Trisha Paytas' Big Broadway Dream

Grantors

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Sponsors

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Sponsors

Donors

Tributes

Performers

Trisha Patyas

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Star

Amber Ardolino

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Leading Player

Morgan Bryant

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Ensemble

Joshua Dawson

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Ensemble

Beau Harmon

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Ensemble

Lena Matthews

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Ensemble

Jimena Flores Sanchez

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Ensemble

Michael Santomassimo

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Ensemble

Setting

All net proceeds from Trisha Paytas' Big Broadway Dream will benefit the Entertainment Community Fund.

Songs & Scenes

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Production Staff

Benson Drive Productions

George Strus, CEO

Producer

Kobi Kassal

Press Representative

DKC/O&M: Rick Miramontez Kendal Edwards

Production Manangement

Juniper Street Productions: Hillary Blanken Victoria Bullard Guy Kwan Ana Rose Greene Ross Leonard Sadie Alisa Hannah Wilson Abby Filiaggi Carolyn Bonaccorsi Chris Childs Burkett Horrigan Laura Zamsky Z Zurovitch Kara Kennedy

Production Counsel

Loeb & Loeb LLP: David Manella, Esq

Production Stage Manager

Fatimah Amill

Assistant Stage Manager

John Carpentier

Associate Director

Maya Quetzali Gonzalez

Assistant Choreographer

Michael Milkanin

Props

Propstar LLC

Assistant Scenic Designer

Bridget Lindsay

Assistant Sound Designer

Len DeNio

Associate Projection Designer

Sydney Dye

Assistant Projection Designer

Stefania Bulbarella Taylor Gordon

Associate Costume Designer

Martín Lara Avila

Projection Programmer

Cheyenne Doczi

Costume Assistant

Emma Pollet

Production Design Intern

Jourdan Alexander

Moving Light Programmer

Jonah Camiel

Key Art

Carianne Older

Graphic Designer

Eric Emch

Fiscal Sponsor

Producer Hub

Music Coordinator

M2 Music/Michael Aarons

Sunset BLVD Production Manangement

Hudson Scenic

Social Media

Austin Spero

Influencer Strategy

Our Time Influence

Ticketing Consultant

Alan Koolik

Production Assistants

George Massood Alex Dash

Accounting

WithumSmith+Brown Robert Fried, CPA Karen Kowgios, CPA Anthony W. Moore, CPA Scott Bartolf, CPA

Bookkeeping

STT Line Items

Banking

City National Bank Rita Marie Pelosi Roberto Larrinaga-Yocom

Insurance

Aon Albert G. Ruben Insurance Services Claudia Kaufman

Merchandising

Creative Goods

Videographer

Andrew Patino

Digital Program

Marquee Digital

Showtown Theatricals

Founder & CEO

Nathan Gehan

Creative Producer & Partner

Jamison Scott

General Managers

Samuel Dallas Rebecca Crigler

Director of Operations

Michael Fiske

Finance Manager

Matthew Sycle

Associate General Manager

Jessica Morrow Matthew Sycle

Contracts Manager

Ryan Logue

Finance & Operations Assistant

Alexander Friedland

General Management Fellow

Tatiana Montes

Venue Staff

School Administration Staff

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Musicians

Conductor/Keyboard

Patrick Sulken

Guitars

Nate Brown

Bass

Yuka Tadano

Drums

Dan Weiner

Violin

MJ Stilip

Reeds

Noelle Rueschman

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

Production Resource Group, The Producers and Crew of SUNSET BLVD, Henry Tisch & Sean Walsh, Ali Edwards, James Silverstein, Rishka Mehra, Jordanna Brody, David J. Lynch, Instagram, Kevin Sikorski, Emily Dunetz, Travis Eller, Lydia Fotiadou, Jamie Kaye-Phillips, Michelle Palm Martin, Corey Steinfast, Anna Speer, Brandon Ranalli, Nick Nazzaro, The Wicked Movie, Big Gay Jamboree, and Megan Hilty’s bio in Death Becomes Her, Lisa Zinni and Bad Monkey Props LLC.

