Songs for A New World

Grantors

No items found.

Sponsors

No items found.

Sponsors

Donors

The York Theatre gratefully acknowledges the support of our donors. Gifts acknowledged below are from July 1, 2024–August 14th, 2025.

Tributes

Performers

Jay Copeland

*

Man 1

Nikki Renee Daniels

*

Woman 1

Jason Gotay

*

Man 2

Jill Paice

*

Woman 2

Luciana Scheinberg

*

Child 1

Albert Rhodes, Jr.

*

Child 2

Setting

FIRE NOTICE: The exit indicated by a red light and sign nearest to the seat you occupy is the shortest route to the street. In the event of fire or other emergency please do not run—WALK TO THAT EXIT.

Thoughtless persons annoy patrons and endanger the safety of others by lighting matches or smoking in prohibited areas during the performances and intermissions. This violates a city ordinance and is punishable by law.

FIRE COMMISSIONER

Songs & Scenes

Act I

Opening Sequence: The New World

Company

On the Deck of a Spanish Sailing Ship, 1492

Man 1 & Company

Just One Step

Woman 2

I'm Not Afraid of Anything

Woman 1

The River Won't Flow

Man 1, Man 2 & Company

Transition I

Woman 1

Stars and the Moon

Woman 2

She Cries

Man 2

The Stream Train

Man 1 & Company

Act II

The World was Dancing

Man 2, Woman 1 & Company

Surabaya-Santa

Woman 2

Christmas Lullaby

Woman 1

King of the World

Man 1

I'd Give It All for You

Man 2, Woman 1

Transition II

Man 1

The Flagmaker, 1775

Woman 2

Flying Home

Man 1 & Company

Final Transition: The New World

Company

Hear My Song

Company

Production Staff

No items found.

Venue Staff

School Administration Staff

Producing Artistic Director

Joseph Hayward

General Manager

Wendy Hall

Director of Development

Stephanie Prugh

Marketing

INNORUPTIV

Director of Audience Engagement & Program Operations

Emily Drossell

Press

Katie Rosin/KampfirePR

Artistic & Operations Associate

Tatiana Montes

Grant Writer

Kathy Canning

Videographer/Social Media

Matthew Gurren

Bookkeeper

Jenny Rader

Assistant to the General Manager

James Manuel Meneses

Legal Counsel

Nan Bases, Esq.

Group Sales

Carol Ostrow

Musicians

Music Director/Piano

Paul Peglar

Viola

Kiku Enomoto

Violin 1

Sally Gorski

Violin

Robin Zeh

Cello

Kaila Piscitelli

Bass

Sue Williams

Guitar

Gary Sieger

Drums

Jake Robinson

Drums/Percussion

Jay Mack

Rehearsal Pianist

Alec Bart

Board of Directors

President

Jim Kierstead

Vice President

Riki Kane Larimer

Secretary

Jessica McRoberts

Treasurer

Tim Collins

Board Members

Bernard Carragher
Douglas Cohen
Holly Doubet
Gerald F. Fisher
Jim Head Jr.
Laurence Holzman
Katherine Huang
Joan T. Mischo
Mia Moravis
Charlotte Rosenblatt
James Scully
Joan Ross Sorkin
Charles Strand
Linda Wielkotz
Claudia Zahn
Alexander Zier

David McCoy, Chairman Emeritus

‍

Honorary Board

Lynn Ahrens
Liz Callaway
Gretchen Cryer
André De Shields
Stephen Flaherty
Nancy Ford
Richard Hillman
John Kander
Robert Kimball
Richard Maltby, Jr.
Alan Menken
Austin Pendleton
Stuart Ross
Susan H. Schulman
Stephen Schwartz
David Shire
Elisa Loti Stein
Eric Stern
Susan Stroman
Leslie Uggams
Betty Cooper Wallerstein
Lillias White
Maury Yeston

‍

Advisory Board

Nan Bases, Esq.
Hattie K. Jutagir
Michael Vendrell
Charles Wright

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.

Director's Note

We move through life in chapters—some we recognize as they unfold, and others we only understand in hindsight. Each chapter is filled with its own emotions, challenges, and moments of growth. We don’t always know what tomorrow will bring or what the future has in store, yet we continue forward, doing the best we can in each moment.

