Between the Bars

Grantors

No items found.

Sponsors

No items found.

Special Thanks

Donors

Tributes

Performers

(in alphabetical order)

Juan Arturo

*

McGee & Zeke

Chad Carstarphen

*

Attis & Massud

Akeil Davis

*

BJ, Maroni, & Mohawk

Katie Mack

*

Sorrel & Eve

Christopher Mowod

*

Chad & Tabor

Nowani Rattray

*

Tisah & Kaley

Carol Todd

*

Arlene & Others

Setting

Songs & Scenes

No items found.

*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

Production Staff

No items found.

Venue Staff

School Administration Staff

No items found.

Musicians

No items found.

Board Members

Student Advisory Board

Special Thanks

I’d like to thank my husband, Bob, who throughout this rollicking process, never once flinched.

‍

Lynn Clay Byrne

Meet the Cast

Juan Arturo

*

McGee & Zeke

(

)

Pronouns:

Juan graduated with a BFA from Rutgers University. His theater credits include Billy in The Oregon Trail by Bekah Brunstetter, Rafael Nadal in The Rafa Play by Peter Gil-Sheridan, and Kevin in Support Group for Men by Ellen Fairey. His TV credits include credited appearances on popular shows such as The Good Wife and Blue Bloods. Born in Miami but raised in New York City he is of Cuban and Spanish descent and enjoys reading, writing. He’s so stoked to be back in the theater and cannot wait to share this play with audiences

Chad Carstarphen

*

Attis & Massud

(

)

Pronouns:

John Leguizamo’s  KISS MY AZTEC (Berkeley Rep & La Jolla Playhouse). Other regional and national credits include  Broke-ology (Kitchen Theatre Company) and the 1st Broadway National Tour of  In The Heights. NYC world premieres of  Evensong (Astoria Performing Arts Center) and The Conscientious Objector (the Clurman Theatre at Theatre Row). El Bolero Was My Downfall, The Desire of the Astronaut, The Harlem Hellfighters..., Hey Yo! Yo Soy!, and  Neon Baby  as an ensemble member with Pregones/Puerto Rican Traveling Theater. Film/TV credits include  Landing Up, The Pudding Club, and  Dumped. Alumnus of New York University's Tisch School of the Arts.

Akeil Davis

*

BJ, Maroni, & Mohawk

(

)

Pronouns:

Akeil Davis is a NY based actor & playwright thrilled to be making his Off-Broadway debut! Past productions include: Emancipation of a Negus {playwright & actor} (Io), Once on this Island (Papa Ge), In the Heights (Sonny) and many more. ”I thank God, my family, teachers and fellow actors for helping me reach this far” (Isaiah 40:31)

Katie Mack

*

Sorrel & Eve

(

)

Pronouns:

Katie 'MACK' has helped develop over 35 new plays/musicals, and is honored to be on the journey with this world premiere. She won a 2021 Webby Award for her narrative podcast "f*cking sober: the first 90 days", and can be found producing Season 2: Shadai, developing new plays with Somehow9AM Productions, training for her first Ironman, or eating peanut butter from the jar. Please visit The Fortune Society and VOCAL NY for resources on how you can assist in the conversation and actions around alternatives to incarceration. Gratitude to Ben, Lynn, Kate, Juliana, Felipe, and of course to this gorgeous cast and production team. Thanks for being here, we missed this. For Eric Anthamatten, who dedicated his life to this type of work. "Sana, sana, colita de rana"

Christopher Mowod

*

Chad & Tabor

(

)

Pronouns:

Hi, I’m Christopher Mowod. I’m an actor and musician making my NY professional theatre debut. And you're also seeing my friend Juan. You’ll see his ferocious talent displayed, and the goodness and kindness you see always kept me excited to spend hours philosophizing about acting, family, this play, theater and life.

I have a BFA from Juilliard Drama and dedicate this show to Kevin and Mia, I love you. go to bed, you are cats and need all the sleeps.