TRISHA PAYTAS’ BIG BROADWAY DREAM rehearsed at Roundabout Theatre Studios.

"I Am What I Am" from La Cage Aux Folles
Written by Jerry Herman
Courtesy of Jerryco Music Co. (ASCAP)

"What I Did For Love" from A Chorus Line
Written by Edward Kleban, Marvin Hamlisch
Courtesy of Wren Music Co., A Division Of MPL Music Publishing, Inc. (BMI)

"Take Me or Leave Me" from Rent
Words and Music by JONATHAN D. LARSON
(c) UNIVERSAL MUSIC CORP. ON BEHALF OF ITSELF AND FINSTER & LUCY MUSIC LTD. CO. (ASCAP) / 100% interest for the Territory

*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

Trisha Patyas

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Star

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Since the mid-2000s, Paytas has played a pivotal role in shaping the social media landscape for content creators while amassing well over 20 million loyal followers across her socials and garnering over 2 billion views on YouTube alone. From lifestyle vlogs to ASMR content to cosplay videos, Paytas has consistently demonstrated her versatility and creativity across all platforms. Beyond her digital presence, Paytas has expanded her reach by guest-starring in 50+ television shows and films (Most notably The Tonight Show, America’s Got Talent, Modern Family, and Celebrity Big Brother), as well as delving into the music and podcast spaces. Celebrated for her distinctively offbeat sense of humor and unapologetic nature, Paytas has navigated through adversities in her career to emerge as a beacon of resilience and inspiration working with brands like Elf Cosmetics, Living Proof, Liquid Death, SeatGeek, and many more. Embracing monumental life milestones including sobriety, marriage, and motherhood, she has cultivated a newfound sense of purpose and garnered a following of adoring fans. Today, while continuing to produce her signature blend of comedic and unconventional content, Trisha Paytas prioritizes her personal well-being and family. Through her candid humor, vulnerability, and unwavering commitment to self-expression, she serves as an emblem of mental health advocacy and authenticity, resonating profoundly with multiple generations of audiences.

Amber Ardolino

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Leading Player

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Last seen starring as Marcia Murphey in A Beautiful Noise on Broadway. Previous Broadway credits include the Original Broadway Casts of Back to the Future, Funny Girl, Moulin Rouge and Head Over Heels. You may have also seen Amber in the Broadway or Original Chicago Company of Hamilton. TV/Film credits include “Elsbeth,” “Law and Order,” In The Heights and “Fosse/Verdon.”

Morgan Bryant

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Ensemble

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Previously seen as Karen in the Mean Girls 1st National Tour, Chiffon in Little Shop of Horrors Off-Bway, and Samantha in My Best Friends Wedding Ogunquit World Premiere. Thrilled to spread joy with this amazing cast. Thank you to all of the family, teachers and friends who told me ‘you can.’ I love you.

Joshua Dawson

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Ensemble

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Joshua is thrilled to be making his Broadway debut tonight. Credits: MJ the Musical (Tour), Jelly’s Last Jam, NBC Upfronts. BFA Pace Commercial Dance. Special thanks to his Mom and Dad, Mrs. Treshawn, MSA, Calli Company

Beau Harmon

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Ensemble

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Broadway Debut! TV/Film: “SYTYCD” (Season 17, Top 6), “IF”, “SNL”. Stage: Death Becomes Her (Cadillac Palace), Crazy For You (Asolo Rep), NBC Upfront (Radio City). BFA, TXST MT. Love and thanks to Bloc and his family, given and chosen.

Lena Matthews

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Ensemble

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Lena is thrilled to join Trisha on stage tonight! Off-Broadway: A Sign of the Times. Tour: Jesus Christ Superstar. Regional: Carousel, Newsies, All Shook Up. Special thank you to Bob Matthews and Sarah Meahl!

