Music and Lyrics by Jason Robert Brown
- Farah Alvin
- Olivia Hernandez
- Erick Patrick
- Bobby Conte Thorton
- Music Director
- Micah Young
- Set Design
- Daniel Whiting
- Costume Design
- Gail Baldoni
- Lighting Design
- JARON HERMANSEN
- Sound Design
- JAY SHEEHAN
- Stage Manager
- Shawn Pryby
- Wardrobe Supervisor
- JESTINA O'DELL
- Digital Program
- Marquee Digital
Originally produced by the WPA Theatre, New York City, 1995 (Kyle Renick, Artistic Director)
Original Orchestration by Brian Basterman and Jason Robert Brown
SONGS FOR A NEW WORLD is presented through special agreement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI. www.mtishows.com
(in alphabetical order)
Bobby Conte Thorton
- "Opening Sequence I: The New World" - Company
- "Opening Sequence II: 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" - Company
- "Stars and the Moon" - Woman 2
- "She Cries" - Man 2
- "The Steam Train" - Man 1, Company
- "The World Was Dancing" - Man 2, Company
- "Surabaya Santa" - Woman 2
- "Christmas Lullaby" - Woman 1
- "King of the World" - Man 1
- "I'd Give It All For You" - Woman 1, Man 2
- "The Flagmaker, 1775" - Woman 2
- "Flying Home" - Man 1, Company
- "Hear My Song" - Company
*Appearing through an Agreement between this theatre, Mill Mountain 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
- Executive Director
- Nora Carey
- Consulting Producer
- Joe Grandy
- Technical Director/Production Manager
- Daniel Whiting
- Master Electrician
- Jaron Hermansen
- Assistant Production Manager
- Caroline Pastrore
- Electrician/Light Board Operator
- Harrison Marcus
- Abigail Feinstein
- Wardrobe Supervisor
- Jestina Odell
- Social Media Manager
- Kurtis Blackburn
- House Manager
- Jonathan Scott Ryder
- Zachary Carey
- Megan Marquit
- Hannah McLaughlin
- Helena Moran
- Dan Robles
Board of Trustees
William W. Templeton, Esq.
Robert E. Burns
Kirsten A. Wickson
Director of Marketing
- William Harpin
- Paul Lambert
- John T Yunits, Jr.
From all of us at The Cape Playhouse, be well, be safe, and we will look forward to welcoming you this summer for never before seen activities on the campus.
The Cape Playhouse is a 501 (c) 3 not-for-profit organization. All donations are tax-deductible.
Message From The Theatre
Meet the Cast
Broadway credits include It Shoulda Been You, Nine, The Look of Love, Saturday Night Fever, and Grease! among others. Off-Broadway credits include Window Treatment (cast album), Goldstein, The Last Smoker In America (cast album), The Marvelous Wonderettes (Drama Desk Nomination, cast album), I Love You Because (cast album) and more. Lots of regional including The Cape Playhouse in 2014 and 2017, Papermill Playhouse, Goodspeed Opera House, Signature Theatre (Helen Hayes Award), Geva Theater and Alabama Shakespeare. Her solo show Farah Alvin on Vinyl named the Best Cabaret Show 2019. She has performed as a soloist with Symphony Orchestras of Indianapolis, Cleveland, Detroit, and National Symphonies of the United States and Canada. She is also occasionally a funny voice on your radio. In New York, Farah performs regularly in the series Broadway By the Year at Town Hall, Broadway Close Up and Broadway Unplugged at Merkin Hall, Broadway’s Greatest Hits and 54 Sings…at 54 Below.
Southern California native. Theatre credits include Austen’s Pride at The 5th Avenue (Elizabeth Bennet), Guys and Dolls at The Guthrie (Sarah Brown), Oklahoma! at TUTS (Laurey), West Side Story at Lamb’s Players Theatre (Maria), and Mary Poppins at The Encore Musical Theatre Company (Mary Poppins). BFA in Musical Theatre from The University of Michigan.
From an early age, Erick Patrick has had a love for acting. He decided to take his training seriously, so he went to the New York Conservatory for Dramatic Arts, where he graduated with a degree in acting for tv and film. Since then, Erick has been performing on stages across America, touring with many broadway shows including Motown the Musical and Jesus Christ Superstar. In addition to being an actor, Erick also sings, writes, and, produces his own music, available on all music streaming platforms under his artist name “Donelle.”