Nowani Rattray

*

Tisah & Kaley

(

)

Pronouns:

Nowani Rattray is a native New Yorker hailing from Harlem who graduated with a BFA from Syracuse University. Past credits include Autumn's Harvest (Lincoln Center Education), A Midsummer Nights Dream (Smith Street Stage), and The Tragedy of Tupac Amaru Shakur (The Triad Theater). All my thanks and love to my mom.

Carol Todd

*

Arlene & Others

(

)

Pronouns:

Carol recently appeared in the critically-acclaimed virtual streaming production of Jericho for New Normal Rep (NNR), directed by 4-time Academy-Award nominee Marsha Mason and co-starring Golden Globe and Obie-winner Jill Eikenberry. Off-Broadway: Jericho (59E59); Intermission (The Clurman). NYC: To She Who Waits, A Marriage Proposal (ARTC); Ferguson, Making Peter Pope (30th Street Theatre). Selected Regional: Ants, Jericho, Place Setting, Apple, Whores (NJ Rep); The Song of Grendelyn, Whores (Writers Theatre of NJ); Top Girls, The Road to Mecca (Theatre Project); Rain (East Lynne Theatre Co.); The Importance of Being Earnest (Foundation Theatre); Voice of Good Hope (Luna Stage). Film: The Sounding, 20th Century Boys II, Blind Trust, Showers of Happiness. Selected TV: “High Maintenance” (HBO), “Sex&Drugs&Rock&Roll” (FX), “One Bad Choice” (MTV), "Un$uited" (Pilot). Carol is currently appearing in NNR’s virtual production of F.I.R.E. streaming through October 20.

Meet the Team

Lynn Clay Byrne

*

Playwright

(

)

Pronouns:

As a kid I read all the time, wrote plays and had all my friends and cousins perform in them. I was always the lead. So I'm back where I started, except now they make you audition for the lead and that doesn't work in my favor. I graduated from LSU in Journalism, married my high school sweetheart, had 7 children, owned a greeting card company for 17 years, wrote a novel, then wrote BETWEEN THE BARS. Behind the scenes feels just fine.

Benjamin Viertel

*

Director

(

)

Pronouns:

Recent: BRIC TV’s Original Series  86’d, Life Boat (Theater 54), The Bitter Tears of Petra Von Kant (New Ohio Theater), Fireface(The Brick), Kragar: An American Monster Musical (West End Theatre), and award-winning webseries Blank My Life. Benjamin has worked with The Orchard Project, BAM, Roundabout Theater, Huntington Theater, The New Group, and The Civilians. Member of Kennedy Center Director’s Lab, MTC’s Directing Fellow, The Civilians’ R&D Group. Artistic Director of Third Space. Education: Carnegie Mellon.

Bryce Cutler

*

Scenic Design

(

)

Pronouns:

Previous designs include Grand Horizons on Broadway, Soft Power at the Public Theater along with Samsung’s virtual reality television series Interpretation of Dreams, Feel The Pride an AI powered audio-visual installation with St. Vincent and a virtual reality arcade for Muse’s 2019 World Tour. Co-founder of Third Space, winner of the 2017 USITT Rising Star Award and a 2019 L.B. Tobin Director-Designer Finalist.  Education: Carnegie Mellon University.

Devario D. Simmons

*

Costume Design

(

)

Pronouns:

Simmons is an American Costume Designer of staged productions. He received his MFA in Costume Design from Virginia Commonwealth University. His design credits include Thoughts of a Colored Man, The Merchant of Venice, In the Next Room or the Vibrator Play, Man of La Mancha, A Streetcar Named Desire and Ensemble. He has also done work on three seasons of AMC’s television show TURN, the 2nd National Touring production of the Broadway hit In the Heights and two seasons of the PBS television series Mercy Street. He is currently the Associate Costume Designer for all productions of Come From Away (designed by Toni-Leslie James) playing in the Gerald Schoenfeld Theatre on Broadway, the Royal Alexandra Theatre in Toronto, the Phoenix Theatre in London, the Comedy Theatre in Melbourne, Australia and in various theatres across the US and Canada for the North American Tour.

