Hereville, Thursdays at 4:15, 8th Grade President, Body and Soul and Sister Ann. TheaterWorksUSA credits: Dot Dot Dot, Pout Pout Fish, A Christmas Carol and Henry and Mudge. 2017 Drama League Leo Shull New Musicals Directing Fellow, Lincoln Center Directors Lab.

Mona Seyed-Bolorforosh

*

Pianist

(

)

Pronouns:

She/Her

Mona Seyed-Bolorforosh is an Iranian-American Conductor, Music Director, Pianist and Orchestrator/Arranger based in New York City. As a 1^st generation Iranian-American and classically trained pianist, her work now encompasses numerous genres including Musical Theatre, Classical Music, and World Music.

She is a frequent developer of new works, serving as a Music Director and Supervisor. Most recently, she served as the Music Director for the Evita Revival at ART in Boston and Shakespeare Theatre Company in DC, and was Co-MD for Heather Christian's TERCE as part of PROTOTYPE 2024. As a conductor and pianist she has worked on several Broadway and off-Broadway shows including KIMBERLY AKIMBO (Sub Conductor, Sub K2) COME FROM AWAY (Sub Conductor) and COMPANY (Sub Keys 3). She has orchestrated for artists such as Heather Christian, Kristin Chenoweth, Lena Hall and Michael Feinstein at venues including the Met Opera, Carnegie Hall, and more. Recent credits include NATIONAL TOUR: COME FROM AWAY (Associate Music Director) ANNIE (Music Consultant), RODGER’S AND HAMMERSTEIN’S CINDERELLA (Keys 3), BROADWAY: KIMBERLY AKIMBO, COME FROM AWAY, COMPANY, MEAN GIRLS OFF-BROADWAY: TERCE (Co-MD, Piano, Percussion, Orchestration, Vocals) ORATORIO FOR LIVING THINGS (2020 cast, Pianist) OUT OF TOWN: EVITA (Music Director) OTHER WORLD – A new Musical by Hunter Bell, Jeff Bowen and Ann McNamee (Associate Music Director). She is an alumna of the Berklee College of Music where she studied Classical Composition and Conducting.

Andrew Nielson

*

Cello

(

)

Pronouns:

he/him

Andrew is a multi-hyphenate creative producer whose work has spanned live performance, writing, video editing, and live event production in cities from Los Angeles to New York to Kigali, Rwanda.

As a cellist, Andrew's concert engagements have included performances alongside Alan Cumming (Fisher Center with music director Henry Koperski), Brian Stokes Mitchell (with music director Ted Firth), Kate Baldwin (with music director Kris Kukul), and Disney’s Stephen Sondheim Birthday Tribute (music directed by Michael J. Moritz Jr), among many others. He also played the Bank Manager in Once: The Musical at the Fulton Theatre, Virginia Repertory Theatre, and Theatre Raleigh.

As a pit musician, some of Andrew's favorite scores to perform have included Floyd Collins, The Light in the Piazza, Into the Woods, A Little Night Music, Baby, and Andre Catrini's The Astonishing Times of Timothy Cratchit.

You can also hear Andrew's cello performances on albums and singles including “I Have a Voice” (with Broadway Records), A New Noel and We The Nighthawks (with Kimberly Hawkey and Assaf Gleizner), The Way to the Lighthouse, “Only Boyfriend” (Brendan Maclean), and his self-produced cello/vocal/piano covers, which you can see at the YouTube link below.

It is the ultimate gift to be allowed to play this beautiful score for two of the most wonderful people I know.

Media

No items found.

2021 National Touring Cast

Pre-Show Snack or
Post-Show Dinner?

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.

Grab a Bite

Pre-show or post-show, our local partners have your dining needs covered

Raise a Glass

Settle into that post-show glow with a stellar drink in hand

Grab a Bite

There are currently no restaurants to peruse.

Raise a Glass

There are currently no bars to peruse.

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.

Joe Locke To Make His West End Debut in CLARKSON by Samuel D. Hunter

Emily Wyrwa

July 10, 2025

He’s a showstopper! Joe Locke will make his West End debut in the UK premier of Clarkson by Samuel D. Hunter. The play will be directed by Jack Serio, and have a strictly limited run in the West End this autumn. Locke will share the stage with Ruaridh Mollica and Sophie Melville.

Locke rose to fame for his role in Heartstopper, where he stars as one of the two main leads, Charlie, along with Marvel’s Agatha All Along. He made his Broadway debut as Tobias in Sweeney Todd alongside Josh Groban and Annaleigh Ashford — and later, Aaron Tveit and Sutton Foster — last season.

“Samuel D. Hunter’s writing is so deeply human and honest that I immediately connected with the play when I read it,” Locke said in a statement. “I can’t wait to bring this beautiful story to life and share it with audiences in London.”

Clarkson is a modern frontier story that blazes a trail through friendship, acceptance, love and the hope of new discoveries. It tells the story of Jake, who goes on a journey to rediscover himself. Along the way, he meets Chris, who is hiding in a night shift at a Costco in rural America. Together, they try to find a way to give life new meaning.