We are living in a time shaped by uncertainty. In response, we look to what grounds us: our friends, our families, and what I believe to be our greatest source of hope—our children. They are our songs for a new world. Through them, we see possibility, resilience, and the promise of what is yet to come.

This production lives within that uncertainty. It reflects the highs and lows that define our lives, the struggles that challenge us, and the moments that remind us why we keep going. The characters on stage navigate their journeys without clear answers, much like we do. They search for meaning, connection, and a sense of direction in an ever-changing world.

As we guide the next generation, we offer what we can—our experiences, our lessons, and our love—while understanding that their paths will ultimately be their own. There is something both humbling and beautiful in that truth. When we look into the eyes of our children, we are reminded not only of the unknown, but of the incredible potential that lies ahead.

To me, that is what this show represents. It is a reflection of life—unpredictable, emotional, and deeply human. And within that unpredictability, there is hope: the belief that the future, though uncertain, holds a beauty that will continue to unfold long after our time.

Thank you for being part of this moment.

Meet the Cast

Jay Copeland

*

Man 1

(

)

(

)

Pronouns:

Jay Copeland is a native from Maryland. His recent credits include the Scarecrow and Tinman understudy track in the original cast for the 2024 Broadway revival of The Wiz and pre-Broadway tour. Other credits include the role of “Andre” in Ain’t Misbehavin (Geva and Westport Country playhouse) In 2022, Jay finished Top 7 on American Idol and was the first ever recipient of the Platinum Ticket. @theejaycopeland

Nikki Renee Daniels

*

Woman 1

(

)

(

)

Pronouns:

Nikki recently played Lady Larken in Once Upon a Mattress on Broadway. Other Broadway credits include Company (Jenny), The Gershwins’ Porgy and Bess (Clara), The Book of Mormon (Nabulungi) and Les Miserables (Fantine.) She played Angelica Schuyler in the Chicago company of Hamilton. Off Broadway: Lady Larken in Once Upon a Mattress, and Martha Jefferson in 1776 at City Center Encores. Television credits include “Billions,” “The Equalizer,” “Modern Love,” and “Madam Secretary.” Nikki has performed as a soloist with numerous symphony orchestras across the country, and at Carnegie Hall. She holds a BFA in Musical Theatre from the University of Cincinnati, College-Conservatory of Music. Her debut solo CD, "Home" is available on iTunes. @nikkireneesings

Jason Gotay

*

Man 2

(

)

(

)

Pronouns:

Jason is thrilled to be in the company of these brilliant artists. Recent credits include Floyd Collins at Lincoln Center Theater (Drama Desk Nomination for Outstanding Featured Performance), the world premiere of Teeth at Playwrights Horizons/New World Stages and his autobiographical solo show “Where You’ll Find Me” at the Minetta Lane Theater (available on Audible). Additional Broadway/New York credits include Bring it On: The Musical (OBC), Spider-Man: Turn off the Dark (Peter Parker/Spider-Man), Evita (City Center/Encores), A Little Night Music in Concert (Lincoln Center), Renascence (Transport Group). TV/Film: Gossip Girl (HBO Max), Spoiler Alert (Focus Features). Regional: The Muny, PCLO, Broadway at Music Circus, Signature Theater, TUTS, Paper Mill Playhouse, etc. He has performed solo cabaret acts at NYC’s Green Room 42, Le Poisson Rouge, Soho House, and Tavern on the Green. @jasongotay

Jill Paice

*

Woman 2

(

)

(

)

Pronouns:

Broadway: An American in Paris (Milo), Matilda (Miss Honey), The 39 Steps, Curtains (Niki), The Woman in White (Laura Fairlie). West End: Gone with the Wind (Scarlett), The Woman in White. Off Broadway: Baby Jane in Jerry Springer-The Opera, Watch Night (PAC), Death Takes a Holiday (Grazia). For the NY Philharmonic, she appeared as Susan in Company and Caroline in Titanic. Film/television: “Silo”, “NCIS: New Orleans,” “Blue Bloods,” “Elementary,” “Person of Interest,” “White Collar,” & “Unforgettable.”

Luciana Scheinberg

*

Child 1

(

)

(

)

Pronouns:

Luciana most recently Molly in Annie at The Argyle Theatre, is thrilled to perform in this benefit performance! “A new world calls...” Heartfelt thanks to her coaches James Schultz, Anne Brummel & Sophia Torres at ThePrep, Nancy Anderson, and Victoria at Osbrink. @luci_schein

Albert Rhodes, Jr.

