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Our Tributes

Performers

Alice Berry

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Linda

Caitlin Boho

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Zuck

Emily Childers

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Lent

Atlie Gilbert

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Stage Directions

Megan Meinero

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Hugh

Jaehan Pag

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Brahm

Shakiera Sarai

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Grace

Jacob Wingfield

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Jeremy

Setting

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Production Staff

Long Wharf Theatre Staff
Artistic Director - Long Wharf Theatre
Jacob G. Padrón
Managing Director
Kit Ingui
Interim Managing Director
Eric Gershman
Associate Artistic Director - Long Wharf Theatre
Rachel Alderman
General Manager
Emily Goeler
Director of Production
Nicole Bouclier
Company Manager
Vanessa Soto
Patron Services Manager
Carolyn Stockage
Director of Finance
Nancy Meguerditchian
Executive Coordinator
Jessica Durdock Moreno
Assistant Director of Production
Allison Jackson Backhaus
Associate Producer
Kate Moore Heaney
Director of Marketing and Communications
Avery Anderson
Director of Development
Briona Jenkins
External Relations Operations Manager
Jill Coulter
Creative Content Manager
Kelly Brown
Video Producer
Kahleem Poole-Tejada
Graphic Designer
Dajvi Selmani
Elm City Tickets Manager
Emma Joy Hill
AP/AR Manager
Geoffrey Molloy
Individual Giving Coordinator
Halima Flynn
Assistant Box Office Manager
Maig Smith
Box Office Associate
Ronald Hill
Yale Staff
Executive Director - Schwarzman Center
Rachel Fine
Associate Artistic - Director Schwarzman Center
Jennifer Newman
Director of Production
Robert Chikar
Director of Marketing & Communications
Maurice L. Harris
Director of Finance and Administration
Meg O'Brian
Deputy Director
Laura Paul
Technical Director
Joel Johnson
Associate Director of Strategic Initiatives
Natalie King
Special Advisor to Schwarzman Center
Kate Krier
Building & Program Logistics Manager
Kirk D. Keen
Business Manager
Bonnie Kramm
Visitor Services Manager
Christian Ponce
Woolsey Hall Stage Manager
Kito Covington
Marketing Manager
Sarah Ficca
Exhibitions & Bookings Manager
Carlynne Robinson
Associate Production Manager
Jessi Codder
Senior Administrative Assistant
Madison Grady
Financial Assistant
Daryl MacMillan
Assistant Technical Director (AV)
Kino Alvarez
Production Electrician
Katie Brown
Sound Engineer
Adam Bintz

Venue 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

Alice Berry

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Linda
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Alice Berry, a graduate of both the University of Memphis BFA and MFA programs, is Co-founder/Artistic Advisor of Voices of the South, a Memphis based theatre company that creates, produces and performs theatre from diverse Southern perspectives and celebrated its 20th anniversary with a run on 42nd street for Summoners Ensemble Theatre in New York.
After a short stint with the Tennessee Titans, Alice returned to the University of Memphis Department of Theatre & Dance as the Director of Publicity and Promotion. Working with students is her true calling and great joy and the Department of Theatre & Dance feels like home.
Alice's creative research is in narrative theatre, creating original work by adapting and performing text not originally meant for the stage. Performing for both U.S. and international audiences, she has taken narrative theatre to three Edinburgh International Theatre Festivals, two international Faulkner Conferences, Jackson Hole Wyoming, Dijon, Strasbourg, and Paris. She has also been invited to and performed in the narrative style in Palm Desert, California, and Homer, Anchorage, and Fairbanks, Alaska.
One of Alice's greatest honors was performing the role of Mardy Murie in Place of Enchantment for Mrs. Murie, who is often called the Mother of Conservation, at the foot of the Grand Tetons in honor of Mardy's 100th birthday.

Caitlin Boho

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Zuck
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Caitlin Boho is a writer, drag artist and actor based in Los Angeles. Her drag alter ego Maureen SanDiego was a contestant in Alaska Thunderfuck's Drag Queen of the Year pageant, has been a featured guest on the popular drag podcast ‘Sloppy Seconds’, a drag defendant on ‘The Judge Mathis Show' and has performed comedy nationwide at The Dynasty Typewriter, The Elysian Theater, The Paper Machete, The Green Mill Chicago, The Laugh Factory, The House of Blues, The Lincoln Lodge, and the The Chicago Is A Drag Festival. Maureen has also written and performed sold out runs of her original plays 'Cher & Cockroaches', 'Problematica', ‘A Star is Aborted’ and more at the prestigious Newport Theater in Chicago. She is honored to be a part of Keegon’s reading at Yale and is beaming with pride for her insanely talented friend that she met at a malort drenched basement drag show many cactuses ago.

