Marquee Digital

(in alphabetical order)




William (u/s M. Maboul)


Marie-Laure (u/s Aurélie)










Mme. Tortue














M. Maboul


Coquin/Perruche (u/s Chance)


1944, Occupied France



  • "Rebellion, Revolution, Paradox" – Full Company
  • "The Circle’s End" – Aurélie
  • "Almost Real" – Chance
  • "Curiosity" – Aurélie
  • "Long Story Short" – William, Perruche, Hérissonne & Aurélie
  • "Fantasia" – Chance & Full Company
  • "The Other Side" – Chenille
  • "Beyond the Sky" – Aurélie & Colombe
  • "Visions" – Delphine, Stéphane, & Aurélie
  • 'Where You Want to Go" – Marie-Laure
  • "A Table for Three" – M. Maboul, Mars, & Dorian


  • "Roses In Bloom" Full Company
  • "What A Pity" – Chance
  • "Laughter Through Tears" – Mme. Tortue
  • "Will You, Won’t You?" – Gryphon, Mme. Tortue, & Aurélie
  • "Nostalgic Echo" – Marie-Laure
  • "The Accusation" – Chance, Geneviève, Napoléon & Coquin
  • "A Table for Three (Reprise)" – M. Maboul, Mars & Dorian
  • "Nothing Whatever" – Full Company
  • "Expression More Profound" – Aurélie & Full Company
  • "To See You Again" Aurélie & Delphine

Message from the Theatre

Welcome to Parkside Court's inaugural production of the 2021 season, and the first performances on our stage following a devastating pandemic that shook our industry–and the world at large–to its very core.

We have long awaited the chance to welcome our patrons back to their seats and to once again experience and enjoy the innately transcendent and transformative art of theatre.

It is important to us that our audience understand the exhaustive measures we have taken to ensure not only the safety of our audience, but that of our staff, crew, and the cast on stage. From new cleaning protocols, to a new air filtration system, to the contactless program you hold in your hands, we have left no stone unturned in our efforts to ensure a safe and successful return to our theatre.

Gladys Kingston, Artistic Director

A Note from the Dramaturg

A work of art incorporating rebelliousness, revolution, paradox; distortions of space and time, logic, size, and proportion; disbelief in conventional reality; assimilation of dreams, wordplay, and the ineffable nature of childhood: What do we first think of when we hear these words?

Although the outrageousness of Reverend Charles Lutwidge Dodgson was limned within a conventional fairy tale (ostensibly for children), the surrealists deliberately sought outrage and provocation in their art and lives and questioned the nature of reality. For both Dodgson and the surrealists, what some call madness could be perceived by others as wisdom.Surrealism’s initial objective was to make accessible to art the realms of the unconscious, the irrational, and the imaginary, and its influence soon went far beyond the visual arts and literature, embracing music, film, theater, philosophy, and popular culture.*

We welcome you to our modern wonderland--a world of Rebellion, Revolution, and Paradox--and we invite you to ask of yourself the question posed so effortlessly in a rowboat on the Thames:

In a time of unrelenting crisis, who are you?

*Mark Burstein, “Dodgson and Dalì,” 2015


Meet the Cast

Carlyn Connolly


Carlyn Connolly is thrilled to be making her Parkside Court debut. Regional credits include Cabaret (Fräulein Kost), Honky Tonk Laundry (Lana Mae Hopkins), An American In Paris (Milo Davenport), White Christmas(Betty Haynes), Hello, Dolly! (Irene Malloy), The Music Man (Ethel Toffelmeier, u/s Marian Paroo), and Mary Poppins (Katie Nanna, u/s Mrs. Banks). Carlyn has performed as a soloist with orchestras in the US, Canada, and across Asia, and is also a founding member of Always Andrews: A Tribute to the Andrews Sisters. Endless gratitude to Melissa for this incredible and deeply meaningful opportunity, and to Mom, Dad, Devin, and Melissa for their immeasurable love and support.

