One Woman Showcial

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Tributes

Performers

Kaisha S. Huguley

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Director, Artist, Creative

Setting

Be sure to join us for the afterparty at Social Food & Drink, located directly outside the theatre on 4th floor.

Songs & Scenes

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Production Staff

Music Director

Jason Wetzel

Drums

Jed Feder

Bass

Danny Weller

Costume Consultant

Brendan McCann

Graphic Designer

Diandra Muléy

Wig Design

Funtasy Wigs

Digital Program

Marquee Digital

Venue Staff

School Administration Staff

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Musicians

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Board Members

Student Advisory Board

Credits

Lighting equipment from PRG Lighting, sound equipment from Sound Associates, rehearsed at The Public Theater’s Rehearsal Studios. Developed as part of Irons in the Fire at Fault Line Theatre in New York City.

Special Thanks

*Appearing through an Agreement between this theatre and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

“Actors’ Equity Association (“Equity”), founded in 1913, is the U.S. labor union that represents more than 51,000 actors and stage managers, Equity fosters the art of live theatre as an essential component of society and advances the careers of its members by negotiating wages, improving working conditions and providing a wide range of benefits, including health and pension plans. Actors’ Equity is a member of the AFL-CIO and is affiliated with FIA, an International organization of performing arts unions. www.actorsequity.org

United Scenic Artists ● Local USA 829 of the I.A.T.S.E represents the Designers & Scenic Artists for the American Theatre

ATPAM, the Association of Theatrical Press Agents & Managers (IATSE Local 18032), represents the Press Agents, Company Managers, and Theatre Managers employed on this production.

A Message from Kaisha

A very special THANK YOU to everyone who has supported me and my journey over the past decade especially. I greatly appreciate your continued love and support. To my husband Quinton who's been on this crazy wild ride through life with me and who supports everything I do, thank you for being you and for your love. I love you pumpkin!

Meet the Cast

Kaisha S. Huguley

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Director, Artist, Creative

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Pronouns:

she/her/hers

Kaisha S. Huguley is a New York multi-hyphenate artist & creative originally from Washington, D.C. Most recently, she took the stage in the cast of Kinky Boots (Pat/Trish* U/S) at Arts Center of Coastal Carolina. Prior to Kinky Boots, Kaisha made the most of this time away from the stage by establishing herself on the internet as the force she is.

Kaisha played the role of Office Services in a TikTok Musical entitled Work from Home alongside Broadway stars, Kevin Chamberlin and several others. Additionally, Kaisha was selected out of 5,000 applicants as 1 of 100 creatives in the inaugural TikTok for Black Creatives program in partnership with Macro.

People know Kaisha as the woman who quit her full time job with the federal government to become an actress. She documents her journey to Broadway and all things creative online via her personal brand, “Kaisha Creates”. When Kaisha is not on stage, she’s creating content for her online fanbase via her TikTok, Instagram, Podcast: A Kaisha Story, and YouTube Channel. She also has a podcast with her husband, Quinton called The Happily Huguley Podcast.

In addition to being an actor and creative, Kaisha is the Director of Diversity & Cultural Creative Initiatives as well as a Faculty Member at The American Musical & Dramatic Academy (AMDA NY). She teaches courses on the business of the arts & entertainment industry as well as social media & online marketing. Kaisha is committed to teaching, giving back to, and empowering the next generation of artists and creatives.

Meet the Team

Jed Feder

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Drums

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Pronouns:

he/him/his

Jed is a drummer, actor, and composer. Recent credits include drums/percussion for the new Off-Broadway musical Trevor at Stage 42, Kassim in the First National Tour of Disney’s Aladdin, and Uri Savir in TimeLine/Broadway in Chicago’s Oslo. Check out Yellowfin Grouper, P.I., a radio-play musical podcast for all ages available wherever you get podcasts!

Brendan McCann

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Costume Consultant

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Pronouns:

he/him/his

Brendan is currently a freelance prop and costume designer based in New York City. He is known for his work with unconventional material and his work has been featured on Inside Edition and The Today Show.

Diandra Muléy

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Graphic Designer

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Pronouns:

she/her/hers

Danny Weller

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Bass

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Pronouns:

he/him/his

A New England Conservatory alumni, NYC bassist and composer Danny Weller has performed in a variety of Jazz, Pop, cabaret and Broadway engagements, and appeared in concert with artists such as Vanessa Williams, Lin-Manuel Miranda, Jason Robert Brown, and Rumer Willis, and for six years held the bass chair for the Radio City Christmas Orchestra. Theatre credits include Closer than Ever; Starting Here, Starting Now; Love, Linda (York Theatre).