*

Child 2

(

)

(

)

Pronouns:

Albert is a 12-year-old actor from Chicago, best known as Young Simba in Broadway’s The Lion King. He has recently starred as the lead Amahl in Amahl and the Night Visitors at The Lincoln Center Theatre, directed by Kenny Leon, and continues to train with his vocal coach @maureen_vocalcoach. Albert is grateful for the support of his family, teachers, and fans. Follow: @albertrhodesjr.

Meet the Team

Jason Robert Brown

*

Music and Orchestrations and Arrangements

(

)

Pronouns:

Jason Robert Brown has written some of the most highly acclaimed scores for the stage in the last three decades, including Songs for a New World, Parade (1999 Tony for Best Score, 2023 Tony for Best Revival), The Last Five Years(also a feature film), The Bridges of Madison County (Tonys for Best Score and Orchestration), Honeymoon In Vegas, 13 (also a Netflix film), Mr. Saturday Night (with lyrics by Amanda Green), and last season’s The Connector. Upcoming: Midnight In The Garden of Good and Evil, written with Taylor Mac and directed by Rob Ashford based on John Berendt’s novel; and Less, written with Doug Wright and adapted from the novel by Andrew Sean Greer. As a solo artist, Jason has performed around the world – including his debut at Carnegie Hall in Autumn 2024 – and released several albums of his songs. His most recent release, Jason Robert Brown & Stephen Sondheim Live In Concert (on Concord Theatricals Recordings), documents a 2019 all-star performance at New York’s Town Hall. Jason lives in Nyack, NY with his wife, composer Georgia Stitt, and their two daughters.

Jessica McRoberts

*

Director

(

)

Pronouns:

Jessica McRoberts is a director, performer, and theater professional with a career spanning more than three decades in the industry. She has worked extensively on Broadway and with National Tours, as well as at leading regional theaters across the country. As a performer, her Broadway credits include Follies, Nine, Sweet Charity, Sunset Boulevard, and Spider-Man: Turn Off the Dark. Additional performance highlights include appearances as a Radio City Rockette, as well as performances at Carnegie Hall and New York City Center Encores!. Her professional experience also includes serving as an associate on numerous distinguished productions and contributing to a wide range of acclaimed theatrical projects across the American theater landscape. In recent years, Ms. McRoberts has focused her career on directing, drawing upon her extensive background as both a performer and collaborator to inform her storytelling. Her selected directing credits include The Last Five Years by Jason Robert Brown, tick, tick… BOOM!, The Rocky Horror Show, Hair, Matilda, A Christmas Story, 42nd Street, and Give My Regards to Broadway, a tribute concert honoring Maury Yeston. She is elated to direct Songs for a New World by Jason Robert Brown, a work whose emotional depth and musical language continue to inspire her artistic voice. Ms. McRoberts was a co-founder of Core Theatre Group and currently serves as the Associate Artistic Director at The Madison Theater. She is also a dedicated educator and has taught at STEPS on Broadway, The Atlantic Theatre Company, CAP21, Marymount Manhattan College, the Professional Performing Arts School, and The Horace Mann School. She thanks Jason Robert Brown for trusting her with his material and is honored to make her directorial debut at The York Theatre, dedicating this production to her daughter, Nova.

Paul Peglar

*

Music Director/Piano

(

)

Pronouns:

Paul is a bicoastal artist wearing a lot of hats. He’s spent over two decades performing on stage (SXSW, Sundance, Symphony Space, Sony Hall), on screen (HBO, Pirates of the Caribbean, Fox's Glee), and signed to Verve Forecast with vocal-electronic project Sonos, affording him eclectic collaborations with Sara Bareilles, Margaret Atwood and others. His postmodern vaudeville duo Dakaboom garnered 400+ performances across 48 states. As a music director, vocal coach, and workshop facilitator he’s worked with thousands of students and professionals throughout the US and Europe with esteemed institutions like The American School in Switzerland, Stowe (UK), Motown Museum, Atlantic Theater Company, and currently serves as Vocal Director for the Steps on Broadway Conservatory. With his partner, Jenny DiNoia, Paul co-leads Penny: an arts training company offering workshops worldwide rooted in daring curiosity and embodied expression. Having recently music directed The Last Five Years he’s grateful to be back at the keys playing such timeless and rewarding music with this incredible team of artists. Love to Jenny. @ppeglar