Jelani Alladin


Most recently starred as Hercules in Public Work’s Musical Adaptation of Disney’s Hercules. He made his Broadway Debut in Frozen the Musical as Kristoff, which earned him a Drama Desk nomination for Best Leading Actor and a Drama League nomination for Distinguished Performance. Graduate of the inaugural class of Tisch School of the Arts' New Studio on Broadway and A Better Chance alumnus. His television credits include “The Walking Dead: The World Beyond” (AMC), “FBI” (CBS), “Law and Order: SVU” (NBC). His film credits include Respect (MGM), Tick Tick Boom (Netflix) and the independent film One Hit Wonder.

Vishal Vaidya

(M. Maboul)

Vishal Vaidya is a performer and voice teacher based in NYC. He made his Broadway debut as Larry the cameraman in Groundhog Day. Other credits include DAVE (Arena Stage), Road Show and 1776 (City Center), and the new musicals Mandela, Half the Sky, MAYA, and Letters to the President. Vishal has a robust private voice studio and has taught for Point Parkc University, Indiana University, CAP21, and more. As a singer, he’s sung the National Anthem for President Barack Obama, performed for Justice Ginsburg, and appears on the albums Losing My Mind: A Sondheim Disco Fever Dream, Einstein’s Dreams (Off-Broadway Cast Recording), and Charlie Rosen’s Come Hang.

Aaron Albano

(William, u/s M. Maboul)

Aaron Albano hails originally from the West Coast where he began performing professionally at the age of 15 in San Jose, CA. After attending the University of Cincinnati College-Conservatory of Music (CCM), majoring in musical theatre, he made his Broadway debut in the original company of Bombay Dreams. Since then, Aaron has performed in such Broadway shows as Wicked, A Chorus Line, Mary Poppins, The 25th Annual Putnam County Spelling Bee (where he closed the production as Chip Tolentino), The King and I, Allegiance, Cats, and most notably, as Finch in the original Broadway company of Newsies. Aaron can currently be seen as Samuel Seabury (and on rare occasion King George III) on the national tour of Hamilton.

Jodi Bluestein

(Marie-Laure, u/s Aurélie)

Thrilled to be part of this production.  Favorite NY/Regional credits: Parade (u/s Lucille,The REV Theatre Co.), South Pacific (The REV Theatre Co), LaChiusa’s The Wild Party (Mae, B-side Productions) Urinetown (Little Becky, The Secret Theatre), Oliver! (Nancy, Jenny Wiley Theatre), CATS, (Grizabella, Pentangle Arts), Joseph…Dreamcoat (Narrator, Sugarloaf PAC), From Here To Eternity (Ogunquit Playhouse) Annie (Lily, CFRT) Matilda (Mrs. Wormwood, TWN).  Jodi has also toured as a featured vocalist in Japan with Disney On Classic, led by the Tokyo Philarmonic, and has sung with orchestras in Singapore, Taipei, and El Salvador.  Endless gratitude to those who have taught and supported her along the way.

Michael Burrell


Tours: An American In Paris (Henri/International Tour). Regional: Disney’s Beauty & the Beast (Beast/Theatre Under the Stars), Hair (Claude/Geva Theatre), Meet Me In St. Louis (Warren/The Muny), Amazing Grace (John Newton/Washington, D.C.). Proud Texas State BFA Musical Theater grad (Eat ‘Em Up, Cats!). Endless love and gratitude to my family, my teachers, CGF, and the incredible cast and creative team.

Kevin Curtis


Broadway: Moulin Rouge. B’way National Tour: A Chorus Line. Off-Broadway: Invisible Thread (Second Stage). Regional: Paper Mill Playhouse, The MUNY, Steppenwolf Theatre Co., ART, Denver Center,  Geva Theatre, Dallas Theatre Center, PCLO, North Shore Music Theatre, TUTS, Stages St. Louis and many more. TV: Pose (FX), Younger (TVLand), The Other Two (HBO Max), Side Hustle (Nickelodeon). Film: Loulou, Take Care, Newlyweeds. Training: Baltimore School for the Arts, AMDA.

