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We would like to thank all of the donors that helped make this season possible.

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Performers

Bryce Bayer

*

Harry

Troy Brooks

*

Queen 3

Joseph Condon

*

Queen 2

Natalia Cruz

*

Queen 3

Sabrina Hamilton

*

Stage Directions

Setting

Picture it: St. Pete. Drag Queens. An interactive story, And you! In this queer meet, cute local drag queens will usher you through the relationship of a couple. The best part is that you get a say in how the story unfolds.

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Board of Trustees

Chair

Anastasia C. Hiotis

Vice Chair

Gina Clement

Treasurer

Trevor Wells, CPA

Administrative Officer

Joe Weldon

Board Members

Rev. Michael Alford Ebrahim Busheri Dexter Fabian Alistair Flynn Joel B. Giles Alais L. M. Griffin Will Hough Sherri Smith-Dodgson Cathy P. Swanson Steven W. Walker

Student Advisory Board

Credits

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

Special Thanks

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

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

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

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

Cast
Creatives

Meet the Cast

Bryce Bayer

*

Harry
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Pronouns:
he/him

Bryce Bayer was most recently seen as an Angel in Kinky Boots at Suncoast Broadway Dinner Theatre. Other regional credits include: Roy in A Chorus Line and an Ursula Puppeteer in The Little Mermaid (St. Louis MUNY). Bryce also appeared in the Florida Festival of New Musicals last summer as Michael Darling in The Lost Girl (Winter Park Playhouse). He received his BFA in Musical Theatre from Millikin University. Special thanks to Bryce's family, friends, and father.

Troy Brooks

*

Queen 3
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(
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Pronouns:
he/they

Troy is excited to work once again with American Stage, having appeared last year in Ragtime and Pueblo Revolt. Other local credits include Scrooge Macbeth, A Haunted Cabaret, and Something Clean at The Off Central and Frankenstein at Jobsite Theatre. Board Member of Outcast Theatre Collective, producing theatre by and for marginalized groups.

 

Joseph Condon

*

Queen 2
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)
(
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Pronouns:
he/him

Joseph Condon is proud to work with American Stage again. He is an alumnus of both

Pinellas County Center for the Arts as well as The University of Alabama in Birmingham for

Musical Theater. Born and raised in St.Petersburg, Joseph is very excited about professionally

performing in his hometown. A big thankyou to all of his loved ones for supporting him.

 

Natalia Cruz

*

Queen 3
(
)
(
)
Pronouns:
they/she

Sabrina Hamilton

*

Stage Directions
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)
(
)
Pronouns:
she/her

Sabrina Hamilton is thrilled to be a part of this “unconventional” production. You may have seen her in Stageworks rendition of The Color Purple, or perhaps in A Haunted Cabaret with The Off Central Players. The theatre has always been her second home. Mom- you are my biggest supporter. None of this is possible without you. I love you! Isaiah, I’m so glad that we are in this for life. Thank you for being the Edd to my Eddy. Brandon, you were the biggest surprise and now, one of my most treasured friends. Thank you for helping me find the light again.

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2021 National Touring Cast

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Craft brewery specializing in IPAs & ales, serving the suds in its taproom & large beer garden

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While You Wait

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2:22 — A GHOST STORY Sets New York Premiere This Fall
Emily Wyrwa
June 18, 2026

2:22 — A Ghost Story has set its New York Premiere this fall at the Lucille Lortel Theatre. The play begins previews on Oct. 20, with official opening on Nov. 5, and will play a strictly limited engagement through Jan. 17. 

The play has had seven West End engagements, two record-breaking UK tours, and thirty productions across the globe. It follows Jenny, who believes her house might be haunted, but her husband Sam doesn’t buy in. When their friends Lauren and Ben come around for a housewarming dinner, a stirring debate ensues: can the dead really walk again? Belief and skepticism clash, but lingering beneath the argument is something strange and frightening. 

2:22 – A Ghost Story is written by Danny Robins, the creator of the hit BBC podcast The Battersea Poltergeist, and is directed by Matthew Dunster & Gabriel Vega Weissman. The play’s New York Premiere production will feature sets by Anna Fleischle, costumes by Cindy Lin, lighting by Lucy Carter, Sound by Ian Dickinson for Autograph Sound, and illusions by Chris Fisher. Casting is by Caparelliotis Casting (David Caparelliotis & Joe Gery), and Wagner Johnson Productions will serve as General Manager. The cast for the New York Premiere will be announced at a later date.