Bobby Conte Thorton
Bobby Conte Thornton currently stars in the Broadway revival of Stephen Sondheim’s Company. He made his Broadway debut originating the role of Calogero in A Bronx Tale, directed by Robert De Niro and Jerry Zaks. Other New York theater: My Fair Lady (Bay Street Theater); Starting Here, Starting Now (York Theatre Company). Regional: Last Days of Summer (George Street Playhouse); all-male A Funny Thing Happened on the Way to the Forum (Two River Theater); world premiere of Ken Ludwig's A Comedy of Tenors (McCarter Theatre Center/Cleveland Play House); regional premiere of Jersey Boys and Lerner & Loewe’s Paint Your Wagon (The Muny). Film/TV: If Beale Street Could Talk (directed by Barry Jenkins); “Unbreakable Kimmy Schmidt” (Netflix); “Madam Secretary”, “The Code” (CBS). He recently released his debut album Along the Way (available on iTunes/Spotify). Training: BFA, University of Michigan; Royal Academy of Dramatic Art.
Jason Robert Brown
Jason Robert Brown is the ultimate multi-hyphenate - an equally skilled composer, lyricist, conductor, arranger, orchestrator, director and performer - best known for his dazzling scores to several of the most renowned musicals of our time, including the generation-defining The Last Five Years, his debut song cycle Songs for a New World, and the seminal Parade, for which he won the 1999 Tony Award for Best Score.
Jason Robert Brown has been hailed as "one of Broadway's smartest and most sophisticated songwriters since Stephen Sondheim" (Philadelphia Inquirer), and his "extraordinary, jubilant theater music" (Chicago Tribune) has been heard all over the world, whether in one of the hundreds of productions of his musicals every year or in his own incendiary live performances. The New York Times refers to Jason as "a leading member of a new generation of composers who embody high hopes for the American musical." Jason's score for The Bridges of Madison County, a musical adapted with Marsha Norman from the bestselling novel, received two Tony Awards (for Best Score and Orchestrations). Honeymoon In Vegas, based on Andrew Bergman's film, opened on Broadway in 2015 following a triumphant production at Paper Mill Playhouse. A film version of his epochal Off-Broadway musical The Last Five Years was released in 2015, starring Anna Kendrick and Jeremy Jordan and directed by Richard LaGravenese. His major musicals as composer and lyricist include: 13, written with Robert Horn and Dan Elish, which opened on Broadway in 2008 and was subsequently directed by the composer for its West End premiere in 2012; The Last Five Years, which was cited as one of Time Magazine's 10 Best of 2001 and won Drama Desk Awards for Best Music and Best Lyrics (and was later directed by the composer in its record-breaking Off-Broadway run at Second Stage Theatre in 2013); Parade, written with Alfred Uhry and directed by Harold Prince, which won both the Drama Desk and New York Drama Critics' Circle Awards for Best New Musical, as well as garnering Jason the Tony Award for Original Score; and Songs for a New World, a theatrical song cycle directed by Daisy Prince, which has since been seen in hundreds of productions around the world since its 1995 Off-Broadway debut, including a celebrated revival at New York's City Center in the summer of 2018. Parade was also the subject of a major revival directed by Rob Ashford, first at London's Donmar Warehouse and then at the Mark Taper Forum in Los Angeles. Jason conducted his orchestral adaptation of E.B. White's novel The Trumpet of the Swan with the National Symphony Orchestra, and recorded the score for PS Classics. Future projects include a new chamber musical created with Daisy Prince and Jonathan Marc Sherman calledThe Connector; an adaptation of Lilian Lee's Farewell My Concubine, created with Kenneth Lin and Moisés Kaufman; and a collaboration with Billy Crystal, Amanda Green, Lowell Ganz and Babaloo Mandel on a musical of Mr. Saturday Night. Jason is the winner of the 2018 Louis Auchincloss Prize, the 2002 Kleban Award for Outstanding Lyrics and the 1996 Gilman & Gonzalez-Falla Foundation Award for Musical Theatre. Jason's songs, including the cabaret standard "Stars and the Moon," have been performed and recorded by Ariana Grande, Audra McDonald, Kristin Chenoweth, Billy Porter, Betty Buckley, Renée Fleming, Jon Hendricks and many others, and his song "Someone To Fall Back On" was featured in the Walden Media film, Bandslam.