Emily Childers

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Lent
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Emily is a New York-based actor, teacher, and improviser originally from Memphis, TN. She holds an MFA in Physical Theatre from Accademia dell’Arte in Arezzo, Italy. It was there that she studied Commedia dell’arte, buffon, clowning, Grotowski method, and Italian men. She’s been a resident artist for physical theatre companies across Europe- some of which include Continuo Phyisical Theatre in Malovice, Czech Republic, Teatro C’art in Castelfiorentino, Italy and Familie Flöz out of Berlin. She’s worked across Italy teaching English and theatre through mediums of storytelling and gesture. Emily moved back to the states at the end of 2019- just in time to sit in quarantine in her tiny apartment for 6 months. You might have seen her on the PIT stage in Old School Sketch ShowBackdoor BBQ, and Unfinished Business. When she’s off stage you can catch her either shaking a martini for the finance bros off Park Ave or teaching hot yoga at Fierce Grace yoga studios. She values the courageous, encourages the funny, and looks for the stupid. And finally, she’s just happy to be here, y’all. (Bio from the Peoples Improv Theater, NYC) Instagran @emilders

Atlie Gilbert

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Stage Directions
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Atlie Gilbert is a dynamic actor and multi-disciplinary artist with a diverse blend of experience in entertainment and business. Known for her passion for developing new work, she has produced and cast numerous acclaimed plays, films, and large-scale events. Regional acting credits include: Lake Tahoe Shakespeare Festival, Great Lakes Theater, Idaho Shakespeare Festival, American Blues Theater, Muse of Fire, Emerald City Theatre, Williams Street Repertory Theater. Recent Film/TV: "Famous Canadian Actors," "Mimic," "Searching for Yoo," among others. Atlie has been a featured guest artist at the National Association of Teachers of Singing Convention, the Chicago Met Tower, and served as the spokesperson for Best One Tire & Service. Teaching Credits: Chicago Dramatists, Stagecrafters, Columbia College Chicago, Muse of Fire, and SCA. She is represented by Grossman & Jack Talent, Shushu Entertainment, and Metropolis Artists Agency, and a proud member of SAG-AFTRA & AEA. A very special thank you to the brilliant Keegon Schuett for this opportunity; your artistry, heart & creative vision continue to inspire me.

Megan Meinero

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Hugh
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Megan Chan Meinero is a playwright, screenwriter and performer from New York. Credits include Dear Edward (Apple TV+), Grey’s Anatomy (ABC) and Good Fortune. MFA: Northwestern - where she was honored to be Keegon’s cohort-mate!

Jaehan Pag

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Brahm
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Jaehan Pag is an actor newly graduated from Juilliard's MFA Drama program this May. Prior to Juilliard, Jaehan earned a degree in acting from Seoularts in Seoul, South Korea. He is based in Queens, NY.

Shakiera Sarai

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Grace
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Shakiera Sarai is a New York-based performer, comedian, and writer. Past credits include: TV: Netflix’s Ozark NEW MEDIA: Rocking Chair; or Settlement, a musical horror podcast series NEW YORK: King John INTERNATIONAL: The Justice League (Middle Eastern Tour 2019, 2023, 2024) NATIONAL: As You Like It, The Tempest, To Kill A Mockingbird; REGIONAL: The Wizard of Oz, Then Sings My Soul, I’ll Be Home For Christmas. Shakiera is a proud alumna of  Dekalb School of the Arts and Freddie Hendricks Youth Ensemble of Atlanta (YEA), both based in her hometown, and University of Memphis (BFA, Musical Theatre Performance). She can next be seen starring in Scantic River Productions’ newest musical, Favola.

Jacob Wingfield

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Jeremy
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Jacob Wingfield earned his BFA from the University of Memphis then later attended the Stellar Adler conservatory in NYC. Since then he has been a part of the Texas Shakespeare Festival, along with many film and theater productions. Jacob is extremely proud of Keegon and their work and is very grateful to be a part of this reading with not only an amazing writer, but an amazing cast and director as well. It’s been over a decade since Emily, Keegon and I have collaborated. Since then, I have married the love of my life, Leah, and we now have two precious boys, Jack and Charlie. Thank you all for coming. 