Jason Wetzel

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Music Director

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Pronouns:

he/him/his

Jason is a pianist, conductor, arranger, and music director based in New York City. Jason’s regional credits include 11 seasons and over 20 productions at Maine State Music Theatre. Also: Ogunquit Playhouse, Gateway Playhouse, Northern Stage, and American Theater Group. In New York City, Jason’s credits include: Radio City Christmas Spectacular, Heart and Lights (Radio City), Cotton Club Parade (City Center), A Bed and a Chair (City Center), NAMT, NYMF. He was also the Music Director of Mainstage Programming for Broadway Con. In 2013, Jason was assistant conductor for the Broadway production of After Midnight, making his Broadway conducting debut with guest star Vanessa Williams. He went on to the Broadway labs for Shuffle Along, working alongside Savion Glover and George C. Wolfe. Recently, he was an assistant Music Director for the Broadway lab of Crazy For You, directed by Susan Stroman. Jason is also active in both the cabaret world and musical theatre education. He is a pianist and coach for Actor Therapy, working closely with Linsday Mendez, Ryan Scott Oliver, Sierra Boggess, Peter Duchan and others. He has been fortunate to perform all over the United States, Canada, and Europe, as well as Australia, New Zealand, Fiji, Qatar, and Indonesia.

Media

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2021 National Touring Cast

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PAC NYC Announces 2026 Programming, Including Deaf Play TRASH

Emily Wyrwa

July 22, 2025

The Perelman Performing Arts Center (PAC NYC) has announced its 2026 season, including six productions across theatre, music, and dance. The season will feature contemporary ballet trilogy Gems in February, comedic play Trash in March, Motion/Matter: All Styles Dance Battle in March, and Family Day in late May 2026.

Additionally, Jennifer Nettles’ new musical GIULIA: The Poison Queen of Palermo will premiere at PAC NYC in new dates to be announced soon. From Oct. 29 to Nov. 1, it will present Icons of Culture celebrating women leaders Diane von Furstenberg, Es Devlin, Danai Gurira, and Christy. Rounding out 2025 will be the Old Vic’s acclaimed production of A Christmas Carol from Nov. 23 to Dec. 28.

Gems will run Feb. 21 and 22. It is a ballet trilogy — including 2013’s Reflections, 2014’s Hearts & Arrows, and 2016’s On the Other Side — by Benjamin Millepied celebrating the unity of dance, music, and visual art.

The play Trash tells the story of two deaf roommates sharing a small city apartment. They’re polar opposites and have very different views on what it means to be deaf in a hearing world. It runs March 7 to 28, 2026 at PAC NYC.

‍Motion/Matter: All Styles Dance Battle will take place on March 21, 2026 at 5 p.m. It marks the return of the showdowns after success in 2024 and 2025. Cebo — the president of New York’s first street club dance companies — is co-hosting alongside Nubian Nene to showcase top-tier dancers from NYC’s street and club scenes.

2026’s Family Day marks the second open house at PAC NYC, where dozens of artists and thousands of families will be welcomed into the space.

All PAC NYC performances will take place at 6 World Trade at 251 Fulton Street in New York City. For tickets and more information, visit here.

HAMILTON Anniversary Matinee Will Offer 1,000 Lottery Tickets for $10

Emily Wyrwa

July 22, 2025

#YayHamlet! As part of its 10th anniversary celebration, Hamilton will host a special fan-filled performance. On its official 10th anniversary, Aug. 6, the matinee will have a minimum of 1,000 seats in the Richard Rogers Theatre available for lottery prices: $10.

To enter, visit here or download the official Hamilton app. Registration is open as of today, July 22, and will close at noon on July 31. Lottery is the only way to access tickets to the anniversary matinee performance.

Winner and non-winner notifications will be sent between 1 p.m. and 4 p.m. on July 31 via email and mobile push notification. Winners will have two hours to claim and pay for their ticket. At the performance, lottery winners will be required to show ID at the box office when they pick up their tickets. The name on the ID must match the name used to enter the digital lottery. Winners may be selected for either one or two tickets, and there can only be one entry per person.

On the evening of Aug. 6, Hamilton will have an invite-only performance benefitting the Immigrants: We Get the Job Done Coalition, a multi-ethnic, multi-racial coalition of leading national immigrant service providers. VIP packages for the performance are available and range from $2,500 to $10,000.