Laura Girard


Laura Girard is a proud graduate of the Ball State University BFA Musical Theatre program. She was recently seen dancing at Nationwide Arena with the Tom Sartori Band, and in Lippa's The Wild Party in collaboration with the Yale School of Music. She currently lives in New York with her boyfriend and her cat.

Laura Hodos

(Mme. Tortue)

Laura Hodos (AEA) is a multi-award winning singer, actor, improv artist, and cabarista .As a NYC native who now makes her home in Orlando, Laura has performed from Maine to Florida to Los Angeles to Tokyo! She’s been a soloist with the Orlando Philharmonic, the Jacksonville Symphony, the Sarasota Orchestra, and the Klezmer Company Jazz Orchestra, and is delighted to have shared the stage with Tituss Burgess, Laura Osnes, Jeremy Jordan, Faith Prince, Davis Gaines, Andrea McArdle, Jason Robert Brown, and Donna Murphy (to name a few of her idols!). Her voiceover work is familiar to ears throughout the years for the Walt Disney World Resort. She’s a fierce amateur baker, an aspiring photographer, mom to three cats, a Dickinson College and AMDA grad, and a proud member of Actors’ Equity.

Jacob Hoffman


Jacob Hoffman • Actor, Singer, Writer, Teacher • NY/Off-Broadway: Howard Crabtree’s When Pigs Fly (The Actors Fund), I’ll Be Damned (The Vineyard Theatre), Bless You All! (Connelly Theatre), Scary Musical: The Musical (York Theatre), Jacob Hoffman's Kindergarten Thanksgiving Spectacular (The Green Room 42). Select Regional: Geva Theatre Center, Arkansas Rep., ACT of Connecticut, Pioneer Theatre Co., Utah Shakespearean Festival, Bay Street Theatre, Florida Studio Theatre, Arkansas Rep., and Porchlight Music Theatre.  Proud AEA member.

Jorie Janeway


Jorie Janeway is a musical theatre performer with a heart for teaching. As a performer, Jorie has worked in regional houses, done national/international tours, performed overseas, and on cruise ships. As a teacher, Jorie has had the opportunity to instruct, choreograph, and direct kids and adults of all ages. Most recently, Jorie became the founder of Jorieography, a theatre training program designed to bring triple threat workshops to students wherever they are.  Favorite credits include: Female Authority Figure (Hairspray National Tour and Royal Caribbean), Chaperone (The Drowsy Chaperone), Maggie Jones (42nd Street),  Ensemble (Sister Act), Fairy Godmother (Shrek), Mistress Quickly (The Merry Wives of Windsor).

Traci Elaine Lee


Off-Broadway: Safeword. First National tour: Beautiful: The Carole King Musical (Uptown). Select Regional: Dreamgirls (Michelle), Fortress of Solitude (Marilla), Les Miserables (Eponine), Cabaret (Texas), Stagger Lee. Many thanks to Avalon Artists Group & Kate Lumpkin Casting. Endless love to God, Dad, Mom, Janelle & Bop.

David Merten


David Merten just completed his first year as an MFA Acting student at Brown University/Trinity Rep. He made his New York Off-Broadway debut with a seven-month run of the hit play Afterglow at The Davenport Theatre. Other New York/regional credits include Sons of the Prophet, The Two Gentlemen Of Verona, And Then There Were None, and the Williamstown Theatre Festival Acting Apprentice program. Catch him in the popular fiction podcasts Gay Future and Meet Cute on iTunes, as well as the web series Queen's English, streaming online now. He is a proud graduate of Ball State University's BFA Acting program as well as a proud member of AEA.