Gary Sieger

*

Guitar

(

)

Pronouns:

Gary is a NYC freelance guitarist. Gary has enjoyed a long-time friendship and collaboration with composer Jason Robert Brown playing his concerts and off Broadway and Broadway shows including, The Last Five Years, Bridges of Madison County, Honeymoon In Vegas and most recently Mr. Saturday Night starring Billy Crystal. He also appears on Jason’s solo albums Wearing Someone Else's Clothes and How We React and How We Recover. additional notable recordings of Gary's include Donald Fagen’s Sunken Condos and Cornelius Bumpus’s Known fact. Gary is looking forward to performing for this benefit performance of Songs For A New World!

Robin Zeh

*

Violin

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)

Pronouns:

Acclaimed by the New York Times for her “stylish, committed playing”, violinist Robin Zeh enjoys a diverse career as tenured member of the Orchestra of St. Luke’s and the American Ballet Theatre Orchestra, as concertmaster of the recent revival of The Music Man with Hugh Jackman, as well as concertmaster of the annual Tony Awards broadcast. In 2025 Robin was the onstage fiddle soloist in Jackman’s residency at Radio City Music Hall, From New York with Love.

Jake Robinson

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Drums

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)

Pronouns:

Broadway credits (substitute): THE OUTSIDERS, PARADE, KIMBERLY AKIMBO; Off-Broadway (sub): THE CONNECTOR, WHITE GIRL IN DANGER, ONLY GOLD; National tour (sub): PARADE; Polarity album by Michael Wartella (Wicked, Tuck Everlasting, Charlie and the Chocolate Factory); has previously worked with Jason Robert Brown, Jackie Evancho, and Frances Ruffelle.

Sue Williams

*

Bass

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)

Pronouns:

Acoustic and electric bassist Sue Williams is a veteran of the NYC music scene. From CBGB’s to Lincoln Center and The White House, Sue has performed in many diverse settings including Broadway, jazz clubs, blues festivals and worship services. A fan of The York Theater, Sue is thrilled to be back at The York performing Songs For A New World.

Kaila Piscitelli

*

Cello

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)

Pronouns:

Kaila is a New York City based performer and teacher whose work spans orchestral, chamber, and solo settings. Kaila is a Bard Conservatory graduate who studied with Peter Wiley. She has appeared at prestigious venues across NYC and performed internationally, building a career as both a performer and educator.

Kiku Enomoto

*

Violin

(

)

Pronouns:

Kiku maintains a dynamic and versatile career that redefines the notion of a multi faceted musician. A native of Las Vegas, NV, Kiku began her studies at the Nevada School of the Arts. She made her solo debut at the age of ten with the Las Vegas Symphony and attended high school at the Interlochen Arts Academy. Since moving to New York to study at the Manhattan School of Music, Kiku has had the opportunity to collaborate with artists and shows in a variety of musical genres and is committed to premiering new works. As a classical violinist, she has performed with Pierre Boulez, John Williams, Luciano Pavarotti, Mark Morris Dance Company, International Contemporary Ensemble, and Alarm Will Sound. On the popular music circuit, she has collaborated with Jay-Z, Beyonce, Adele, Björk, Ariana Grande, Post Malone , Raye, James Blake, Ed Sheeran, Beck, Tony Bennett, The Who, and Sufjan Stevens to name a few. Her Broadway chairs include: Ragtime, West Side Story, Follies, Nice Work If You Can Get It, The Bridges of Madison County, On the Town, Allegiance, The Cher Show, Mrs. Doubtfire, Bad Cinderella, Spamalot!, Tammy Faye, and is currently at Moulin Rouge. Off Broadway: Giant, Kid Victory, The Mad Ones, Einstein’s Dreams, and Only Gold. Kiku's teachers and mentors include her parents, Mary Straub, Hal Grossman, Teresa Ling, Neil Weintrob, Enrico DiCecco, and a personal friend as well as a patron of the arts, Mrs. Bernice Fischer

Jay Mack

*

Drums/Percussion

(

)

Pronouns:

Broadway: The 25th Annual Putnam County Spelling Bee, The Addams Family, Big Fish, If/Then, Falsettos (filmed for PBS Live From Lincoln Center), City Center Encores! A New Brain. First National Tours: 25th Annual Putnam County Spelling Bee, Addams Family, If/Then.