Mary Ellen Stebbins

*

Lighting Design

(

)

Pronouns:

Recent credits include Shakespeare Theatre Company, Florentine Opera, Working Theater, Northern Stage, Talking Band, Prototype, Harvard University. She is a member of Sightline Arts and the Resident Designer for HOWL ensemble and Third Space. Recognitions include a 2020 Bessie Award nomination, a 2019 Opera America Tobin Finalist, a 2016 Henry Hewes Award nomination, a 2014 Live Design Young Designer to Watch, the 2011 USITT Barbizon Lighting Design Award winner, and a 2009 Hangar Theatre Lab Company Design Fellow. . Member USA 829. MFA, Boston University; AB, Harvard College. Mary Ellen currently teaches lighting design at Carnegie Mellon School of Drama.

Arminda Thomas

*

Dramaturg

(

)

Pronouns:

Arminda Thomas is co-producer and resident dramaturg for CLASSIX. Selected dramaturgy credits include Mirrors (Next Door at New York Theatre Workshop); A Harlem Triptych of Eulalie Spence, Wine in the Wilderness, and Soul Struggle: The Works of Georgia Douglass Johnson (New Perspectives); Black History Museum...According to the United States of America (HERE Arts Center); Jazz (Marin Theatre Company); Zora Neale Hurston (New Federal Theatre); and The First Noel (Classical Theatre of Harlem). She has also served as associate artistic director and resident dramaturg for the Going to the River Festival and Writer’s Unit.

Adrian Bridges

*

Sound Design

(

)

Pronouns:

Adrian Bridges is a sound designer and musician. Recent theater credits include: Battle of Angels (NYC & Provincetown), Guac: My Son, My Hero (National Tour), On The Grounds Of Belonging (Long Wharf Theatre), Refuge (Baruch PAC), Mr. Burns (Muhlenberg College), Artemesia’s Intent (NYC & Regional Tour), This Is Modern Art (NYTW: Next Door), and Intuitive Men (NYC & L.A.). He graduated from NYU with a Bachelor’s and Master’s in jazz guitar and composition. He has forthcoming albums with hip hop collective, Izzy Man & The Plan, and Puerto Rican singer-songwriter Huascar Robles and podcasts with Venus Radio Theater.

Juliana M Crawford

*

Production Stage Manager

(

)

Pronouns:

Juliana graduated from Ball State University in Muncie, Indiana. Her credits include the national tours of Cirque Dreams, The Big Apple Circus, CATS, The Sound of Music, Beauty and the Beast, Evita, My Fair Lady, and The King and I. Her New York credits include Stage Managing at the Ailey School, SLK Ballet, The Ramaz School and numerous events and award shows, including working as a production assistant on television and films. Her other passion is freelancing as a photographer and pursuing One Million Cards, her lifelong project of creating a million unique greeting cards with her photography. Juliana would like to dedicate this performance to her Dad, Bob Heeter, her biggest fan.

Felipe Cuesta

*

Assistant Stage Manager

(

)

Pronouns:

Felipe Cuesta attended Shenandoah Conservatory where he pursued a BFA degree in Theater Design & Production with an emphasis in Stage Management. Most recently he was the Stage & Production manager at Sonesta Resorts & Casino Royale in the beautiful island of Sint Marteen. Other credits include the national tour of Cirque Dreams Holidaze (Head Carp.) Royal Caribbean Int. (Stage & Prod Manager) Busch Gardens Williamsburg (Show Ops.) He is excited to be able to return to theater with this wonderful company! A big thank you to all of those who have supported me along the way and to all the wonderful people I have met around the world! Adam, thank you for always being there for me you’re the best bro someone could ask for. To Sesh, without you I wouldn’t be where I am today. You are an inspiration. Much Love & always follow your dreams! Mom, I made it!