To enter the lottery, visit here. Good luck!

THE NOTEBOOK National Tour Launches in Cleveland This September

Emily Wyrwa

July 22, 2025

It’s time to fall in love — on the road! The Notebook’s North American Tour will launch in September beginning at Cleveland’s Playhouse Square. It will play over 30 cities across the nation through the end of August 2026.

The tour will be led by a group of six actors playing the iconic lovers Allie and Noah through different stages of their lives. It will feature Sharon Catherine Brown as Older Allie and Beau Gravitte as Older Noah, Alysha Deslorieux as Middle Allie and Ken Wulf Clark as Middle Noah, and Chloë Cheers as Younger Allie and Kyle Mangold as Younger Noah. They will be joined by Anne Tolpegin as Mother/Nurse Lori and Connor Richardson as Johnny.

The ensemble will include Nick Brogan, Jesse Corbin, Jerome Harmann-Hardeman, Rayna Hickman, Makena Jackson, Caleb Mathura, Aaron Ramey, Shari Washington Rhone, Samantha Rios, Grace Ohwensadeyo Rundberg, Emily Somé, and Joe Verga.

Based on the iconic film and novel of the same name, The Notebook follows lovers Allie and Noah through their lives together — from when they first meet, to the bittersweet end. They share a lifetime of love together despite all the forces trying to pull them apart.

The Notebook features a score by multiplatinum singer-songwriter Ingrid Michaelson, book by Bekah Brunstetter, direction by Michael Greif and Schele Williams, and choreography by Katie Spelman. It was recognized with three 2024 Tony Award nominations for Best Book of a Musical, and for the performers playing Older Allie and Noah — Maryann Plunkett and Dorian Harewood.

The creative team for the tour includes scenic design by David Zinn and Brett J. Banakis, costume design by Paloma Young, lighting design by Ben Stanton, sound design by Nevin Steinberg, hair and wig design by Mia Neal, and projection design by Lucy Mackinnon. The production’s music supervisor is Carmel Dean, who also collaborated on arrangements with Ingrid Michaelson and on orchestrations with John Clancy, and the music director is Tina Faye.

For tour route, tickets, and more information, visit here.

Theatrely News

EXCLUSIVE: Watch A Clip From THEATER CAMP Starring Ben Platt, Noah Galvin, and Molly Gordon

Theatrely News

READ: An Excerpt From Sean Hayes Debut YA Novel TIME OUT

Theatrely News

"Reframing the COVID-19 Pandemic Through a Stage Manager’s Eyes"

EXCLUSIVE: Watch A Clip From THEATER CAMP Starring Ben Platt, Noah Galvin, and Molly Gordon

By: Maia Penzer

14 July 2023

Finally, summer has arrived, which can only mean one thing: it's time for camp! Theater Camp, that is. Theatrely has a sneak peak at the new film which hits select theaters today.

The new original comedy starring Tony Award winner Ben Platt and Molly Gordon we guarantee will have you laughing non-stop. The AdirondACTS, a run-down theater camp in upstate New York, is attended by theater-loving children who must work hard to keep their beloved theater camp afloat after the founder, Joan, falls into a coma.

The film stars Ben Platt and Molly Gordon as Amos Klobuchar and Rebecca-Diane, respectively, as well as Noah Galvin as Glenn Wintrop, Jimmy Tatro as Troy Rubinsky, Patti Harrison as Caroline Krauss, Nathan Lee Graham as Clive DeWitt, Ayo Edebiri as Janet Walch, Owen Thiele as Gigi Charbonier, Caroline Aaron as Rita Cohen, Amy Sedaris as Joan Rubinsky, and Alan Kim as Alan Park.

Theater Camp was directed by Molly Gordon and Nick Lieberman and written by Noah Galvin, Molly Gordon, Nick Lieberman & Ben Platt. Music is by James McAlister and Mark Sonnenblick. On January 21, 2023, Theater Camp had its world premiere at the Sundance Film Festival.

You can purchase tickets to the new film from our friends at Hollywood.com here.

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READ: An Excerpt From Sean Hayes Debut YA Novel TIME OUT

By: Kobi Kassal

29 May 2023

Actor Sean Hayes is what we in the biz call booked and blessed. On top of his Tony-nominated performance as Oscar Levant in Good Night, Oscar, Hayes has partnered with Todd Milliner and Carlyn Greenwald for the release of their new YA novel Time Out.