Sandi DeGeorge

*

Child Guardian

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)

Pronouns:

Favorite roles include Christine in Yeston/Kopit’s Phantom (ensemble on the RCA/BMG cast recording) Polynisia in Dr. Dolittle with Tommy Tune, and Lady Anne and Nimue in the national tour of Camelot starring Sir Michael York. Also a certified Doula, Sandi loves how being a bold guardian blends all of her skills.

Media

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2021 National Touring Cast

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"I'm Overwhelmed with Gratitude" The 2026 Tony Nominees React To Their Nominations

Theatrely Staff

May 5, 2026

This morning was a very exciting moment for the theatre industry as the 2026 Tony Award Nominations were announced. Below, see live reactions from the various 2026 Nominees. Keep checking back throughout the day as we update the below.

"I am grateful to be counted among such luminaries as my friend Kelli O’Hara, the truly gifted Rose Byrne, an astonishing Susannah Flood, and the legendary Leslie Manville. I’m also thrilled for my BUG design team, who made a difficult job look deceptively simple." Carrie Coon, nominated for Best Performance by an Actress in a Leading Role in a Play for BUG.

“I think it most appropriate to quote from the song, ‘My legs may be tottery. I must go slow, and be careful of Old Deuteronomy.’” André De Shields, nominated for Best Featured Actor in a Musical for CATS: The Jellicle Ball

"My heart is pounding, pouring over with gratitude. Thank you to the Tony Committee for this humbling recognition. Returning to Broadway has been so artistically fulfilling and it moves me deeply to be witnessed and celebrated by the community. Gosh, I love the theater and I love being in The Rocky Horror Show in the limitless sandbox that Sam Pinkleton has cultivated. It is a gift to unleash Janet Weiss night after night. I can’t wait to keep sharing her with you." Stephanie Hsu, nominated for Best Performance by a Lead Actress for The Rocky Horror Show.

"This is a bit of a moment for me. To be recognised in this way by such an esteemed body is as good as it gets. I couldn’t be prouder of Oedipus and the remarkable team I got to navigate this highly complex play with 8 times a week, most notably the magnificent Mark Strong." Leslie Manville, nominated for Best Performance by an Actress in a Leading Role in a Play for Oedipus.

"What a sweet, thrilling surprise! I'm humbled and happy to be in the company of these wonderful actors in my category. And I can't wait to celebrate tonight by playing this beautiful play with such a superb company. Wow." Richard Thomas, nominated for Best Performance by an Actor in a Featured Role in a Play for The Balusters.

"I’m beyond honored to have The Balusters included among this year’s Tony nominees—especially in a season with so many bold, beautiful new plays. The nomination is really a testament to the remarkable artists who brought the play to life—our astonishing director, Kenny Leon, our extraordinary ensemble of actors, our brilliant designers, and the tireless crew, along with everyone at MTC. I’m so grateful to get to make theater and be part of a community that continues to sustain and inspire me in so many ways." David Lindsay-Abaire, nominated for Best Play for The Balusters

"I am overwhelmed with gratitude for this honor. To be working in the theatre, let alone on Broadway, has been my dream since I transformed my grandparents' garage into a stage as a kid. More important than the personal honor is the deep sense of pride I have for my fellow collaborators who poured their souls into the monumental undertaking that is The Lost Boys. They are all my heroes and I am so grateful for the selflessness, rigor, and passion they brought to work every day. Congrats to all the nominees and all the countless artists and technicians who make every show possible and who continue to delight and inspire audiences 8 times a week on Broadway." - Michael Arden, nominated for Best Direction of a Musical and Best Lighting Design of a Musical.

"The Lost Boys was as much of a thrill ride to make as it is onstage. I am incredibly honored to be nominated amongst the best designers working on Broadway and as part of a creative team that was recognized across the board for this biggest of swings." Dane Laffrey, nominated for Best Scenic Design of a Musical for The Lost Boys.