“Bringing [the play] to New York really is a childhood dream come true, and this new production is a thrilling chance to bring this story to a fresh audience,” playwright Robbins said in a statement. “What I set out to do when I wrote it was to create a play that will make you jump, laugh, cry and go off into the night debating that age-old question ‘do ghosts exist?’ I love how our brilliant director Matthew Dunster has injected a dose of rock ‘n roll into the staging that makes for an exciting, exhilarating, adrenaline-filled night out. I can't wait to share this experience with New York audiences! Come – if you dare!” 

2:22 — A Ghost Story begins performances at the Lucille Lortel Theatre in New York City on Oct. 20 and runs through Jan. 17, 2027. For tickets and more information, visit here

Todrick Hall's Original Musical MIDNIGHT Sets New York Premiere This Fall
Emily Wyrwa
June 18, 2026

Todrick Hall’s original musical Midnight will make its New York Premiere at the Daryl Roth Theatre this fall. The production begins performances on Sept. 12, with official opening on Sept. 27. It is set to run for a strictly limited engagement through Nov. 1. 

Midnight is set in the American South during the 19th century, and explores themes of love, identity, empathy, and the humanity that connects us across the boundaries of race, class, and expectation. It follows six Black characters and six white characters, whose relationships challenge the world they live in. The score is wholly sung-through score blending gospel, rhythm and blues, pop, rock, folk, opera, and musical theatre. 

“Six years ago, frustrated by the state of the world and a level of division I had never experienced in my lifetime, I sat down to write the show I wanted to see,” Hall said in a statement. “I wanted to create a story that felt as timeless as it was timely, a truly original musical that I hoped could change hearts, minds, and lives. I cannot wait to introduce my new musical baby to the world. Her name is Midnight, and she is so excited for New York City to meet her.”

Hall’s theatre credits include the Broadway productions of The Color Purple and Memphis. He has also starred in Kinky Boots, Chicago, Waitress, and Shrek the Musical. In the West End, he originated roles in the world premiere of Wild About You and served as composer, lyricist, director, choreographer and played the role of Sean in Burlesque The Musical in London.

Midnight runs at the Daryl Roth Theatre from Sept. 12 to Nov. 1. For tickets and more information, visit here.

MURDER AT THE GATES Featuring Gaten Matarazzo, Ramin Karimloo, and More To Release Concept Album
Emily Wyrwa
June 18, 2026

This news is to die for! Murder at the Gates, a killer new musical with book and lyrics by Tony Award-winner Steven Sater and music by James Bourne, is releasing a concept album on July 1. The first song, “Fuckin’ Scream,” featuring vocals by Gaten Matarazzo, is available for streaming now (listen here). 

Murder At The Gates is Clue meets Clueless, a black-comic murder mystery from a Gen-Z, gated-community America. It tells the story of Cameron, whose dad is throwing her a birthday murder mystery party to help her get over her worst year ever. Her friends all arrive in costume, and all is going well. When the party murder happens, though, things get real: someone’s actually dead. 

“Back in the day, when I was first conceiving Spring Awakening, I was urged to update the story to contemporary times,” writer Sater said. “As I suspected, that didn’t work. But that energy spilled into Murder at the Gates, a black comic look at how totally effed life can be as a young person today." 

In addition to Gaten Matarazzo, Murder At The Gates features Milo Manheim, Isa Briones, Joy Woods, Helen J Shen, Mason Alexander Park, Casey Likes, and Ramin Karimloo.

An early version of Murder At The Gates previously played at the New York University's Tisch School of the Arts in 2013 before two rehearsed readings at The Other Palace, London, in 2019 and more recently, a workshop with Madison Wells Media in NYC in 2024. 

The Murder At The Gates soundtrack is available to pre-order/pre-save here.

Theatrely News
EXCLUSIVE: Watch A Clip From THEATER CAMP Starring Ben Platt, Noah Galvin, and Molly Gordon
Theatrely News
READ: An Excerpt From Sean Hayes Debut YA Novel TIME OUT
Theatrely News
"Reframing the COVID-19 Pandemic Through a Stage Manager’s Eyes"
EXCLUSIVE: Watch A Clip From THEATER CAMP Starring Ben Platt, Noah Galvin, and Molly Gordon
By: Maia Penzer
14 July 2023

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

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

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

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

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

READ: An Excerpt From Sean Hayes Debut YA Novel TIME OUT
By: Kobi Kassal
29 May 2023

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

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

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

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

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

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

     Yeah, right.

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

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

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

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

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

     Sure enough, no tip.

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

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

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

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

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

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

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

     “Could you be bothered to serve us?”

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

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

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

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

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

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

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

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

     “Pickup order?” I ask.

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

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

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

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

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

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

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

Reframing the COVID-19 Pandemic Through a Stage Manager’s Eyes
By: Kaitlyn Riggio
5 July 2022

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

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

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

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

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

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

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

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

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

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

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

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

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

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