Mike Schwitter


Mike Schwitter just finished traveling for two years with the national tour of Les Misérables (covering Marius and Enjolras.) Broadway: Pippin (Lewis, u/s Pippin). National Tour: The Book of Mormon (Swing, u/s Elder Price). Regional: Next to Normal (Regional Premier and elsewhere; Gabe), Jesus Christ Superstar, Love Changes Everything, Chamberlain. Other favorites include HAIR, Urinetown, and Anything Goes. Mike has also performed with dozens of symphonies across the country in shows such as Cirque Musica, "The Spy Who Loved Me" with Sheena Easton, and West Side Story at the Hollywood Bowl with the LA Philharmonic, conducted by Gustavo Dudamel. Mike holds a BFA in Musical Theatre from the College-Conservatory of Music (CCM) and currently resides in New York City.

Christine Cornish Smith


Christine Cornish Smith was most recently seen on Broadway in the Original Revival Cast of Kiss Me, Kate!, where she was a featured dancer in the ensemble and covered Lois Lane/Bianca. Christine is most well known for her portrayal of Bombalurina in the OBC revival of CATS, where she was nominated for a 2017 Chita Rivera Award for Best female performance in a Broadway Musical. She was also seen in the OBC of My Fair Lady in 2018 at Lincoln Center. A cum laude graduate of the Cincinnati College-Conservatory of Music, other credits include: Laurey Williams in Susan Stroman’s Oklahoma! at the MUNY, Sheila Bryant in A Chorus Line at the Riverside Theater, original revival tour of Joseph and the Amazing Technicolor Dreamcoat helmed by Andy Blankenbuehler, and more. She has also performed as a principal vocalist with the Fort Wayne Philharmonic, the Phoenix Symphony, and the Niagara Symphony Orchestra, as well as was a finalist in Kurt Weill’s Lotte Lenya Vocal Competition in 2014. She appeared in the 25th Anniversary Concert performance of Crazy For You at Lincoln Center and has also appeared on HBO’s “Last Week Tonight” with John Oliver, “Good Morning, America”, “The Today Show”, “The Macy’s Thanksgiving Day Parade”, and “The Tony Awards". Christine is a teacher for Steps on Broadway, Broadway Dance Center, CLI studios, Institute of American Musical Theater, Broadway Workshop, Broadway On Demand, Broadway Classroom, among other programs. She has been featured on,, Inside Dance Magazine, and BroadwayBox as one of the "Incredible Debuts" of the 2016 Broadway season. Catch Christine on the upcoming season of “The Marvelous Mrs. Maisel” on Amazon Prime Video coming fall 2021!

Sharrod Williams

(Coquin/Perruche, u/s Chance)

Broadway: OBC CATS (Pouncival), Tuck Everlasting. Off-Broadway: Grand Hotel (Encores!). Tours: Hamilton (Chicago), A Chorus Line (Richie), Bring It On: The Musical (La Cienega). Regional: Kennedy Center, TUTS, MUNY, Asolo Rep. Dance Companies: The Chase Brock Experience, Life Dance Company, and the Von Howard Project. Film: Happy, Yummy, Chicken. TV: Under The Influence, Macys Thanksgiving Day Parade, GMA, Today Show. Executive Producer, writer, and star of the award-winning web series, NEIGHBORS - now available to stream on YouTube. Sharrod is the CEO of multi-media company, Cocoa Dusted Productions - dedicated to telling stories by queer folx and people of color. “Keep Going”.

Creative Team

Andre Catrini

(Music & Lyrics)

ANDRE CATRINI is a composer/lyricist based out of New York City. His musical, The Astonishing Times of Timothy Cratchit (Book by Allan Knee) had its world premiere at the Hope Mill Theatre in Manchester, England in 2019. Other works include: A Problem with the Pattersons (Book by Laura Zlatos), The Wolf (Book by Joe Calarco), Thursdays at 4:15, Other Women and Whisper, Love.  Awards include: 2014 ASCAP Foundation Cole Porter Award, given “in recognition for his outstanding talent as a musical theatre composer and lyricist,” as well as a 2015 New Voices Project Merit Award.  Andre is member of ASCAP, an alumnus of the ASCAP Johnny Mercer Songwriter’s Workshop, a current member of the BMI-Lehman Engel Advanced Musical Theatre Workshop, and a graduate of the College Conservatory of Music at the University of Cincinnati.