Heralded by many as Heartstopper meets Friday Night Lights, Time Out follows hometown basketball hero Barclay Elliot who decides to use a pep rally to come out to his school. When the response is not what he had hoped and the hostility continually growing, he turns to his best friend Amy who brings him to her voting rights group at school. There he finds Christopher and… you will just have to grab a copy and find out what happens next. Luckily for you, Time Out hits shelves on May 30 and to hold you over until then we have a special except from the book just for Theatrely:

The good thing about not being on the team the past two weeks has been that I’ve had time to start picking up shifts again at Beau’s diner and save up a little for college now that my scholarship dreams are over.

The bad part is it’s the perfect place to see how my actions at the pep rally have rotted the townspeople’s brains too.

During Amy’s very intense musical theater phase in middle school, her parents took her to New York City. And of course she came back home buzzing about Broadway and how beautiful the piss smell was and everything artsy people say about New York. But she also vividly described some diner she waited three hours to get into where the waitstaff would all perform songs for the customers as a way to practice for auditions. The regulars would have favorite staff members and stan them the way Amy stans all her emo musicians.

Working at Beau’s used to feel kind of like that, like I was part of a performance team I didn’t know I signed up for. The job started off pretty basic over the summer—I wanted to save up for basketball supplies, and Amy worked there and said it was boring ever since her e-girl coworker friend graduated. But I couldn’t get through a single lunch rush table without someone calling me over and wanting the inside scoop on the Wildcats and how we were preparing for the home opener, wanting me to sign an article in the paper or take a photo. Every friendly face just made the resolve grow inside me. People love and support the Wildcats; they would do the same for me.

Yeah, right.

Now just like school, customers have been glaring at me, making comments about letting everyone down, about being selfish, about my actions being “unfortunate,” and the tips have been essentially nonexistent. The Wildcats have been obliterated in half their games since I quit, carrying a 2–3 record when last year we were 5–0, and the comments make my feet feel like lead weights I have to drag through every shift.

Today is no different. It’s Thursday, the usual dinner rush at Beau’s, and I try to stay focused on the stress of balancing seven milkshakes on one platter. A group of regulars, some construction workers, keep loudly wondering why I won’t come back to the team while I refuse proper eye contact.

One of the guys looks up at me as I drop the bill off. “So, what’s the deal? Does being queer keep ya from physically being able to play?”

They all snicker as they pull out crumpled bills. I stuff my hands into my pockets, holding my tongue.

When they leave, I hold my breath as I take their bill.

Sure enough, no tip.

“What the fuck?” I mutter under my breath.

“Language,” Amy says as she glides past me, imitating the way Richard says it to her every shift, and adds, “even though they are dicks.” At least Amy’s been ranting about it every free chance she gets. It was one thing when the student body was being shitty about me leaving the team, but the town being like this is even more infuriating. She doesn’t understand how these fully grown adults can really care that much about high school basketball and thinks they need a new fucking hobby. I finally agree with her.

[She’s wearing red lipstick to go with her raccoon-adjacent eyeliner as she rushes off to prepare milkshakes for a pack of middle schoolers. I catch her mid–death glare as all three of the kids rotate in their chairs, making the old things squeal. My anger fades a bit as I can’t help but chuckle; Amy’s pissed-off reaction to Richard telling her to smile more was said raccoon makeup, and her tolerance for buffoonery has been at a negative five to start and declining fast.

I rest my arms on the counter and try not to look as exhausted as I feel.

“Excuse me!” an old lady screeches, making me jump.

Amy covers up a laugh as I head to the old lady and her husband’s table. They’ve got finished plates, full waters. Not sure what the problem is. Or I do, which is worse.

“Yes?” I say trying to suppress my annoyance.

“Could you be bothered to serve us?”

Only five more hours on shift. I have a break in three minutes. I’ll be with Devin at Georgia Tech tomorrow. “I’m sorry, ma’am,” I say, so careful to keep my words even, but I can feel my hands balling into fists. “What would you—?”

And suddenly Amy swoops in, dropping two mugs of coffee down. “Sorry about that, you two,” she says, her voice extra high. “The machine was conking out on us, but it’s fine now.”

Once the coffee is down, she hooks onto a chunk of my shirt, steering us back to the bar.

“Thanks,” I mutter, embarrassed to have forgotten something so basic. Again.

“Just keep it together, man,” she says. “Maybe you’d be better off with that creepy night shift where all the truckers and serial killers come in.”

Honestly, at least the serial killers wouldn’t care about my jump shot.