Sami Pyne

*

Marketing Manager

(

)

Pronouns:

Sami Pyne is a theatremaker based in New York City working most prominently as an independent producer. She is currently the Line Producer for 600 Highwaymen’s A THOUSAND WAYS. Most recent producing credits include Capricorn 29 created by Alex Hare and Julia Izumi at The Tank, Kyk Hoe Skyn die Son created by Keenan Tyler Oliphant at Clubbed Thumb, Columbia SOA International Play Reading Festival curated by David Henry Hwang, and 2020 & 2019’s Prelude Festival at The Martin E. Segal Theatre Center. Columbia University School of the Arts MFA Theatre Management and Producing class of 2020

JT-PR

*

Public Relations

(

)

Pronouns:

With over 20 years of experience, Joe Trentacosta’s JT Public Relations has created strategic public relations campaigns for the entertainment industry. They have represented clients on Broadway, Off-Broadway, festival productions, developmental industry presentations, films in release, film festivals, numerous non-profit organizations, and special events. Non-profits include the Museum of the Moving Image, National Meningitis Association, Pulmonary Fibrosis Foundation, Stuttering Association for the Young. He has consulted with Lincoln Center Theatre, Hamilton the musical (Tony campaign) and also represents National Alliance of Musical Theatre, Rockefeller Productions, Galleria on Third, Lillypops (COO & Director of Marketing and Communications). Joe is also the Executive Producer of Katsura Sunshine’s Rakugo (New World Stages and World Tour).

Holly Garman

*

Publicity

(

)

Pronouns:

Holly has a diverse background in theater, music, non-profit and entertainment events. Currently working the Long Wharf Theatre in New Haven, and Off-Broadway’s Working Theater, her recent work includes: The Eliza Project (Graham Windham/Hamilton), Broadway Brews (collaboration w/Hamilton, Waitress & Come From Away casts), Arts in the Armed Forces (w/ founder Adam Driver). Working with leading press agent Sam Rudy, Holly has worked on multiple productions including Dear Jack, Dear Louise by Ken Ludwig at Arena Stage in Washington, D.C.), Isaac Mizrahi’s I&ME tour; Broadway/Off-Broadway smash Avenue Q and Miracle in Rwanda (Theater Row).

Evan Bernardin Productions

*

General Management

(

)

Pronouns:

Evan Bernardin Productions is a full-service theatrical management company that provides general and production management for productions and immersive experiences. Select credits include: Fairycakes,Seven Deadly Sins, Million Dollar Quartet (Tour), Charlie Brown Christmas (Tour), Afterglow, and We Are The Tigers. Additional collaborative projects have included performances at Lincoln Center, The United Nations, The Harvard Club, The White House, Cornell University, Georgetown's Gaston Hall, The Culture Project, The Ohio Theatre and The Metropolitan Museum of Art.

Media

No items found.

2021 National Touring Cast

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.

Grab a Bite

Pre-show or post-show, our local partners have your dining needs covered

Raise a Glass

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

Grab a Bite

There are currently no restaurants to peruse.

Raise a Glass

There are currently no bars to peruse.

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.

Rashidra Scott Joins SUNSET BLVD On Broadway as Norma Desmond Standby

Kobi Kassal

January 13, 2025

She’s ready for her closeup! Today, producers announced that Rashidra Scott will join the company of Sunset Blvd. as the standby for the role of Norma Desmond at the St. James Theatre starting Monday, January 20.

Fresh off an unforgettable performance as Norma yesterday, Caroline Bowman who was the standby since opening will depart the production on Sunday, January 19 as she heads to originate the role of Karen in Smash on Broadway.

Scott was last seen on Broadway in the Tony-winning revival of Company as Susan and has been seen in many productions including Ain’t Too Proud, Beautiful, Sister Act, Hair, Finian’s Rainbow, and Avenue Q.