As a soloist or with his band The Caucasian Rhythm Kings, Jason has performed concerts around the world. For the past four years (and ongoing), his monthly sold-out performances at New York's SubCulture have featured many of the music and theater world's most extraordinary performers. His newest collection, "How We React and How We Recover", was released in June 2018 on Ghostlight Records. His previous solo album, "Wearing Someone Else's Clothes", was named one of Amazon.com's best of 2005, and is available from Sh-K-Boom Records. Jason's 2012 concert with Anika Noni Rose was broadcast on PBS, and he was the featured soloist for a live episode of Friday Night Is Music Night, broadcast live from the London Palladium and featuring the BBC Concert Orchestra. His collaboration with singer Lauren Kennedy, "Songs of Jason Robert Brown", is available on PS Classics. Jason is also the composer of the incidental music for the Broadway revival of You Can't Take It With You, David Lindsay-Abaire's Kimberly Akimbo and Fuddy Meers, and Kenneth Lonergan's The Waverly Gallery, and he was a Tony Award nominee for his contributions to the score of Urban Cowboy the Musical. He has also contributed music to the hit Nickelodeon television series, The Wonder Pets as well as Sesame Street. Jason spent ten years teaching at the USC School of Dramatic Arts, and has also taught at Harvard University, Princeton University and Emerson College.
For the musical Prince of Broadway, a celebration of the career of his mentor Harold Prince, Jason was the musical supervisor and arranger. Other New York credits as conductor and arranger include Urban Cowboy the Musical on Broadway; Dinah Was, off-Broadway and on national tour; When Pigs Fly"off-Broadway; William Finn's A New Brain at Lincoln Center Theater; the 1992 tribute to Stephen Sondheim at Carnegie Hall (recorded by RCA Victor); Yoko Ono's New York Rock, at the WPA Theatre; and Michael John LaChiusa's The Petrified Princ" at the Public Theatre. Jason orchestrated Andrew Lippa's john and jen,Off-Broadway at Lamb's Theatre. Additionally, Jason served as the orchestrator and arranger of Charles Strouse and Lee Adams's score for a proposed musical of Star Wars. Jason has conducted and created arrangements and orchestrations for Liza Minnelli, John Pizzarelli, and Michael Feinstein, among many others.
Jason studied composition at the Eastman School of Music in Rochester, N.Y., with Samuel Adler, Christopher Rouse, and Joseph Schwantner. He lives with his wife, composer Georgia Stitt, and their daughters in New York City. Jason is a proud member of the Dramatists Guild and the American Federation of Musicians Local 802.
Igor Goldin is thrilled that SONGS FOR A NEW WORLD at the Cape Playhouse is his first show back from the pandemic. Based out of New York City, Igor directs and develops musical theatre around the country. Most recently: Austen's Pride (Seattle 5th Ave), Passing Through (Goodspeed. CT). NYC: Yank! (Drama Desk nom, Outstanding Director of a Musical); With Glee, and A Ritual of Faith (both New York Times Critics Picks). 11 new musicals for the New York Musical Festival (3 NYMF Awards for Excellence in Direction). Regional: Austen’s Pride (ACT of CT); Matilda (co. dir./Mara Greer, Regional Premiere, Tuacahn, UT); Adam Gwon/Michele Lowe’s The Proxy Marriage (Goodspeed 2019 Festival of New Musicals); Grease, Sweeney Todd (SALT Award nom, Director of the Year) and Austen’s Pride (Finger Lakes Musical Theatre Festival); 26 Pebbles (World Premiere) and A Christmas Story (The Human Race Theatre, OH); Matilda, Newsies, Gypsy, Oklahoma, 1776, Memphis, West Side Story (“Encore” Theatre Award, Best Director), The Producers, Evita, The Music Man (“Encore” Theatre Award), Twelve Angry Men, and South Pacific (Engeman, NY); Crossing Swords and tick, tick…BOOM! (American Theatre Group, NJ); Academy (Tuacahn New Works Festival); Jane Austen’s Pride and Prejudice (La Mirada/McCoy Rigby, CA). Top 5 Finalist for the SDC Joe A. Callaway Award for Distinguished Direction. Proud member of the Stage Directors and Choreographers Society (SDC). Thanks to Joe, Shawn, Dan, Jaron, Gail, Gayle Seay, Erin Craig and all the hard working people at the Cape Playhouse – without them none of this could have happened. Love to Jeff.