“What fantastic news to wake up to. I was working out, not watching it directly, but I got a text. I’m grateful to the American Theatre Wing and the Broadway League. Congrats to all of the other nominees, what a spectacular group. My deepest thanks Scott Ellis and everyone at Roundabout. Scott is the most amazing leader, and he created the opportunity to bring this Noël Coward world to stage. And congratulations to Kelli, Rose, and Jeff Mahshie and everyone else involved. This is a total total thrill.” David Rockwell, nominated for Best Scenic Design of a Play for Fallen Angels

"I’m beyond excited to be nominated alongside the most daring collaborators. The Lost Boys took a big, fearless leap, and getting to take that jump with my collaborators is something that I will never forget. I am indebted to and so proud of the greatest lighting team on Broadway!" Jen Schriever, nominated for Best Lighting Design of a Musical for The Lost Boy

“I’m completely over the moon to be nominated for my work on Oedipus which was redesigned for New York after the initial London run. It was, and always is, a pleasure to be welcomed by the Broadway community.” Natasha Chivers, nominated for Best Lighting Design of a Play for Oedipus

“I’m currently on New Jersey Transit to Penn Station to go observe a brain surgery to research a television show I’m filming, but I think they are going to have to put me on an operating table because I cannot comprehend this news. I first heard from my manager David Williams and then my phone just started blowing up. I’m just trying to take it all in. Before David called, my phone sent me a notification about a memory from a year ago where my family was all gathered for my father’s funeral. And it’s so apropos because my dad has been with me this entire process and I just think about him and how supportive he was my entire life. And how I would have loved to have shared this with him in person. But I know I get to share it with him now and every day moving forward. Thank you, dad. Thank you Crystal, my wife, and Chase my son. And all of the Waiting for Godot team, Alex, Keanu, Michael, Zayn, Eric, and Jamie Lloyd, our director, our stage management team, the designers, and especially the crew at the Hudson Theatre who made it a joy to come to work every day. It’s really clarifying how many people it takes to arrive at a singular moment in your life, but it is just a really profound honor to represent everyone who worked so hard on the show and bringing it to the audiences. Here we go!” Brandon J. Dirden, nominated for Best Featured Actor in a Play for Waiting for Godot.

"I'm Overwhelmed with Gratitude" The 2026 Tony Nominees React To Their Nominations

Theatrely Staff

May 5, 2026

This morning was a very exciting moment for the theatre industry as the 2026 Tony Award Nominations were announced. Below, see live reactions from the various 2026 Nominees. Keep checking back throughout the day as we update the below.

"I am grateful to be counted among such luminaries as my friend Kelli O’Hara, the truly gifted Rose Byrne, an astonishing Susannah Flood, and the legendary Leslie Manville. I’m also thrilled for my BUG design team, who made a difficult job look deceptively simple." Carrie Coon, nominated for Best Performance by an Actress in a Leading Role in a Play for BUG.

“I think it most appropriate to quote from the song, ‘My legs may be tottery. I must go slow, and be careful of Old Deuteronomy.’” André De Shields, nominated for Best Featured Actor in a Musical for CATS: The Jellicle Ball

"My heart is pounding, pouring over with gratitude. Thank you to the Tony Committee for this humbling recognition. Returning to Broadway has been so artistically fulfilling and it moves me deeply to be witnessed and celebrated by the community. Gosh, I love the theater and I love being in The Rocky Horror Show in the limitless sandbox that Sam Pinkleton has cultivated. It is a gift to unleash Janet Weiss night after night. I can’t wait to keep sharing her with you." Stephanie Hsu, nominated for Best Performance by a Lead Actress for The Rocky Horror Show.

"This is a bit of a moment for me. To be recognised in this way by such an esteemed body is as good as it gets. I couldn’t be prouder of Oedipus and the remarkable team I got to navigate this highly complex play with 8 times a week, most notably the magnificent Mark Strong." Leslie Manville, nominated for Best Performance by an Actress in a Leading Role in a Play for Oedipus.

"What a sweet, thrilling surprise! I'm humbled and happy to be in the company of these wonderful actors in my category. And I can't wait to celebrate tonight by playing this beautiful play with such a superb company. Wow." Richard Thomas, nominated for Best Performance by an Actor in a Featured Role in a Play for The Balusters.

