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Donors

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

Tributes

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.

Songs & Scenes

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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.

Meet the Cast

Bryce Bayer

*

Harry

(

)

(

)

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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)

(

)

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

(

)

(

)

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

(

)

(

)

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.

Meet the Team

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Media

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2021 National Touring Cast

Pre-Show Snack or
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Mickey's Cafe & Organics

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Popular, down-to-earth spot for organic cafe fare, plus juice blends, smoothies & espresso drinks

Mickey's Cafe & Organics

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318 Central Ave, St. Petersburg

Popular, down-to-earth spot for organic cafe fare, plus juice blends, smoothies & espresso drinks

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Green Bench Brewing Company

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1133 Baum Avenue N, St. Petersburg

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

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1133 Baum Avenue N, St. Petersburg

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

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While You Wait

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

On The Scene: PARANORMAL ACTIVITY Has Made Its Way To Broadway

Kobi Kassal

August 18, 2026

Late in Act II of Paranormal Activity’s first preview, there’s a fun jump scare that get’s the audience pretty good. Screams and cries echoed around the August Wilson for a few moments before subsiding back down. A few beats later, a man towards the back of the orchestra just yelled out “Shit!” and the whole audience erupted in laughter again.

As a true horror aficionado, I’ve been patiently waiting years for a truly terrifying play to come to New York. We’ve had a few pop up here and there but when whispers of a stage adaptation of Paranomal Activity was in development a few years back, I had high hopes.

Written by Levi Holloway, who gave us Grey House on Broadway back in 2023, Paranormal has had an interesting journey to Broadway. First premiering at the Leeds Playhouse in 2024, the show next went on to play a mini tour across the US with stops at Chicago Shakespeare Theatre, the Ahmanson at CTG in Los Angeles, Shakespeare Theatre Company in DC, and finally American Conservatory Theater in San Francisco before setting its sights on the August Wilson.

The play is an original story set in the Paranormal universe that follows newly married couple James and Lou who move from Chicago to London for a fresh start. As their lives get turned upside down, they must work together to confront whatever is inside that house…

I was fortunate enough to first catch the production in Los Angeles late last fall. Walking in with two colleagues, none of us knew what we were about to experience. On the other side, we all agreed that it was the most fun we have had seeing a show in years.

__wf_reserved_inherit — The August Wilson Theatre | Photo: Laurel Hinton

Now on Broadway, I caught the first preview where we celebrated the Broadway debuts of Cher Álvarez, Travis A. Knight, Shannon Cochran, and Bobby J. Howlett. Eva Kaminsky also stars in the production, alongside understudies Caron Buinis, Caroline Hendricks, and Michael Holding.

Before the curtain even went up on Friday night, a woman sat down in the row in front of me gripping her sweater. When I leaned over and asked how she was doing, “Not well” was the response… as the evening went on, I would say “not well” was her general disposition.

At intermission, I checked the app for my Oura Ring and saw for the last hour my heart rate was at a pretty consistent 120 BPM, and I had already seen the show before…

I spoke with a few folks as they entered the theatre and it was clear, everyone was there to be scared, and boy does it deliver. The rush of adrenaline pumping through your veins lets you experience this visceral piece of theatre that is truly unlike anything we have seen on Broadway ever before.

Now of course the question is: just how scary is it? Signs near the box office say this is not for anyone under the age of 15. Everyone’s horror tolerance is different, but you will certainly get some jumps here and there no matter what. And what can be more glorious than 1,200 people all screaming in unison.

Paranormal Activity is now in performances at the August Wilson Theatre through Janaury 3, 2027.

Whitney Leavitt Is Returning To Broadway; Set To Join JUST IN TIME This December

Kobi Kassal

August 13, 2026

Reality star and 2026 Broadway Breakout Brunch honoree Whitney Leavitt is set to star as Sandra Dee in Just In Time at Circle in the Square Theatre for a limited six-week engagement beginning Tuesday, December 1, 2026 through Sunday, January 10, 2027.

Leavitt made her Broadway debut earlier this year as Roxie Hart in Chicago and broke production and house-records.

Developed and directed by Tony Award winner Alex Timbers, Just In Time invites audiences to experience the great American entertainer’s meteoric journey – from soaring highs to crushing lows – featuring a live on-stage band performing Bobby Darin’s iconic hits including “Beyond the Sea,” “Splish Splash,” “Dream Lover,” and “Mack the Knife,” with a cast that includes Jeremy Jordan (Newsies), Olivia Holt (Marvel’s Cloak & Dagger), Carrie St. Louis (Wicked), Tony Award winner Debbie Gravitte (Jerome Robbins’ Broadway), Joe Barbara (A Bronx Tale The Musical), Drama Desk Award nominee Emily Bergl (Good Night, Oscar), Lance Roberts (The Music Man), Caesar Samayoa (Come From Away), Christine Cornish (Kiss Me, Kate), Julia Grondin (Funny Girl), Valeria Yamin (Moulin Rouge!), Jaime Foord (Broadway debut), Tari Kelly (Mr. Saturday Night), Matt Magnusson (A Wonderful World), Jeffrey Schecter (A Chorus Line), and Tristen Buettel (Boop! The Musical).

Whitney Leavitt Is Returning To Broadway; Set To Join JUST IN TIME This December

Kobi Kassal

August 13, 2026

Reality star and 2026 Broadway Breakout Brunch honoree Whitney Leavitt is set to star as Sandra Dee in Just In Time at Circle in the Square Theatre for a limited six-week engagement beginning Tuesday, December 1, 2026 through Sunday, January 10, 2027.

Leavitt made her Broadway debut earlier this year as Roxie Hart in Chicago and broke production and house-records.

Developed and directed by Tony Award winner Alex Timbers, Just In Time invites audiences to experience the great American entertainer’s meteoric journey – from soaring highs to crushing lows – featuring a live on-stage band performing Bobby Darin’s iconic hits including “Beyond the Sea,” “Splish Splash,” “Dream Lover,” and “Mack the Knife,” with a cast that includes Jeremy Jordan (Newsies), Olivia Holt (Marvel’s Cloak & Dagger), Carrie St. Louis (Wicked), Tony Award winner Debbie Gravitte (Jerome Robbins’ Broadway), Joe Barbara (A Bronx Tale The Musical), Drama Desk Award nominee Emily Bergl (Good Night, Oscar), Lance Roberts (The Music Man), Caesar Samayoa (Come From Away), Christine Cornish (Kiss Me, Kate), Julia Grondin (Funny Girl), Valeria Yamin (Moulin Rouge!), Jaime Foord (Broadway debut), Tari Kelly (Mr. Saturday Night), Matt Magnusson (A Wonderful World), Jeffrey Schecter (A Chorus Line), and Tristen Buettel (Boop! The Musical).

Theatrely News

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

Theatrely News

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

Theatrely News

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

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

By: Maia Penzer

14 July 2023

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

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

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

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

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

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

By: Kobi Kassal

29 May 2023

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

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

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

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

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

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

Yeah, right.

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

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

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

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

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

Sure enough, no tip.

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

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

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

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

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

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

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

“Could you be bothered to serve us?”

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

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

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

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

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

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

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

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

“Pickup order?” I ask.

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

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

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

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

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

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

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

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

By: Kaitlyn Riggio

5 July 2022

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

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

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

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

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

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

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

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

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

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

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

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

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

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