Micah is an award-winning music director, composer and arts educator. Recently he music directed the National Tour of the Tony Award-winning Best Musical Fun Home. On Broadway, he conducted the Tony Award-winning Best Musical, Spring Awakening as well as played in numerous Broadway productions including: Mary Poppins, Mamma Mia, Chicago, Promises, Promises, Porgy and Bess, Cinderella, Bye, Bye, Birdie! and White Christmas. He was awarded the Best Music Director in the New York Theatre Festival for Crossing Swords, as well as music directing Pageant (Drama Desk Best Revival nom.), and A Christmas Memory (Outer Critics Circle Best Musical nom.). Micah is a passionate teacher, having worked with institutions including: Jacob’s Pillow, Barrington Stages, Broadway Plus, Broadway Official Online Masterclass, Hunter College, NYU, and AMDA. Micah’s compositions have been performed internationally as well as throughout the US. Commissions: Miracle House, The Flea Theatre and the Ma-Yi Theatre Company. His original musical Bea & Ben premiered at the Coastal Carolina University, and Barrington Stages. Training: Interlochen Arts Academy, Manhattan School of Music, with Constance Keene and Maria Asteriadou, BMI Lehman Engel Musical Theater Workshop in NYC, Musical Theatre Workshop with Paul Gemignani.
Daniel Whiting is a Technical Director, Production Manager, Artistic Director, Set Designer, and Production Designer based out of Salt Lake City, Utah. He worked as the Technical Director for Utah Valley University’s Theatre Program for four years, and during that time, he won national recognition for his scenic design and technical direction of Next to Normal and Vincent in Brixton respectively. He has worked with Tuacahn Center for the Performing Arts, Utah Repertory Theater Company, The Neil Simon Festival, The Egyptian Theater, The Sundance Eccles Theater, Radical Hospitality Company, Waterford Theater, The Echo Theater Company, The Cape Playhouse, BYU TV, AMC, and HBO. He is a founding member and former Artistic Director of the Grassroots Shakespeare Company which is Utah’s leading scholarly Shakespeare studies organization and touring theater company. He is a part owner, founder and former Production Manager and Scenic designer of Sackerson Theater Company.
NYC credits include My Fair Lady at The New York Philharmonic, Wonderful Town at New York City Opera and an Emmy nomination for NBC’s Another World. Film work: Mermaids, starring Cher and The Boy in the Bathtub. Numerous shows for Papermill Playhouse, The Goodspeed Opera, The Ahmanson Theater, North Shore Music Theatre, Pittsburgh Civic Light Opera, The Boston Ballet and The Cleveland Playhouse. 13 Off-Broadway shows to date. Other favorite projects include the Rockettes’ Christmas Show, Disney on Ice and The Ringling Bros. Circus. Gail is currently teaching at SUNY Purchase in the Conservatory of Dance Department. 21 Cape Playhouse productions including: South Pacific, Spelling Bee and Gypsy.
Jaron has been the resident Lighting Designer for The Cape Playhouse since 2017, where his credits include Little Shop of Horrors, The Importance of Being Earnest, Deathtrap, Clue, Altar Boyz, Steel Magnolias, Art, Red, The Foreigner, Murder for Two. Other credits include: Les Mis, Always Patsy Cline,A Tale of Two Cities, Million Dollar Quartet, Baz Luhrmann’s Strictly Ballroom the Musical (Hale Centre Theatre); The Music Man, The Wizard of Oz, Seven Brides for Seven Brothers, Fiddler on the Roof (Sundance Summer Theatre, Utah); Eleemosynary (The Brooks, California); The King’s Men, Private Ear, Hedda Gabler, The Weird Play (Rose Wagner Performing Arts Center, Utah); Sweeney Todd: The Demon Barber of Fleet Street, I Never Saw Another Butterfly, Romeo & Juliet (Noorda Center for the Performing Arts, Utah); This Bird of Dawning (Reagent Street Black Box, Utah). Jaron sits on the Board of Directors for the Intermountain Desert Region of the United States Institute of Theatre Technology–the association for performing arts and entertainment professionals–and is a nominee for its Rising Star Award. He has been a lecturer at Utah Valley University and the resident designer and technical director at the Waterford School.