It’s a few minutes before my break, but clearly I need it. “I’ll be in the back room.”

Right before I can head that way though, someone straight-up bursts into the diner and rushes over to me at the bar. It’s a middle-aged dad type, sunburned skin, beer belly, and stained T-shirt.

“Pickup order?” I ask.

“You should be ashamed,” he sneers at me. He has a really strong Southern accent, but it’s not Georgian. “Think you’re so high and mighty, that nothing’ll ever affect you? My kid’ll never go to college because of you and your lifestyle. Fuck you, Barclay Ell—”

And before this man can finish cursing my name, Pat of all people runs in, wide-eyed in humiliation. “Jesus, Dad, please don’t—”

I pin my gaze on him, remembering how he cowered on the bench as Ostrowski went off, how he didn’t even try to approach me. “Don’t even bother,” I snap.

I shove a to-go bag into his dad’s arms, relieved it’s prepaid, and storm off to the break room.]

Amy finds me head in my arms a minute or two later. I look up, rubbing my eyes. “Please spare me the pity.”

She snorts and hands me a milkshake. Mint chocolate chip. “Wouldn’t dare.” She takes a seat and rolls her shoulders and neck, cracks sounding through the tiny room. “Do you want a distraction or a shoulder to cry on?”

For more information, and to purchase your copy of Time Out, click here.

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Reframing the COVID-19 Pandemic Through a Stage Manager’s Eyes

By: Kaitlyn Riggio

5 July 2022

When the COVID-19 pandemic was declared a national emergency in the United States in March 2020, Broadway veteran stage manager Richard Hester watched the nation’s anxiety unfold on social media.

“No one knew what the virus was going to do,” Hester said. Some people were “losing their minds in abject terror, and then there were some people who were completely denying the whole thing.”

For Hester, the reaction at times felt like something out of a movie. “It was like the Black Plague,” he said. “Some people thought it was going to be like that Monty Python sketch: ‘bring out your dead, bring out your dead.’”

While Hester was also unsure about how the virus would unfold, he felt that his “job as a stage manager is to naturally defuse drama.” Hester brought this approach off the stage and onto social media in the wake of the pandemic.

“I just sort of synthesized everything that was happening into what I thought was a manageable bite, so people could get it,” Hester said. This became a daily exercise for a year. Over two years after the beginning of the pandemic, Hester’s accounts are compiled in the book, Hold Please: Stage Managing A Pandemic. Released earlier this year, the book documents the events of the past two years, filtering national events and day-to-day occurrences through a stage manager’s eyes and storytelling.

When Hester started this project, he had no intention of writing a book. He was originally writing every day because there was nothing else to do. “I am somebody who needs a job or needs a structure,” Hester said.

Surprised to find that people began expecting his daily posts, he began publishing his daily writing to his followers through a Substack newsletter. As his following grew, Hester had to get used to writing for an audience. “I started second guessing myself a lot of the time,” Hester said. “It just sort of put a weird pressure on it.”

Hester said he got especially nervous before publishing posts in which he wrote about more personal topics. For example, some of his posts focused on his experiences growing up in South Africa while others centered on potentially divisive topics, such as the 2020 election and the January 6, 2021, attack on the U.S. Capitol.

Despite some of this discomfort, Hester’s more personal posts were often the ones that got the most response. The experience offered him a writing lesson. “I stopped worrying about the audience and just wrote what I wanted to write about,” Hester said. “All of that pressure that I think as artists we put on ourselves, I got used to it.”

One of Hester’s favorite anecdotes featured in the book centers on a woman who dances in Washington Square Park on a canvas, rain or shine. He said he was “mesmerized by her,” which inspired him to write about her. “It was literally snowing and she was barefoot on her canvas dancing, and that seems to me just a spectacularly beautiful metaphor for everything that we all try and do, and she was living that to the fullest.”

During the creation of Hold Please, Hester got the unique opportunity to reflect in-depth on the first year of the pandemic by looking back at his accounts. He realized that post people would not remember the details of the lockdown; people would “remember it as a gap in their lives, but they weren’t going to remember it beat by beat.”

“Reliving each of those moments made me realize just how full a year it was, even though none of us were doing anything outside,” he adds. “We were all on our couches.” Readers will use the book as a way to relive moments of the pandemic’s first year “without having to wallow in the misery of it,” he hopes.

“I talk about the misery of it, but that’s not the focus of what I wrote... it was about hope and moving forward,” Hester said. “In these times when everything is so difficult, we will figure out a way to get through and we will move forward.”

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