Douglas Lyons


Douglas Lyons is an actor, writer, director, composer, and playwright. Writing - TV: Fraggle Rock (Apple TV). Theater: Polkadots (Off Broadway Alliance Winner Best Family Show, Atlantic Theater Company), Chicken and Biscuits (Queens Theatre), Sunshine (Long Wharf Theatre), Pete(Her)Pan (Pace New Musicals),  Five Points(world premiere Theater Latte Da), now directed by Hamilton's Andy Blankenbuehler, Fatigue with Jodi Piccoult, We The People (TheatreworksUSA),  The Hamlet Remix and Sunflower ( Flint Rep). Acting - Broadway: Beautiful (Original Cast) and The Book of Mormon. Tours: Rent, Dreamgirls and The Book of Mormon 1st National. Douglas is also the founder of The Next Wave Initiative, a scholarship program dedicated to supporting the future of Black Theater artists.

Melissa Rain Anderson


Melissa Rain Anderson (Director) Regional Premier of The Play that Goes Wrong and The Wolves at The Repertory Theater of St. Louis; A Christmas Carol at Denver Center Theater Company (several years); Macbeth, Big River and The Cocoanuts at Utah Shakespeare Festival; The Wolves at Syracuse Stage and All is Calm- The Christmas Truce of 1914 at Alabama Shakespeare Festival. Melissa is an Affiliate Artist at Geva Theatre Center where she has directed In the Heights, HAIR, La Cage Aux Folles, A Funny Thing…Forum, Spamalot, Spelling Bee among others. Upcoming: RII at Santa Cruz Shakespeare. Melissa lives in New York City with her husband, actor Jim Poulos.

Julie Kavanagh


Julie is an NYC based artist and educator. Most recently Julie was seen on the First National Tour of Hello,Dolly! Other favorite credits include: The First National Tour of La Cage Aux Folles; Miss Adelaide in Guys and Dolls, Audrey in Little Shop of Horrors, (Theatre Aspen); Dyanne in Million Dollar Quartet (Florida Repertory Theatre); Lila Dixon in Holiday Inn (Fingerlakes Musical Theatre), Janet in The Drowsy Chaperone (The Cape Playhouse), Peggy Sawyer in 42nd Street (Weston Playhouse, Forestburgh Playhouse, Fingerlakes Musical Theatre); Miss Dorothy in Thoroughly Modern Millie (Ogunquit Playhouse); and Katherine in Newsies (Arts Center of Coastal Carolina). Julie serves as the Artistic Director for Broadway Method Academy in Fairfield, CT where favorite choreography credits include The Music Man, High School Musical Jr., Legally Blonde Jr, and Broadway Sings! Proud CCM Grad.

Anne Beyersdorfer

(Scenic Design)

Design Credits: KNEAD (The Alliance Theatre, world premiere), AFTERGLOW, and MY NAME'S NOT INDIAN JOE (Davenport Theater, off-broadway), A REAL BOY (59E59, Off-Broadway), JONAH AND OTTO, and TRIAL OF AN AMERICAN PRESIDENT (Theatre Row, Off-Broadway),THE NIGHT ALIVE (Guild Hall, NY), THE DODGERS (Hudson Theater, LA). Associate Design Credits: JITNEY (Broadway-Tony Award Nom. for Set Design), PHISH NYE CONCERT ’16/’17  (Madison Square Garden), THE CHILDREN (Broadway), INK (Broadway), ANASTASIA (First National Tour + EU Productions) & SAMSON ET DALILA (The Metropolitan Opera).  Ann is a Live Design/LDI 30 Under 30 recipient for working professionals that are on the rise in live production, a New York Innovative Theater Award 2x Nominee for Best Set Design, and a United Solo Festival Award Winner for Best Set Design. Syracuse University Alumna & proud member of USA 829.