Directed by Jamie Lloyd, the current company includes Nicole Scherzinger as ‘Norma Desmond,’ Olivier Award winner Tom Francis as ‘Joe Gillis,’ Grace Hodgett Young as ‘Betty Schaefer,’ and Olivier Award winner and 2024 Olivier nominee David Thaxton as ‘Max Von Mayerling.’ Mandy Gonzalez guest stars as ‘Norma Desmond’ at select performances.

They are joined by ensemble members Olivia Lacie Andrews as ‘Nancy,’ Brandon Mel Borkowsky as ‘John,’ Shavey Brown as ‘Finance Man/Stan/DeMille,’ Hannah Yun Chamberlain as ‘Young Norma,’ Cydney Clark as ‘Joanna/Guard,’ Raúl Contreras as ‘Finance Man/Frank,’ Tyler Davis as ‘Sheldrake,’ E.J. Hamilton as ‘Lisa,’ Sydney Jones as ‘Dorothy,’ Emma Lloyd as ‘Mary/Heather,’ Pierre Marais as ‘Sammy,’ Shayna McPherson as ‘Camera Operator/Katherine,’ Jimin Moon as ‘Morino/Hog Eye,’ Justice Moore as ‘Jean,’ Drew Redington as ‘Myron/Jones/Camera Operator,’ and Diego Andres Rodriguez ‘Artie.’ Swings for the production are Giuseppe Bausilio (dance captain), Kristina Garvida Doucette (assistant dance captain), Brandon LaVar, Maggie Likcani, Abby Matsusaka, Georgia Monroe, and Rixey Terry.

‍Sunset Blvd. continues eight performances a week at the St. James Theatre.

Rashidra Scott Joins SUNSET BLVD On Broadway as Norma Desmond Standby

Kobi Kassal

January 13, 2025

She’s ready for her closeup! Today, producers announced that Rashidra Scott will join the company of Sunset Blvd. as the standby for the role of Norma Desmond at the St. James Theatre starting Monday, January 20.

Fresh off an unforgettable performance as Norma yesterday, Caroline Bowman who was the standby since opening will depart the production on Sunday, January 19 as she heads to originate the role of Karen in Smash on Broadway.

Scott was last seen on Broadway in the Tony-winning revival of Company as Susan and has been seen in many productions including Ain’t Too Proud, Beautiful, Sister Act, Hair, Finian’s Rainbow, and Avenue Q.

Directed by Jamie Lloyd, the current company includes Nicole Scherzinger as ‘Norma Desmond,’ Olivier Award winner Tom Francis as ‘Joe Gillis,’ Grace Hodgett Young as ‘Betty Schaefer,’ and Olivier Award winner and 2024 Olivier nominee David Thaxton as ‘Max Von Mayerling.’ Mandy Gonzalez guest stars as ‘Norma Desmond’ at select performances.

They are joined by ensemble members Olivia Lacie Andrews as ‘Nancy,’ Brandon Mel Borkowsky as ‘John,’ Shavey Brown as ‘Finance Man/Stan/DeMille,’ Hannah Yun Chamberlain as ‘Young Norma,’ Cydney Clark as ‘Joanna/Guard,’ Raúl Contreras as ‘Finance Man/Frank,’ Tyler Davis as ‘Sheldrake,’ E.J. Hamilton as ‘Lisa,’ Sydney Jones as ‘Dorothy,’ Emma Lloyd as ‘Mary/Heather,’ Pierre Marais as ‘Sammy,’ Shayna McPherson as ‘Camera Operator/Katherine,’ Jimin Moon as ‘Morino/Hog Eye,’ Justice Moore as ‘Jean,’ Drew Redington as ‘Myron/Jones/Camera Operator,’ and Diego Andres Rodriguez ‘Artie.’ Swings for the production are Giuseppe Bausilio (dance captain), Kristina Garvida Doucette (assistant dance captain), Brandon LaVar, Maggie Likcani, Abby Matsusaka, Georgia Monroe, and Rixey Terry.

‍Sunset Blvd. continues eight performances a week at the St. James Theatre.