"I’m beyond honored to have The Balusters included among this year’s Tony nominees—especially in a season with so many bold, beautiful new plays. The nomination is really a testament to the remarkable artists who brought the play to life—our astonishing director, Kenny Leon, our extraordinary ensemble of actors, our brilliant designers, and the tireless crew, along with everyone at MTC. I’m so grateful to get to make theater and be part of a community that continues to sustain and inspire me in so many ways." David Lindsay-Abaire, nominated for Best Play for The Balusters

"I am overwhelmed with gratitude for this honor. To be working in the theatre, let alone on Broadway, has been my dream since I transformed my grandparents' garage into a stage as a kid. More important than the personal honor is the deep sense of pride I have for my fellow collaborators who poured their souls into the monumental undertaking that is The Lost Boys. They are all my heroes and I am so grateful for the selflessness, rigor, and passion they brought to work every day. Congrats to all the nominees and all the countless artists and technicians who make every show possible and who continue to delight and inspire audiences 8 times a week on Broadway." - Michael Arden, nominated for Best Direction of a Musical and Best Lighting Design of a Musical.

"The Lost Boys was as much of a thrill ride to make as it is onstage. I am incredibly honored to be nominated amongst the best designers working on Broadway and as part of a creative team that was recognized across the board for this biggest of swings." Dane Laffrey, nominated for Best Scenic Design of a Musical for The Lost Boys.

“What fantastic news to wake up to. I was working out, not watching it directly, but I got a text. I’m grateful to the American Theatre Wing and the Broadway League. Congrats to all of the other nominees, what a spectacular group. My deepest thanks Scott Ellis and everyone at Roundabout. Scott is the most amazing leader, and he created the opportunity to bring this Noël Coward world to stage. And congratulations to Kelli, Rose, and Jeff Mahshie and everyone else involved. This is a total total thrill.” David Rockwell, nominated for Best Scenic Design of a Play for Fallen Angels

"I’m beyond excited to be nominated alongside the most daring collaborators. The Lost Boys took a big, fearless leap, and getting to take that jump with my collaborators is something that I will never forget. I am indebted to and so proud of the greatest lighting team on Broadway!" Jen Schriever, nominated for Best Lighting Design of a Musical for The Lost Boy

“I’m completely over the moon to be nominated for my work on Oedipus which was redesigned for New York after the initial London run. It was, and always is, a pleasure to be welcomed by the Broadway community.” Natasha Chivers, nominated for Best Lighting Design of a Play for Oedipus

“I’m currently on New Jersey Transit to Penn Station to go observe a brain surgery to research a television show I’m filming, but I think they are going to have to put me on an operating table because I cannot comprehend this news. I first heard from my manager David Williams and then my phone just started blowing up. I’m just trying to take it all in. Before David called, my phone sent me a notification about a memory from a year ago where my family was all gathered for my father’s funeral. And it’s so apropos because my dad has been with me this entire process and I just think about him and how supportive he was my entire life. And how I would have loved to have shared this with him in person. But I know I get to share it with him now and every day moving forward. Thank you, dad. Thank you Crystal, my wife, and Chase my son. And all of the Waiting for Godot team, Alex, Keanu, Michael, Zayn, Eric, and Jamie Lloyd, our director, our stage management team, the designers, and especially the crew at the Hudson Theatre who made it a joy to come to work every day. It’s really clarifying how many people it takes to arrive at a singular moment in your life, but it is just a really profound honor to represent everyone who worked so hard on the show and bringing it to the audiences. Here we go!” Brandon J. Dirden, nominated for Best Featured Actor in a Play for Waiting for Godot.

"I'm Overwhelmed with Gratitude" The 2026 Tony Nominees React To Their Nominations

Theatrely Staff

May 5, 2026

This morning was a very exciting moment for the theatre industry as the 2026 Tony Award Nominations were announced. Below, see live reactions from the various 2026 Nominees. Keep checking back throughout the day as we update the below.

"I am grateful to be counted among such luminaries as my friend Kelli O’Hara, the truly gifted Rose Byrne, an astonishing Susannah Flood, and the legendary Leslie Manville. I’m also thrilled for my BUG design team, who made a difficult job look deceptively simple." Carrie Coon, nominated for Best Performance by an Actress in a Leading Role in a Play for BUG.

“I think it most appropriate to quote from the song, ‘My legs may be tottery. I must go slow, and be careful of Old Deuteronomy.’” André De Shields, nominated for Best Featured Actor in a Musical for CATS: The Jellicle Ball

"My heart is pounding, pouring over with gratitude. Thank you to the Tony Committee for this humbling recognition. Returning to Broadway has been so artistically fulfilling and it moves me deeply to be witnessed and celebrated by the community. Gosh, I love the theater and I love being in The Rocky Horror Show in the limitless sandbox that Sam Pinkleton has cultivated. It is a gift to unleash Janet Weiss night after night. I can’t wait to keep sharing her with you." Stephanie Hsu, nominated for Best Performance by a Lead Actress for The Rocky Horror Show.

