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A Bakery in North Carolina
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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.

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2021 National Touring Cast

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Dylan Mulvaney's THE LEAST PROBLEMATIC WOMAN IN THE WORLD Is Coming Off-Broadway
Emily Wyrwa
July 28, 2025

Dylan Mulvaney is making her way Off-Broadway this fall in The Least Problematic Woman in the World directed by Tim Jackson. The show, which is written by and stars Mulvaney, will run from Sept. 20 to Nov. 30 at the Lucille Lortel Theatre. Official opening is set for Oct. 7.

The show had an acclaimed run at the Edinburgh Fringe Festival under the title Faghag. It is an autobiographical solo play with outrageous characters, heartfelt stories, and blazing vulnerability. In it, Mulvaney shares her journey from Catholic school kid to trans TikTok icon. Her journey of self-discovery and girlhood is unapologetically camp.

Mulvaney is best known for her viral series Days of Girlhood, which has over one billion views across social media platforms. She was named on Forbes’ 30 under 30 and Out 100 and Attitude Magazine's Woman of the Year for 2023. She recently made her West End debut in We Are Not Kids Anymore, and has performed in The Book of Mormon on Broadway.

Jackson most recently directed and choreographed Two Strangers (Carry A Cake Across New York) at the American Repertory Theatre and choreographed the recent Broadway revival of Merrily We Roll Along starring Daniel Radcliffe, Jonathan Groff, and Lindsay Mendez. 

Tickets are available to Lucille Lortel Theatre now. Tickets will become available on Wednesday at 10 a.m. on TodayTix, with general sale beginning at 10 a.m. on Aug. 1. The full creative team will be announced at a later date. 

THE OUTSIDERS North American Tour Announces Cast
Emily Wyrwa
July 25, 2025

The Outsiders has found its “gold” tour cast! Nolan White will lead the first North American tour of The Outsiders as Ponyboy Curtis. The rest of the company includes Bonale Fambrini as Johnny Cade, Tyler Jordan Wesley as Dallas Winston, Travis Roy Rogers as Darrel Curtis, Corbin Drew Ross as Sodapop Curtis, Emma Hearn as Cherry Valance, Jaydon Nget as Two-Bit, Mark Doyle as Bob, and Jackson Reagin as Paul. At certain performances, Jordan DeAndre Williams will play the role of Ponyboy Curtis.

The tour will begin in Buffalo, New York on Sept. 17 with official opening in none other than Tulsa, Okla. in October. 

 “This is an incredible group of talented actors that we’re delighted to introduce to North America beginning this Fall,” producer Matthew Rego said in a statement. “We can’t wait for audiences to experience the heart and soul this company will bring to S.E. Hinton’s timeless story with choreography by the Tony nominated Rick and Jeff Kuperman and under the direction of Tony Award winner Danya Taymor.”

The Outsiders won the 2024 Tony Award for Best Musical. It features a book by Tony Award nominee Adam Rapp with Tony Award winner Justin Levine, music and lyrics by Tony Award nominees Jamestown Revival (Jonathan Clay & Zach Chance) and Justin Levine, music supervision, orchestration & arrangements by Justin Levine, choreography by Tony Award nominees Rick Kuperman & Jeff Kuperman. 

Based on the critically acclaimed 1976 novel of the same name, The Outsiders tells the story of Ponyboy Curtis, his best friend Johnny Cade, and band “outsiders” as they battle with their affluent rivals, the Socs. 

The Outsiders North American tour begins performances on Sept. 17 in Buffalo, New York. For tickets, tour route, and more information, visit here

GINGER TWINSIES Is Bringing The Laughs In The East Village This Summer — Review
Joey Sims
July 25, 2025

For passionate devotees of Nancy Meyers’ beloved 1998 family rom-com The Parent Trap, a surefire treat awaits at the Orpheum Theatre in the East Village. And for the rest of us, there’s still plenty of brainless joy to be found in Kevin Zak’s raucous new parody Ginger Twinsies, even if the show’s driving pastiche sometimes proves more exhausting than delightful. 

Zak, a popular actor, writer and gay internet person, takes on dual writing and directing duties for his unabashedly stupid sendup of Meyers’ beloved Lindsay Lohan-led identity swap comedy (itself a remake of the 1961 iteration led by Hayley Mills), now open off-Broadway and running through October 25.

The goal is broad camp, but the gags are nothing if not extremely specific. The Parent Trap is not simply a jumping-off point for Zak, some starting premise towards opening up wider avenues of comedy. No no—this is, almost beat for beat, a densely detailed dissembling of one single movie, with Zak less an author and more a chaotic dramaturg, delivering notes on Meyers’ screenplay entirely in the form of outrageous slapstick and copious dick (or, dick-sucking) jokes. 

Even if you’re expecting exactly that, it might take you some time to settle in. Zak barely allows himself a preamble here, immediately churning through plot (and commentary) at a breathless pace. But catch up, because Zak and movement director Jesse Robb have already launched into an insanely long dance sequence built around the secret handshake shared by Annie James (Russell Daniels) and her butler, Martin (Jimmy Rae Bennett, juggling many roles alongside ensemblists Lakisha May, Grace Reiter, Philip Taratula, Matthew Wilkas and Mitch Wood). 

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The company of Ginger Twinsies | Photo: Matthew Murphy

Twinsies gradually settles into a legible balance of Parents Trap plot beats, extended (and gleefully extraneous) riffs on Meyers’ more absurd touches, and tweet-length gags on contemporary pop culture. If you’re not a Trap enthusiast, that last category proves the most satisfying—Zak’s hilarious digs at theater’s (and Broadway’s) absurdities, with targets ranging from Sweeney to Redwood, suggest he’d be a fine successor to Gerard Alessandrini. 

In fairness, many of Zak’s quips at Meyers’ expense are also enjoyable. Genius though she is, Meyers is an often truly bizarre screenwriter, and there’s good fun to be had at ribbing her more eccentric narrative decisions. But the show’s direct Parent Trap mockery grows predictable after a while, leaning too heavily on repetitive closet-case and sodomy gags.

A more experienced director than Zak might have identified areas to trim or condense (even at 80 minutes, Twinsies feels stretched out). But the work of his crackerjack creative team is faultless, from Beowulf Borritt’s purposely flimsy set pieces to Krystal Balleza and Will Vicari’s ludicrous wigs. And a supremely talented cast keeps things moving swiftly enough, most especially our delightful lead twins, Daniels and Aneesa Folds, who both deliver star-making turns. 

A special shout-out is due, also, to two incredible talents. The long underrated Phillip Taratula is a pure delight as the villainous (or is she?) gold digger Meredith Blake, chewing the scenery with effortless aplomb. And costume designer Wilberth Gonzalez supplies, among so many fantastic creations, a sight gag to end all sight gags with the room-sized hat that floats onto stage for Blake’s first entrance. That hat alone is, honestly, worth the price of admission. 

Ginger Twinsies is now in performances through October 25, 2025. 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.”

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