Meet the Team

Brian Fruits-Esparza

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Director
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Pronouns:

Brian Fruits-Esparza holds an M.F.A. in Stage Direction from the University of Memphis and hails from Chicago. He also holds a B.A. in Secondary Education from Concordia University of Chicago in River Forest. Brian has directed several educational, community, regional, and professional productions throughout the country and is an Intimacy Consent-Forward certified director. While he was in graduate school, he received the prestigious 2012 Meritorious Teaching Award, given to one graduate student teacher a year, and the 2013 Creative Excellence Award, given to one student in the Fine Arts Department. He was the Ostrander Award Winner for Best Director at the University of Memphis for Wit and received a full scholarship for one year to study masks and physical Theatre in Europe with Donato Satori and Paola Coletto. He has taught and created drama classes for adults with special needs and disabilities at the L'Arche Community Center and West Suburban Special Recreation Association and served as an intern with the StillPoint Theatre Collective and Chicago Shakespeare. In 2014, he worked for B.B. King and helped mount the current show Beale Street Heat on a few of the major Holland America Cruise Lines. Brian is a proud member of the Illinois Theatre Association (ITA) and an associate member of the Stage Director & Choreographers Union (SDC). Most recently, he studied under Anne Bogart during The Beautiful Lady at La Mama in NY and directed an equity musical in Houston. Later this fall/winter, he will be directing Macbeth and Superior Donuts. Check out his Joseph Jefferson award-winning 501c3 theatre company, Saltbox Theatre Collective. He dedicates this show to Keegon, April, and Chewie.

Keegon Schuett

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Playwright
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Media

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2021 National Touring Cast

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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.

Exclusive First Listen to "Finale" From JOHN CASSAVETES' OPENING NIGHT
Emily Wyrwa
September 11, 2025

Center Stage Records announced the release of the live West End cast recording of John Casssavetes’ Opening Night on CD and digital outlets on Sept. 12. The show features music and lyrics by three-time Grammy Award-nominated singer/songwriter Rufus Wainwright.

John Cassavetes’ Opening Night is the first stage musical with music, lyrics, and orchestrations by Rufus Wainwright. It premiered in London at the Gielgud Theatre in the spring of 2024. The book and direction were by Ivo van Hove and is based on the 1977 movie Opening Night by American avant-garde director John Cassavetes. 

The live album features Wainwright’s songs written for the original London West End production performed by the cast including Sheridan Smith, Nicola Hughes, and Benjamin Walker, recorded over the last four performances of the play at London’s Gielgud Theatre. 

Theatrely has an exclusive first listen to the show’s finale performed by Sheridan Smith and company. 

John Cassavetes’ Opening Night tells the story of an actress, Myrtle Gordon, who is premiering a play written for her that is about a woman coming to terms with aging. Myrtle does not come to terms with her own aging and rebels against the play and throws the entire production into jeopardy. A young female fan asking her for an autograph at the stage door gets killed by a car as she runs off onto the street. Myrtle is being haunted by the ghost of the young girl. On opening night, she arrives completely drunk but ultimately does what she does best: act and improvise. 

To pre-save the album, click here.

Exclusive First Listen to Donna Lynne Champlin singing "The Fabulous Miss Lila Morae" From GET WHAT YOU WANT: THE SONGS OF MICHAEL FINKE
Emily Wyrwa
September 11, 2025

Center Stage Records has announced the release of Get What You Want: The Songs of Michael Finke in streaming and digital formats on Sept. 12. The album showcases the rise of Finke, a rising musical theatre composer and lyricist who is heralded for his soaring ballads and unconventional story songs. 

Get What You Want features an all-star cast, including Emily Afton, Ari Axelrod, Donna Lynne Champlin, Alex Goley, Alan H. Green, F. Michael Haynie, Tommy Kaiser, Sarah Naughton, Kyle Taylor Parker, Jelani Remy, Kate Rockwell, Analise Scarpaci, Justin David Sullivan, Talia Suskauer, and Matt Wood.

Theatrely has an exclusive first listen to  “The Fabulous Miss Lila Morae” performed by Donna Lynne Champlin. 

“Whenever I feel the need to write a new trunk song or musical project, I'll turn to the headlines,” Finke said of the song. “And of course a month before a concert at the Green Room, the Anna Delvey trial wrapped up and I was obsessed with her statement, ‘I'd be lying if I said I was sorry for anything.’ So Lila is my take on Anna. And it's worth mentioning this song might have my first and last "Simpsons-esque" prediction with the Shonda Rhimes/Netflix series.”

Finke has written the book, music, and lyrics for full-length musicals such as Reporting Live, Caroline and George, Surrounded By the Water, and Powerline Road, which recently completed a developmental Off-Broadway production at the ART/New York Gural Theater.

Produced by Robbie Rozelle and Michael Finke, and co-produced by Yasuhiko Fukuoka, the album features arrangements and orchestrations by Nils-Petter Ankarblom. The album features liner notes by Grammy and Tony Award nominee Nathan Tysen.

To pre-save the album, click here.

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

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

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

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

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

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

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

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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