Two-time Emmy nominated and award winning, self-declared ‘diverse media’ technologist, Jay Sheehan has been involved with recording and mixing audio for artists, film, television, and the web, as well as providing live sound and mastering since 1995. He holds a degree in Music Production and Engineering from Berklee College of Music. Projects, including "Hit and Run History" series and "Runner", have aired on RIPBS, WGBH online, and Amazon Prime. These projects have taken him across North America, Chile, Argentina, as well as to the Falkland Islands and Cape Horn. He has also won two sound design awards for his film mixing. He splits his time providing sound and video production services in New England with his own company Garrett Audio, Beachpoint Mastering, and Cape Cod Sound School; as well as Director of IT at Cape Cod Community Media Center; freelance engineer for Cultural Center of Cape Cod, Music Room Cape Cod, and Cotuit Center for the Arts. He is also a Board member and Technical Consultant for the Woods Hole Film Festival.
Welcome back, everyone! Nationally: Hello, Dolly! Starring Carol Channing, The Pointer Sisters’ Ain’t Misbehavin’, Jesus Christ Superstar starring Ted Neeley and Carl Anderson, Regionally: Man Of La Mancha, The Boy From Oz, South Pacific, It Shoulda Been You, The Drowsy Chaperone, Mamma Mia, Sister Act (Stages St. Louis), La Cage Aux Folles, Miss Saigon (North Shore Music Theatre), Barnum (Mercury Theatre), Hats! Starring Melissa Manchester (Royal George), Elf, Spamalot, Carousel, West Side Story, Guys And Dolls (Musical Theatre West), A Little Night Music (Festival Theatre), 110 In The Shade (Light Opera Works).
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Pre-Show Snack or
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While You Wait
With the help of our friends at Theatrely.com, Marquee Digital has you covered with exclusive content while you wait for the curtain to rise.
AND...SCENE! John Collum and the Broadway Divo
And...Scene! is Juan A. Ramirez's weekly column with hot takes, musings, and all that jazz.
Now, this space (the column; my mind, generally) is usually a site of diva worship, especially for ladies of the stage. But “John Cullum: An Accidental Star”, a new filmed performance of what was to be a live one-man show, got me thinking about Broadway’s leading men and the curiously small place they occupy in our cultural awareness.
The show, it must be said, is mostly delightful. Cullum is a jovial presence––avuncular in a way we don’t see much anymore. His sweet Tennessee lilt and heavy Americana vibes are the kind that, for many, were annihilated by the politics of recent years. At 91, he has an infectious––and even for this 24-year-old, enviable––vitality and “golly gee!” energy that have not crashed in the eight decades he’s been in New York.
The “accidental” nature of his stardom is of the type we usually lose our minds over when associated with women. Think of Sutton Foster’s picked-from-the-chorus-line narrative with Thoroughly Modern Millie, or of Cullum’s own castmate in the original Broadway production of On the Twentieth Century, Judy Kaye. When a height-of-her-powers Madeline Kahn left that production shortly after its opening, Kaye ran away with both the spotlight and the audience’s imagination. Cullum won his second Tony Award for the performance, anyhow, and has been working on Broadway right up through a 2016 stint on Waitress.
But here’s an American Theatre Hall of Fame inductee with two Tony wins and two more nominations who we don’t often think about. What other leading men do we have? Those of the versatile Norbert Leo Butz and Danny Burstein variety tend to inspire more respect than adoration. Comedians like Andy Karl and Christian Borle get laughs, but little glitz. I’ve enjoyed and relied upon these men’s performances throughout the years, but it’s usually the women on the Playbill to whom my eyes wander.
Far be it from me to turn this into a Men’s Rights column, but does Broadway not regale its men with the same glory it does its women? Should we? Should we care? Or is the nature of stagedoor stanning predicated on the razzle dazzle of the roles we give our divas? Would I start posting overly earnest Instagram birthday posts for Norm Lewis if he donned a fabulous bob and sequined gown onstage the way I do whenever Patti LuPone so much as blinks? Would area gays have blacked out at intermission in preparation to see Peter Gallagher descend a staircase in a red-feathered headdress in Hello, Dolly!?
Honestly, probably. I almost screamed the roof off London’s Apollo Theatre cheering for Layton Williams when I saw Everybody’s Talking About Jamie, and anything Alan Cumming does is certified gold, so my gut tells me that a simple––hold your laughs––queering of Broadway might be the way to get these men Audra levels of praise.