Fabian Fidel Aguilar

(Costume Design)

Fabian was born in El Paso, TX and is now based in Brooklyn, NY. He attended Yale University for his MFA and Boston University before that for his BFA in costume design. Most recently he designed Man of La Mancha at Westport Country Playhouse and around New York City, Atlanta and Philadelphia. While in Boston he worked for various theatres, conservatories, and universities including American Repertory Theater, Boston Ballet, Moscow Ballet, the Commonwealth Shakespeare Company, among others. In his spare time he likes to dabble in watercolor portraiture and urban sketching or cook.

Jamie Roderick

(Lighting Design)

Off-Broadway: Accidentally Brave (DR2), We Are The Tigers (Theatre80), Midnight at the Never Get (York Theatre) Red Roses, Green Gold (Minetta Lane), The Woodsman (New World Stages, PBS), Afterglow, A Dog Story, Ken Davenport's That Bachelorette Show.  London: It Happened in Key West.  Regional: The Bikinis! (Long Wharf Theatre, Riverside Theatre, WBT), Romeo & Juliet (CSC) Midsummer, Macbeth, Hamlet (SOS). Recent credits include: Kerrigan and Lowdermilk's The Bad Years, FMK, More Than All The World.

Kevin Heard

(Sound Design)

Kevin Heard is a sound designer and entertainment producer based in New York City. His theatrical sound design work has been heard Off-Broadway: Einstein’s Dreams, safeword., #DateMe, The Hello Girls, Midnight at The Never Get, In & Of Itself; on Broadway (as Associate Designer): The Minutes, All the Way, The Cherry Orchard, The Country House; and the International Premieres of Fun Home, Kinky Boots, and Matilda in Manila, Philippines; also, dozens of regional productions from coast to coast. Kevin is an independent producer and general manager who works frequently with BenDeLaCreme Presents, among others, and recently produced his first feature film with The Jinkx and DeLa Holiday Special, now streaming on Hulu.

Andrew Nielson

(Music Supervisor/Arrangements)

Andrew is a writer, cellist, and actor based in NYC. CONCERTS: Alan Cumming, Brian Stokes Mitchell, Kate Baldwin, Disney's Into the Woods, and many more. PIT ORCHESTRAS: A Little Night Music, Into the Woods, Baby, Floyd Collins, The Light in the Piazza, Jane Eyre, The Astonishing Times of Timothy Cratchit, Clicquot. RECORDINGS: The Way to the Lighthouse, We the Nighthawks, Only Boyfriend (Brendan Maclean and Lance Horne), The Astonishing Times of Timothy Cratchit, and numerous collaborations with the sensational musicians behind Apartment Sessions. ACTOR: The Fulton Theatre, Virginia Repertory Theatre, Theatre Raleigh, Marvell Repertory Theatre, Firebone Theatre. WRITER: Plant: The Second Coming (Nashville Film Festival, Indie Series Awards), In the Desert Footlights (Sundance New Voices Lab and Orchard Project Finalist).

Kate Lumpkin Casting


Kate Lumpkin (she/her) is the Founder of and Lead Casting Director at Kate Lumpkin Casting, CSA. New York Theatre: OSCAR @ The Crown, We Are Here (dir. Steven Hoggett), Medusa, We Are The Tigers, Safeword, Afterglow, Cleopatra, The Bad Years, Eco Village, A Complicated Woman, Boarders, Between The Bars,Unraveled, Letters to the President, Reunion '69, Single Rider, Diaspora, The Other Side of Paradise, Counting Sheep, Sitting Bull's Last Waltz, The Excavation of Mary Anning, Agent 355, Emma: A New Musical, Love In Hate Nation, Five Points, Hart Island, Eastbound, Interstate, Honey Dipped Apocalypse Girls, Fefu and Her Friends. National Tour: Bandstand (1st National Tour). Regional Theatre: Endlings at American Repertory Theater & NYTW, West Side Story at The Kennedy Center, On The Town at The Kennedy Center, Beau at The Adirondack Theatre Festival, Evocation to Visible Appearance at Actors Theatre of Louisville, We Are Here at The Cosmopolitan of Las Vegas, Opium at The Cosmopolitan of Las Vegas , A Christmas Carol 18', 19' at Actors Theatre of Louisville, Reunion '69 & Reunion '85 at the Newman Center.