Jimena Flores Sanchez

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Ensemble

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First National tour: Moulin Rouge! The Musical (u/s Babydoll). TV: “Girls5Eva” (Netflix). Regional: Ariel in Footloose, Diana Morales in A Chorus Line, Sweet Charity, Evita, May We All. Previous professional ballerina. Grateful for family, D. Michael Heath and CESD!

Michael Santomassimo

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Ensemble

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Broadway Debut! Pace University B.F.A. Commercial Dance and LaGuardia High School (Concert Dance). Credits: 42nd Street (Broadway Music Circus), The Little Mermaid, Mary Poppins, BATB (The Muny), Guys and Dolls (Maltz Jupiter) “Upfronts” (NBCUniversal), Radio City Christmas Spectacular (Ensemble).

Meet the Team

Skylar Fox

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Director

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Skylar is an Obie Award-winning director, writer, and designer, and the co-artistic director of Nightdrive, where he has directed, designed, and co-written The Grown-Ups, Alien Nation, Providence, RI, Thank You Sorry, and Apathy Boy. He also creates magic for theatre. Broadway: Once Upon A Mattress, Fat Ham; associate designer for Harry Potter & the Cursed Child, Back to the Future, and A Beautiful Noise. Off-Broadway/International: Cats: The Jellicle Ball (PAC), The Preacher’s Wife (Alliance), The Comeuppance (Signature, Almeida), You Will Get Sick (Roundabout), Wicked, Matilda (São Paulo) and Damn Yankees (Shaw Festival). He still can’t believe he’s doing this. www.nightdrive.org

Sarah Meahl

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Choreographer

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Broadway choreographic debut! New York: IP-ASOY LIVE 2023, STEPS Professional Performance, 2023 Easter Bonnet Competition (dir./chor). Other: Hersheypark 2024 Season (dir/chor), Virgin Voyages. Sarah Teaches her “Meahl In Heels” class at Steps on Broadway and Broadway Dance Center. Faculty at The Joffrey School, IAMT, BAA (Dance Director). Broadway: currently Death Becomes Her (OBC); Hello, Dolly!; Kiss Me, Kate!; Bad Cinderella (OBC); Cirque du Soleil’s Paramour. Regional credits for days! TV/Film: Isn’t It Romantic?, Macys Parades, Tony Awards, The Today Show. Laduca shoes recently released a shoe in Sarah’s honor: “The Showstopper”.

Patrick Sulken

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Music Supervision, Arrangements, and Orchestrations

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Patrick was most recently the music director of Teeth at New World Stages. Broadway: Pretty Woman (MD), & Juliet, Once Upon A Mattress, Beetlejuice, Mean Girls, Kinky Boots, Anastasia, Something Rotten!, Gigi. Off-Broadway: Little Shop of Horrors, We Are The Tigers, Gigantic. Regional: Double Helix (Bay Street), Fly (La Jolla Playhouse). National Tour: Peter and the Starcatcher. He is the arranger and orchestrator of Alice in Wonderland, Jr. and Dare to Dream, Jr. for Disney Theatrical.

Michael Aarons

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Music Coordinator

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Radio City Christmas Spectacular. Broadway: All In; Sunset Blvd; & Juliet; Moulin Rouge!; Hamilton; Aladdin. Upcoming Broadway: Boop!; Smash; Old Friends; Pirates of Penzance; Real Women Have Curves. Off- Broadway: Little Shop of Horrors. Current tours: Hamilton; & Juliet; Mamma Mia!; Moulin Rouge!; The Wiz.

Fatimah Amill

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Production Stage Manager

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Broadway/Regional: Tammy Faye, Merrily We Roll Along, Fat Ham, The Devil Wears Prada, Trouble in Mind, The Rose Tattoo. Select Off Broadway: Merrily We Roll Along (New York Theatre Workshop); Confederates, Fires in the Mirror (Signature); Something Clean, Apologia (Roundabout); Twelfth Night (Public Theater Delacorte). National Tour: Hamilton (And Peggy Company). Graduate of the University of Arizona. For Blanca.