In any case, lowkey-Broadway-historian Tina Fey gave John Cullum a quick 30 Rock cameo as Leap Dave Williams, and on Unbreakable Kimmy Schmidt as… well, watch for yourself. And that is how showbiz legends never die.
Follow Juan A. at @itsNumberJuan.
AND...SCENE! As If We Never Said Goodbye
And...Scene! is Juan A. Ramirez's weekly column with hot takes, musings, and all that jazz.
It is day 386 of the Broadway shutdown, as one newsletter is bent on reminding me. For the first time in a while, however, I am filled with the blind optimism that has clearly overtaken the producers of the upcoming Princess Diana musical. Yes, hope has reared its sunny head into the New York theatre world and, just as that particular team believes a 2-month streaming run on Netflix ahead of a live production will make people want to see their ill-advised biomusical even more, I believe the days of hand-wringing and Zoom-logging-inning are soon to pass.
In his daring finish-line scheme to Actually Do Good before an impending ousting, Governor Cuomo seems to have targeted theatre nerds on this would-be rehabilitation campaign, announcing the hasty return of live indoor performance, effective today.
Of course, enthusiasm had already been brewing in me since Blindness, a COVID-era theatrical experience which began at London’s beloved Donmar Warehouse, announced a New York bow. I’ll admit I was slightly dispirited when I found out there would be no live performances, but rather a “socially distanced sound and light experience,” but nevermind the fact that that copy is basically describing the concept of cinema! It is something to do.
Blindness comes from the Donmar and is adapted by Simon Stephens from a Nobel-winner’s novel, but its most impressive cosign, by far, is the knowledge that its concurrent Mexico City production––they’re going wide, baby––is narrated by Marina de Tavira, best known as the matriarch from Alfonso Cuarón’s spectacular Roma.
Best of all, I’m able to see a future in which all the pessimistic think pieces about the death of theatre as we know it can be proven wrong. No, we will not forget the long days of COVID-19, but I am unable to believe that a year-long stint in isolation will have a profound impact on how we experience theatre. Yes, live streams, digital productions, and producers seemingly not caring about entire productions existing on YouTube are gorgeous new additions to our theatrical landscape, but let’s not pretend we’ll forget this whole mess as soon as the curtain rises on a new show.
It should go without saying, if you see me writing a complete negation of this in a few months, following a resounding reversal of everything I hope for… mind your business. But tomorrow, I will be watching Blindness and, once again, be sitting in a dark room, in silence.
Follow Juan A. at @itsNumberJuan.
Mixing It Up with Broadway By The Glass
Have you ever been to a Broadway show and tried their signature cocktail in the bar in the lobby? Theatrely recently had a virtual drink with Kellyann Coyle and Brian Sedita, who took those drinks and are teaching you how to make them on their Instagram, Broadway By The Glass.
Theatrely: What were you both up to before the pandemic started?
Brian Sedita: In the theater industry, at least, I have a podcast called “Pitch to Stage” on the Broadway Podcast Network. And then after quarantine started, I also co-created another show with Michael Kushner called “My Broadway Memory” which is also on the Broadway Podcast Network, which I'm still co-creator of, but have stepped down in terms of my commitment to producing and all that kind of stuff, because quarantine was one thing, and then after that life went back to normal a little bit for me. I don't work in the theater industry anymore.
Kellyann Coyle: For me, pre-pandemic, I'm an actor in the city, dancer first! I did a couple of tours and some regional stuff. I'm also a bartender, my bar has since closed until April. So this passion project has pulled literally the two things that I love doing that I can't do during quarantine together. So it's been so great. And we both just love theater so much. So it's like it's such a fun passion project for us.
T: How did you two meet?
BS: So we actually grew up together! We went to preschool through graduating high school together and have stayed best friends since.
T: When did you two decide to start Broadway by the Glass?
BS: So I'm also a bartender in New Jersey. Honestly, it's so funny, because I had been thinking about doing something like this for a while. And then, I know Kelly was thinking about doing the same thing, and at that point I really didn't have a lot of time to commit to it. But I was like, "you know what? If you want to go ahead without me I will not be offended." And it just ended up working out that when we were going to start this time freed up in some areas of my life so I was able to commit a lot more time to it.
KC: It was literally like the next day, wasn't it? Because I was ready to go and then you were like, "I have time now." And I'm like, "yeah!"
BS: And what I've loved most about this collaboration so far is that Kelly and I haven't really worked together in an artistic or professional sense since high school. So this has been a really great way to connect even more than we normally would have over the past couple of years.