Full Broadway Casting For BOOP! THE MUSICAL Announced

Alan Koolik

January 13, 2025

The Broadhurst Theatre is where I wanna be! This morning, producers of BOOP! The Musical announced the full cast who will originate the new musical when it starts previews on March 11, 2025 before an official opening night on April 5 at the Broadhurst.

The principal cast of BOOP!, who received critical acclaim in the Chicago pre-Broadway run last year, is headed by Jasmine Amy Rogers as Betty Boop and Tony Award-winner Faith Prince as Valentina, Ainsley Melham as Dwayne, Erich Bergen as Raymond, Stephen DeRosa as Grampy, Anastacia McCleskey as Carol, Angelica Hale as Trisha, Phillip Huber (Pudgy the Dog), and Aubie Merrylees as Oscar.

The company also includes Lawrence Alexander, Courtney Arango, Colin Bradbur, Tristen Buettel, Joshua Michael Burrage, Victoria Byrd, Dan Castiglione, Rebecca Corrigan, Ian Gallagher Fitzgerald, RJ Higton, Nina Lafarga, Morgan McGhee, Ryah Nixon, Christian Probst, Ricky Schroeder, Gabriella Sorrentino, Derek Jordan Taylor, Lizzy Tucker, Amy Van Norstrand, Damani Van Rensalier, and David Wright Jr..

“The joy this cast has brought to BOOP! The Musical is infectious. BOOP! is filled with some of the greatest dancers, singers and actors I’ve ever had the pleasure of working with on a new original musical. We had a blast bringing BOOP! to the stage in Chicago and I can’t wait for audiences to see this original Broadway Cast go Fullout,” said director and choreographer Jerry Mitchell.

For almost a century, Betty Boop, created by animation pioneer Max Fleischer, has won hearts and inspired fans around the world with her trademark looks, voice, and style. Now, in BOOP! The Musical, Betty's dream of an ordinary day off from the super-celebrity in her black-and-white world leads to an extraordinary adventure of color, music, and finding love in New York City — one that reminds her and the world, “You are capable of amazing things.”

Theatrely News

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

Theatrely News

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

Theatrely News

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

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

By: Maia Penzer

14 July 2023

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

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

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

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

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

‍

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

By: Kobi Kassal

29 May 2023

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

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

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

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

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

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

Yeah, right.

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

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

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

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

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

Sure enough, no tip.

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

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

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

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

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

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

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

“Could you be bothered to serve us?”

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

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

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

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

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

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

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

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

“Pickup order?” I ask.

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

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

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

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

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

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

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

‍

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

By: Kaitlyn Riggio

5 July 2022

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

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

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

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

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

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

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

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

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

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

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

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

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

‍

Connect

Games

Media

No items found.

Let's Connect

Theatre is all about connection. Follow us to keep in touch and stay up to date on all the latest news!

Let's Connect

Theatre is all about connection. Follow us to keep in touch and stay up to date on all the latest news!

No items found.

Share this Marquee

Check out this Between the Bars digital program by @Marquee.Digital.

Waiting for the Show to Start?

The Marquee has you covered.

Places in 5

Can you find the winning word in time?

Marquee Match

Find the match & take a bow.

Join the Team

Connect

Games

Media

Let's Connect

Theatre is all about connection. Follow us to keep in touch and stay up to date on all the latest news!

Let's Connect

Theatre is all about connection. Follow us to keep in touch and stay up to date on all the latest news!

Waiting for the Show to Start?

The Marquee has you covered.

Places in 5

Can you find the winning word in time?

Marquee Match

Find the match & take a bow.

Hello! Please use portrait mode when viewing Marquee Digital Programs on a mobile device, in order to ensure the best user experience.

Event Date has Passed

Hello! It appears your event date has passed. You can view the archived Event Marquee for 5 minutes before this pop up gets activated.

Event Preview

Hello! This is the Preview limit for your Event until the show's Opening Day. You will be able to view the Marquee for 5 minutes before this pop up gets activated. Simply refresh the page to restart the timer.