Caitlin Berg

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Co-Producer

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Caitlin fell in love with Broadway after being banned from cat shows in 2009. Co-producing and associate producer credits: Suffs (Tony® nomination), Sunset BLVD., Romeo + Juliet, All In, Cellino v. Barnes, Dear Everything. Upcoming: Sherlock Holmes.

Sarafina Bush

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Costume Design

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Broadway: The Outsiders, The Who’s Tommy, How to Dance in Ohio, For Colored Girls... (Tony Award Nominee), Pass Over. Off-Broadway: Shit. Meet. Fan. (MCC), Oliver! (City Center Encores), Evanston Salt Costs Climbing (The New Group), Heroes of the Fourth Turning (Obie Award: Playwrights Horizons), Broadway Bounty Hunter (Greenwich House). Regional: The Preacher’s Wife (Alliance Theatre), Peter Pan (Tour), Life After (Goodman Theatre). Education: BA, Adelphi University.

Kelsey Fox

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Additional Material

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Kelsey is an LA-based writer, who most recently worked with Amazon (script-coordinator, “Criminal”), Sony, Playstation, and The Orchard Project (development fellowship). This is their Broadway Debut and hopefully not their Broadway finale. Thank you Skylar, Molly, Mom, Dad, Cosmo, Teddy, their LA community, and LAFD.

Carson Gleberman

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Co-Producer

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Broadway co-producer: The Kite Runner, Bob Fosse’s Dancin’, Bright Star (Tony nomination), and Gentleman’s Guide to Love and Murder (Tony Award). Investor in Broadway and West End. Board member of Page 73 Productions, which supports early career playwrights toward their first New York City productions.

Simon Henriques

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Additional Material

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Simon is an actor, writer, and co-artistic director of the theatre company Nightdrive. He co-wrote the play The Grown-Ups, which was one of Time Out New York’s top ten productions of the year and is published by Concord Theatricals. He has been a resident artist at Ars Nova and the Williamstown Theatre Festival, and a semifinalist for the Relentless Award. He currently works as a member of the acting company at the Mercury Store, and his comedy writing has been published by The New Yorker and McSweeney’s. Tonight is his Broadway debut…Trisha vibes basically.

Caite Hevner

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Production Design

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Broadway: Derren Brown: SECRET; In Transit; Harry Connick Jr., A Celebration of Cole Porter. Select New York: Between the Lines (Drama Desk nomination); Sweatshop Overlord, (Lortel nomination); MTC; MCC; Primary Stages; Roundabout; Manhattan Concert Productions/Lincoln Center. Hundreds of productions in New York, regionally, and internationally. Video Coordinator for BC/EFA’s Broadway Bares since 2018. Local USA 829, IATSE: Eastern Regional Board, Member Representative, and Respectful Workplace co-chair.

Kobi Kassal

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Producer

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Kobi is thrilled to be working on what has turned into the wildest project of his life. From writing a silly April Fool’s Day article on Theatrely 308 days ago to sitting here tonight, he couldn’t be more proud. In his normal life, he serves as Editor-in-Chief of Theatrely, a Gen-Z focused digital media company spotlighting Broadway & beyond. He would like to thank Trisha for jumping into this crazy idea, his producing partner-in-crime George who is the best producer around, and everyone who made this show happen. Much love to Mom, Dad, Kapiolani, Alex, Alan, Leana and all his besties.