T: Walk me through your process a little bit, how do you get from picking a show to formulating a drink?
KC: Hmmm, well, I feel like when we started out, we were picking random shows and we were like, "OK, so, what's something we could do from Frozen, like maybe an iced drink?" And then I guess we got a little more specific with Christmas. We did a 12 Days of Christmas countdown, and Brian made a full on list of all Christmas shows and Christmas songs. Then we went in and listened to it and tried to get inspiration from it, like if they mention a liquor or what the vibe is. I feel like that's the one thing that we really try to do is get the vibe of the show. So like when you think of super smoky and like dark, that's what you expect when you hear Hadestown.
BS: And I mean, if you're twenty one and above, you might love alcohol. And if you're a Broadway fan, like merging those two things is just lots of fun. How many times do you get drunk and sing show tunes? So this is like the perfect marriage of those two things. And it's creative to like sit down and like craft a cocktail! Like it's not just your normal margarita for Escape to Margaritaville. We're trying to come up with things like where we can introduce people to different kinds of liqueurs and spirits so that it'll also expand people's vocabulary and liquor cabinets.
KC: A little educational! And we're starting to do hopefully every Friday a little history on either a cocktail or explaining a liquor or liqueur and doing like a little education segment on IGTV.
BS: Like, there's so much that we could do with this and so much that we've discussed how we can build and grow as a brand. So every show you go to has a really cool cocktail list and you're excited to go to the bar and look at what they came up with for the shows. So our dream for this would be to create custom opening night cocktails for opening nights on Broadway or around the country and doing cocktail workshops and leading cocktail parties and stuff like that, and maybe getting our cocktails on those Broadway show menus. I think the moment that I first was inspired to do something like this was two years ago. I went to the opening night of Be More Chill and they had and at the after party they had a Squip-tini and it was this Mountain Dew and vodka, and it was smoking because it had dry ice in it. And it was this really cool cocktail that like maybe didn't taste great because Mountain Dew doesn't taste great. But it was so specific to the show and it was that perfect marriage of those two things that I was talking about with alcohol and a Broadway show. And then there's such missed opportunities, like I remember going to the Alice By Heart opening and they didn't do anything with a teacup, like you'd think like a tea cocktail, like Earl Gray Gin. Or there's so many tea inspired cocktails now. And they didn't do anything like that.
T: What's been your favorite drink that you've posted so far?
KC: Oh, my God, lemme see. I loved the "You Go, Glen Coco" and it was a candy cane martini. And I was super excited about it. And I was trying to get inspiration from recipes online. Everyone was going the white chocolate route, which I don't love. So I went in the complete opposite direction and went a little fruity with it. And it literally tasted like a melted down candy cane that you get when you're a kid where it's sweet and minty, but not like in your face, and the garnish was really cute. I put icing around the edge and dipped it in crushed candy cane and it just was so pretty. And it did really well on the page.
BS: My favorite was also from our Christmas series. And it was "She Loves Christmas" and we used the "12 Days of Christmas" from She Loves Me as the backtrack to it. And we went to the nine days of Christmas and that's what day we did it on. It's a vodka elderflower liqueur, which is my absolute favorite liqueur, Aperol, lemon juice and simple syrup. And it's something that honestly, I've made for so many of my friends when they come over to my house now that they're like, "you need to bottle this!" And it's delicious and it's sweet and sour and it's good and it hits hard.
T: Is there anything on the horizon that we can look forward to seeing?
BS: We're partnering with some Broadway box subscriptions to get our cocktails in their boxes like little postcards with cocktails and a mocktail. And then you'll scan like a QR code to exclusive videos with us doing a workshop on that cocktail. So a little more than our social media might give you. You have an exclusive link. And then we're going to be releasing some merchandise in the spring. There's many references to liquor throughout the Broadway musical theater canon. So we're going through that and picking out our favorite things to design and hopefully by March we'll have that up and running. So we're kind of trying to build that brand so that by the time Broadway comes back, we can really hop on. There's so much content out there because there's so many artists that are looking for something meaningful to do during this time. Yeah, there's so much exploding, and hopefully there's so many things that we want to take outside of this time of quarantine back to like normal times. I mean, theatre is all about connecting, and honestly, for us, when you go out to a bar and connect with people over a drink, it's the same kind of connection that you can have at the theater.
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