Laura Malseed

(Production Stage Manager)

Stage Management Credits include Midnight at the Never Get (York Theatre Company), Paradise Lost (Fellowship for the Performing Arts), Afterglow (Davenport Theatre), Othello: The Remix (Westside Theatre), Cagney the Musical (Westside Theatre), and Drunk Shakespeare. Film/TV PA Credits: Law & Order: SVU, TED Talks. Graduate of Pace University. Member of AEA.

EBP Productions

(General and Production Management)

EBP is a general management firm specializing in consulting and management for theatrical productions. Touring: Million Dollar Quartet, Charlie Brown Christmas, Counting Sheep (International Tour) Select Off-Broadway: We Are The Tigers,  Eco-Village, Afterglow, Diaspora, Must. Other: The Bikinis, The Dodgers (LA), The Navigator (NYT Critics Pick). EBP has worked with Broadway Cares/Equity Fights AIDS (BCEFA), New York Musical Festival (NYMF), Fringe (NY & LA); collaborative projects include performances at Lincoln Center, The United Nations, The Havard Club, Cornell University, Georgetown’s Gaston Hall, The Culture Project, The Ohio Theater and The Metropolitan Museum of Art.

Chisholm Designs

(Digital Marketing & Advertising)

Chisholm Designs is a New York-based Web Development company, specializing in the curation of a strong and effective digital presence for individual artists to Fortune 500 companies. Clients range from Broadway performers, National tours, non-profits, award-winning orchestras, internationally acclaimed doctors, production houses, and more.

Marquee Digital

(Digital Program)

Marquee Digital is a New York-based tech startup innovating the theatre industry with ground-breaking digital program solutions. The Marquee is a theatrical program for the 21st century, employing contactless, eco-friendly, and ADA-compliant technology to create an interactive and highly intuitive experience for audience members. With a client roster that spans both coasts of the Continental U.S., Marquee Digital aims to enter the West End market in Spring of 2022.


Pre-Show Snack or
Post-Show Dinner?

Don’t let the evening end when the curtain comes down. With The Marquee Local, you can find the perfect place for a pre-show snack, an evening meal, or a post-show cocktail. Enjoy exclusive deals from our local partners as you catch up, discuss the show, and create memories to last a lifetime.

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Settle into that post-show glow with a stellar drink in hand

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The Grange

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Trufa Restaurant

American | 3431 Broadway

Burgers, pasta & other Italian & American eats served in a snug bistro with a neighborhood vibe.



Oyster Bar | 3452 Broadway

Japanese option for several varieties of ramen, plus snacks, a raw bar & sophisticated cocktails.


Harlem Public

American | 3612 Broadway

Cozy pub offering a huge selection of craft beers on tap, plus spirits & cocktails.



Mexican | 1618 Amsterdam Ave

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While You Wait

With the help of our friends at, Marquee Digital has you covered with exclusive content while you wait for the curtain to rise.

Theatrely News
"AND… SCENE! John Collum and the Broadway Divo"
Theatrely News
"AND… SCENE! As If We Never Said Goodbye"
Theatrely News
"Mixing It Up with Broadway By The Glass"
AND...SCENE! John Collum and the Broadway Divo
By: Juan A. Ramirez

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.

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AND...SCENE! As If We Never Said Goodbye
By: Juan A. Ramirez
9 April 2021

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
By: Zach Reiser
13 Jan 2021

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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