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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.

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2021 National Touring Cast

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MAMMA MIA! Bursts Back Onto Broadway | On The Scene Report

Kobi Kassal

August 5, 2025

When no less than 40 pink boas are lined up outside the Winter Garden, it can really only mean one thing. Mamma Mia! is officially back on Broadway, and thank goodness.

Now the investigative journalist in me has been waiting ever since arts journalist Baz Bamigboye reported back in early 2023 that Mamma Mia! may be back on the boards this year, so for the past 27 months, I have been very patiently biding my time, and that all ended this past weekend when the dulcet tones of ABBA could be heard throughout Midtown.

The beloved jukebox musical first hit the scene in 1999 in London when theatrical producer Judy Craymer asked Catherine Johnson to write a book for the Swedish pop group’s catalogue. Phyllida Lloyd joined as director, and the rest is history. The musical, which is still running in London, celebrated its 10,000th performance last summer.

The Broadway run opened at the Winter Garden Theatre in October of 2001; it transferred to the Broadhurst in 2013 and ran for almost 14 years, becoming the longest-running jukebox musical in Broadway history.

As we entered the Winter Garden on Saturday night for their first preview, there was almost a wave of calmness before the show began. Eerily quiet, as I think everyone was self-internalizing that they were about to witness Mamma Mia! back on Broadway, and it hadn’t fully clicked.

__wf_reserved_inherit — The full Broadway company of Mamma Mia! | Photo: Joan Marcus

From the first stroke of the downbeat of the overture, the screams that erupted envied that of any major concert at Metlife. The musical forged on, and the actors and audiences shared that special bond that makes up the magic of theatre. They were giving everything they could to us, and boy were we giving everything right back.

What made Saturday so immensely special was that this production celebrates 25 Broadway debuts, most of which were made on Saturday evening officially. Look, the curtain call megamix is always going to be thrilling, but when you see actors giving it their all with tears in their eyes realizing dreams are coming true right before you, it’s a specialness one will never forget.

During intermission, I noted a mother-daughter duo with bags, and I mean bags, of merch headed to their seats. They flew to town for Gracie Abrams at the Garden and when they heard Mamma Mia! was headed back, they extended their trip just to be among the first to catch the show. They are ABBA super fans and purchased one of everything at the merch stand—I am not joking.

This show is a juggernaut, with numerous productions playing all around the world every day of the year. The music is so infectious, it’s hard not to have an incredible night out. The question I get all the time as a theatre journalist is “where can I just go have fun” and boy is Mamma Mia! the answer. The show officially opens August 14 here at the Winter Garden and is currently on sale through February 2026, but if I had my way it would never leave us again.

So grab your girlfriends, and your boyfriends, hey grab anyone and go catch Mamma Mia!, truly the most fun you can have on Broadway right now.

For tickets and more information, visit here.

Victoria Clark Returns to Broadway in PUNCH

Emily Wyrwa

August 4, 2025

Victoria Clark is making her way back to the Broadway stage in Manhattan Theatre Club’s Punch this fall.

Clark joins Cody Kostro, Piter Marek, Camila Canó-Flaviá, Will Harrison, Sam Robards, and Lucy Taylor. She will portray Joan, the victim’s mother, in the production.

‍Punch tells the story of Jacob, who must reconcile with the consequences of fatally punching a young boy. While in prison, he struggles to accept his errors, but finds an unusual source of salvation: the parents of the boy he killed.

Clark recently won the Tony Award for Best Leading Actress in a Musical for her role in Kimberly Akimbo. She also won a Tony Award for her role in The Light in the Piazza, as well as nominations for Gigi, Rodgers and Hammerstein’s Cinderella, and Sister Act.

The creative team for Punch is Anna Fleischle (Scenic and Costume Design), Robbie Butler (Lighting Design), Alexandra Faye Braithwaite (Original Music & Sound Design), Leanne Pinder (Movement Director), Ben Furey (Dialect Coach), Charlotte Fleck (Dialect Coach), Caparelliotis Casting & Kelly Gillespie (Casting), and Richard A. Hodge (Production Stage Manager).

Punch will play simultaneously on Broadway and in London’s West End this fall. Both productions are directed by Adam Penford. MTC’s Broadway production will start previews on Tuesday, September 9 and open Monday, September 29 at the Samuel J. Friedman Theatre (261 West 47th Street).

Punch begins performances on Sept. 9 and opens Sept. 29 at the Samuel J. Friedman Theatre on West 47th Street in New York City. For tickets and more information, visit here.

PRINCE FAGGOT Returns Off-Broadway at Studio Seaview This Fall

Emily Wyrwa

August 4, 2025

Jordan Tannahill’s Prince Faggot is transferring to Studio Seaview on West 43rd Street this fall after an acclaimed run at Playwrights Horizons. The show, directed by Pulitzer Prize finalist Shayok Misha Chowdhury, will play a limited engagement from Sept. 11 to Oct. 25.

What begins as a theatrical thought experiment — six queer and trans performers imagining themselves into a world of inherited power and royal expectation — quickly becomes a gloriously profane and surprisingly tender love story. Equal parts delicate and audacious, Prince Faggot takes on identity, inheritance, and all the beautiful, terrifying contradictions that come from living truthfully in a world built to contain you.

The show marks Tannahill’s Off-Broadway debut. All of the original performers will return for the Seaview production, playing themselves as an ensemble of actors. The cast includes Rachel Crowl, Tony Award nominee K. Todd Freeman, David Greenspan, Mihir Kumar, John McCrea, and N’yomi Allure Stewart. Tyrone Mitchell Henderson will play K. Todd Freeman through Sept. 26, when Freeman returns from directing Rajiv Joseph’s Mr. Wolf at Steppenwolf Theatre Company.

The returning creative team includes scenic designer David Zinn, costume designer Montana Levi Blanco, lighting designer Isabella Byrd, sound design and original music by Lee Kinney , wig and hair designer Cookie Jordan, dramaturg Sarah Lunnie, intimacy coordination by UnkleDave’s Fight-House, props by Matt Carlin, aerial effects by Paul Rubin, and dialect coach Deborah Hecht. Casting by Alaine Alldaffer, Lisa Donadio, Taylor Williams, CSA. Jack Serio is Associate Director. Production stage manager is Ryan Gohsman, with production supervision by Hudson Theatrical Associates / Sean Gorski and Seaview / Jonathan Whitton serving as general manager.

Prince Faggot will be a phone-free experience. Upon entering the theatre, all phones will be locked in Yondr pouches. Due to sensitive subject matter, including nudity and sexual content, the show is recommended for ages 18+.

The ruun at Playwrights Horizons was a coproduction by Playwrights Horizons and Soho Rep. The Studio Seaview engagement is presented by bb², Seaview, LD Entertainment, Playwrights Horizons, and Soho Rep.

Prince Faggot runs at Studio Seaview on West 43rd Street in New York City from Sept. 11 to Oct. 25. 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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