"This is a bit of a moment for me. To be recognised in this way by such an esteemed body is as good as it gets. I couldn’t be prouder of Oedipus and the remarkable team I got to navigate this highly complex play with 8 times a week, most notably the magnificent Mark Strong." Leslie Manville, nominated for Best Performance by an Actress in a Leading Role in a Play for Oedipus.

"What a sweet, thrilling surprise! I'm humbled and happy to be in the company of these wonderful actors in my category. And I can't wait to celebrate tonight by playing this beautiful play with such a superb company. Wow." Richard Thomas, nominated for Best Performance by an Actor in a Featured Role in a Play for The Balusters.

"I’m beyond honored to have The Balusters included among this year’s Tony nominees—especially in a season with so many bold, beautiful new plays. The nomination is really a testament to the remarkable artists who brought the play to life—our astonishing director, Kenny Leon, our extraordinary ensemble of actors, our brilliant designers, and the tireless crew, along with everyone at MTC. I’m so grateful to get to make theater and be part of a community that continues to sustain and inspire me in so many ways." David Lindsay-Abaire, nominated for Best Play for The Balusters

"I am overwhelmed with gratitude for this honor. To be working in the theatre, let alone on Broadway, has been my dream since I transformed my grandparents' garage into a stage as a kid. More important than the personal honor is the deep sense of pride I have for my fellow collaborators who poured their souls into the monumental undertaking that is The Lost Boys. They are all my heroes and I am so grateful for the selflessness, rigor, and passion they brought to work every day. Congrats to all the nominees and all the countless artists and technicians who make every show possible and who continue to delight and inspire audiences 8 times a week on Broadway." - Michael Arden, nominated for Best Direction of a Musical and Best Lighting Design of a Musical.

"The Lost Boys was as much of a thrill ride to make as it is onstage. I am incredibly honored to be nominated amongst the best designers working on Broadway and as part of a creative team that was recognized across the board for this biggest of swings." Dane Laffrey, nominated for Best Scenic Design of a Musical for The Lost Boys.

“What fantastic news to wake up to. I was working out, not watching it directly, but I got a text. I’m grateful to the American Theatre Wing and the Broadway League. Congrats to all of the other nominees, what a spectacular group. My deepest thanks Scott Ellis and everyone at Roundabout. Scott is the most amazing leader, and he created the opportunity to bring this Noël Coward world to stage. And congratulations to Kelli, Rose, and Jeff Mahshie and everyone else involved. This is a total total thrill.” David Rockwell, nominated for Best Scenic Design of a Play for Fallen Angels

"I’m beyond excited to be nominated alongside the most daring collaborators. The Lost Boys took a big, fearless leap, and getting to take that jump with my collaborators is something that I will never forget. I am indebted to and so proud of the greatest lighting team on Broadway!" Jen Schriever, nominated for Best Lighting Design of a Musical for The Lost Boy

“I’m completely over the moon to be nominated for my work on Oedipus which was redesigned for New York after the initial London run. It was, and always is, a pleasure to be welcomed by the Broadway community.” Natasha Chivers, nominated for Best Lighting Design of a Play for Oedipus

“I’m currently on New Jersey Transit to Penn Station to go observe a brain surgery to research a television show I’m filming, but I think they are going to have to put me on an operating table because I cannot comprehend this news. I first heard from my manager David Williams and then my phone just started blowing up. I’m just trying to take it all in. Before David called, my phone sent me a notification about a memory from a year ago where my family was all gathered for my father’s funeral. And it’s so apropos because my dad has been with me this entire process and I just think about him and how supportive he was my entire life. And how I would have loved to have shared this with him in person. But I know I get to share it with him now and every day moving forward. Thank you, dad. Thank you Crystal, my wife, and Chase my son. And all of the Waiting for Godot team, Alex, Keanu, Michael, Zayn, Eric, and Jamie Lloyd, our director, our stage management team, the designers, and especially the crew at the Hudson Theatre who made it a joy to come to work every day. It’s really clarifying how many people it takes to arrive at a singular moment in your life, but it is just a really profound honor to represent everyone who worked so hard on the show and bringing it to the audiences. Here we go!” Brandon J. Dirden, nominated for Best Featured Actor in a Play for Waiting for Godot.

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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