Joriah Kwamé

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Opening Composer

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Joriah is a musical theater writer known for the viral song “Little Miss Perfect,” which he is developing into a musical coming to stages in 2025. He co-wrote “Top of the World” with Pasek and Paul, performed by Shawn Mendes in Sony Picture’s Lyle, Lyle, Crocodile. He is the songwriter for DreamWorks’ Trolls stage adaptation. With numerous musicals in development, both adaptations and originals, he is a 2020 Johnny Mercer Songwriting Project alum and a 2022-23 Dramatists Guild Foundation Fellow. Joriah thanks Alex Gold, his friends and family, and anyone who supported his journey to the Broadway stage.

Cory Pattak

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Lighting Design

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Broadway: The Great Gatsby, A Wonderful World, Spamalot. Off-Broadway: The Lucky Star, Final Follies, Stalking the Bogeyman, Handle with Care, Unlock’d. Regional: 12 Broadway Center Stage shows for the Kennedy Center, Barrington Stage Company, Paper Mill Playhouse, Old Globe, Weston Playhouse, Portland Stage, Ordway Theatre, Goodspeed, Kansas City Rep, Everyman Theatre, Philadelphia Theatre Company, Asolo Rep, Alabama Shakespeare, Tuacahn, Ogunquit Playhouse, Miami New Drama. International: Sunset Boulevard, Singin’ in the Rain, Pretty Woman (Brazil).

Benson Drive Productions

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Producer

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Benson Drive Productions is an NY-based production company developing projects from the mind of George Strus (they/them), who grew up on Benson Drive dreaming of making theatre. Upcoming productions include Stephen Sondheim’s The Frogs (Off-West End, May 2025). Projects in development include Amber Ruffin’s Bigfoot, Jake Brasch’s Trip Around the Sun, and others to be announced. George’s co-producing credits include Illinoise (Tony nomination), Oh Mary!, Romeo + Juliet, The Roommate, and All In. George founded the Obie Award-winning Breaking the Binary Theatre and is the latest recipient of the prestigious Prince Fellowship. Most importantly, George is a proud, lifelong blndsundoll4mj stan.

Juniper Street Productions

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Juniper Street Productions formed in 1998, JSP has managed more than 100 Broadway, Off-Broadway and national tours. This season: All In, Buena Vista Social Club, Death Becomes Her, Elf, Good Night and Good Luck, John Proctor is the Villain, Just in Time, Picture of Dorian Gray, Real Women Have Curves, Romeo & Juliet, Swept Away, The Last Five Years, The Roommate.

Joshua D. Reid

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Sound Design

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he/him

Joshua is a sound and systems designer, based in New York City; and has worked extensively on Broadway, Off-Broadway, Regional and International Productions, National Tours and Sound System Installations. Recent design selections include: The Preacher’s Wife (Alliance Theatre), RENT (Stratford Festival), A Christmas Carol (Broadway: w/ Jefferson Mays, Tony Nomination, Outer Critics Circle Award), Ragtime (Calgary Philharmonic), Million Dollar Quartet (Theatre Calgary), A Little Night Music (Arizona Opera), Dr. Seuss’ How the Grinch Stole Christmas (National Tours), The Color Purple (National Tour), Girlfriend (TheatreWorks Hartford, CT Critics Circle Award), Jerry Springer: The Opera (Signature Theatre), A Time Like This (Carnegie Hall).

Showtown Theatricals

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General Manager

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Broadway/Tour: Oh Mary!, Job, How To Dance In Ohio, Parade (Broadway/ Tour), Just For Us, Into the Woods (Broadway/ Tour), A Christmas Carol (Broadway/Tour), In Residence on Broadway, The Jimmy Awards, Notre Dame de Paris (Lincoln Center) OB: Mind Mangler, A Sherlock Carol. Upcoming: Galileo, Anne of Green Gables, and Romy & Michele.

Media

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2021 National Touring Cast

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While You Wait

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AMERICAN PSYCHO Returns to NYC At The Empyrean Club in 2027

Emily Wyrwa

March 12, 2026

American Psycho: The Musical is returning to New York City in 2027 at the new Empyrean Club in Brooklyn. Dates are to be announced.