“This play draws from themes of the vast and isolated American West and the colonial past of the United States, but it's fundamentally a story about love and friendship in the midst of an unknown future, which is a pretty universal story these days,” playwright Hunter said in a statement.

Hunter will also be making his Broadway debut this fall with Little Bear Ridge Road opening at the Booth Theatre under director Joe Mantello. Hunter received a MacArthur “Genius” Grant in 2014, and has been harked as one of the nation’s strongest playwrights. He has written plays including The Whale, which was adapted into an Academy Award-winning film, A Bright New Boise, Greater Clements, and A Case for the Existence of God, among others. He is a native of Idaho.

Clarkson will open in the West End this fall. Tickets and more information will be released soon. For updates, visit here.

PARANORMAL ACTIVITY Directed By Punchdrunk's Felix Barrett Comes To West End And North American Tour

Emily Wyrwa

July 9, 2025

Boo! The stage adaptation of the Paranormal Activity films will haunt the West End beginning Dec. 5. The production will transfer to the Ambassadors Theatre after a critically acclaimed run at Leeds Playhouse last summer. It will also begin a North American tour visiting the Chicago Shakespeare Theatre; Center Theatre Group, Ahmanson Theatre, Los Angeles; Shakespeare Theatre Company in Washington DC, and American Conservatory Theatre in San Francisco.

Immersive theatre pioneer Felix Barrett will direct the production. Barrett is the founder and artistic director of Punchdrunk, the immersive theatre company behind acclaimed immersive shows like Sleep No More and the recent Viola’s Room at The Shed. This adaptation of Paranormal Activity is written by Levi Holloway, the author behind last season’s Broadway thriller Grey House.

“From seeing the advertising campaign of the film twenty years ago, where you watched cinema audiences leap out of their chairs in horror, I have long wondered how you could recreate that visceral reaction in a theatre setting,” Barrett said in a statement. “How do you bring one of the most frightening films to life? How do you break the inherent safety that a plush West End theatre offers? It’s been an incredible challenge, and we cannot wait to see how London audiences respond!”

The show tells the story of James and Lou, who move from Chicago to London to escape their past. They quickly discover that places aren’t haunted; people are. It reimagines the modern ghost story through an atmosphere of creeping dread, unseen forces, and psychological tension.

Paranormal Activity opens in the Ambassadors Theatre on the West End Dec. 5, 2025. Tickets go on sale July 9, 2025, at noon. For tickets and more information, visit here.

First Non-Replica Production of HIGH SCHOOL MUSICAL Coming to UK Next Summer

Emily Wyrwa

July 8, 2025

“This could be the start of something new.” The first UK non-replica production of High School Musical is coming to The Lyric Theatre at Lowry next summer. The theatre will be transformed into a basketball court with seating on stage and an extended stage. The production will run Aug. 21, 2026 until Sept. 13, 2026.

High School Musical is based on the cult classic Disney Channel film of the same name. 20 years after the iconic movie, the show will come back to the UK co-directed by Hope Mill Theatre founders Joseph Houston and William Whelton. It features a book by David Simpatico with music adapted, arranged and produced by Bryan Louiselle. This production is produce by Hope Mill Theatre with Lowry.

Through immersive staging, audiences will be transported to East High, where star athlete Troy Bolton falls for the nerdy Gabriella Montez at a holiday party. When they get back to school, they audition for the upcoming school musical, while the jealous starlette Sharpay Evans tries to squash their ambitions. The pair tries to balance this new world along with Troy’s dedication to the basketball team and Gabriella’s to the academic decathlon. Featuring iconic songs like Breaking Free, We’re All In This Together, Get’cha Head in the Game, Stick to the Status Quo, audiences will get to relive the best of their high school days.

Further creatives and casting will be announced at a later date. ‍

High School Musical had its world premiere production at Stagedoor Manor Summer Theatre Camp in 2006. It then went to The Theatre of Stars in Atlanta, Georgia for its first professional staging before Disney Theatrical staged a national tour in 2007. The musical has enjoyed success in regional theatres around the world and had its London premiere at the Hammersmith Apollo Theatre in January 2008.

High School Musical runs Aug. 21 to Sept. 13, 2026 at The Lyric Theatre at Lowry in Salford. Tickets go on sale to the general public on July 18. For tickets and more information, visit here.

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.”

‍

Connect

Games

Media

No items found.

Let's Connect

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

Let's Connect

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

Share this Marquee

Check out this Thursdays at 4:15 digital program by @Marquee.Digital.

Waiting for the Show to Start?

The Marquee has you covered.

Places in 5

Can you find the winning word in time?

Marquee Match

Find the match & take a bow.

Join the Team

Connect

Games

Media

Let's Connect

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

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?

The Marquee has you covered.

Places in 5

Can you find the winning word in time?

Marquee Match

Find the match & take a bow.

Hello! Please use portrait mode when viewing Marquee Digital Programs on a mobile device, in order to ensure the best user experience.

Event Date has Passed

Hello! It appears your event date has passed. You can view the archived Event Marquee for 5 minutes before this pop up gets activated.

Event Preview

Hello! This is the Preview limit for your Event until the show's Opening Day. You will be able to view the Marquee for 5 minutes before this pop up gets activated. Simply refresh the page to restart the timer.