The musical, which is currently in development, will be directed by Max Hunter, Founding Artistic Director of The Bridge Production Group. Book writer Roberto Aguirre-Sacasa and song writer Duncan Sheik are also reuniting from the original creative team. The production will feature choreography by Baye & Ashe.

American Psycho tells the story of Patrick Bateman, a man who has it all in 1980s Manhattan. He and his entourage buy expensive designer clothes, party at the hottest clubs, and are all about looks, money, style, and status. Privately, though, Patrick indulges in a different kind of transgression — and people close to him keep disappearing. It premiered on Broadway in 2016, and played 27 previews and 54 performances before closing. The Broadway production earned Tony Award nominations for Best Lighting Design of a Musical for Justin Townsend and Best Scenic Design of a Musical for Es Devlin.

This new production is being developed by a managing partnership including director Hunter, Lucas Katler, and Jesse Singer.

The production also marks the opening of the Empyrean Club, a Brooklyn-based cultural venue that seeks to combine theatre, nightlife, dining, and a social club. Hunter leads the venue’s theatrical creative.

Casting and further creative team information for the upcoming production will be revealed at a later date.

Maya Rudolph Will Make Broadway Debut in OH, MARY! This Spring

Emily Wyrwa

March 12, 2026

Oh, Maya! Six-time Emmy Award winner Maya Rudolph will make her Broadway debut in the titular role in the smash hit comedy Oh, Mary! for a limited eight-week engagement starting April 28.

“Ever since I was a little girl I have dreamed of being Cole Escola,” Rudolph said in a release. “Oh, Mary! is the funniest play I have ever seen, and I have seen a lot of plays, you’d be surprised. It’s such an honor to play the role of Mary, especially after so many iconic Marys have come before me. So making my Broadway debut in the role of a lifetime — as a miserable, suffocated, alcoholic woman — is a real dream come true.”

Rudolph takes over the role from current “Mary” John Cameron Mitchell, who plays his final performance on April 26. Previous “Mary’s” include Cole Escola, who won a Tony Award for Best Actor in a Play for their performance in the role, Jinkx Monsoon, Jane Krakowski, Tituss Burgess, Betty Gilpin, and Theatrely31 alum Hannah Solow.

The production is also extending on Broadway through Jan. 3, 2027, with new tickets on sale now, and will run alongside the West End production through July 18, 2026, at the Trafalgar Theatre in London. The North American tour is also launching in Hartford, CT, in September 2026.

Directed by 2025 Tony Award winner Sam Pinkleton, Oh, Mary! opened on Broadway on July 11, 2024 at the Lyceum Theatre, where it has broken its own box office record twelve times, and became the first show of the 2024-25 Broadway season to recoup its investment.

Oh, Mary! runs at the Lyceum Theatre on West 45th Street in New York City. For tickets and more information, visit here.

Isa Briones Joins JUST IN TIME As Connie Francis On Broadway

Emily Wyrwa

March 11, 2026

The basement of Wicked has found its newest vocalist. Isa Briones, best known for her role in The Pitt, will star as Connie Francis in Just in Time beginning April 1. Sarah Highland, who currently stars in the role, will play her final performance on March 29.

Briones currently stars as Dr. Trinity Santos in The Pitt on HBO Max. Just in Time marks her return to Broadway after her 2024 debut as Eurydice in Hadestown. On stage, she was part of the First National Touring Company of Hamilton, Musical Theatre West’s production of Grease, and East West Players’ Next to Normal. She has also been seen on screen in the Disney+ series Goosebumps, the Paramount+ series Star Trek: Picard, and FX’s American Crime Store: Versace.

Just in Time follows the life and legacy of the legendary singer Bobby Darin. Briones will star opposite Matthew Morrison, who will play a limited engagement as Darin from April 1 to 19, and Jeremy Jordan, who begins performances as Darin on April 21.

Just in Time plays at the Circle in the Square Theatre on West 50th Street in New York City. 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.

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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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