Meet Judith Jarosz & Sweeney Todd

Name:  Judith Jarosz – Director/Choreographer

What is your current project?
SWEENEY TODD with an ALL AMERICAN cast at Theater 2020 in Brooklyn Heights
Where are you performing it and why is it the right fit for your piece?
The wonderfully intimate Gothic style McKinney Chapel in Brooklyn Heights, which provides wheel chair access to the theater space (not the bathrooms) and comfortable cushioned seating. It allows you to hear Sondheim’s magnificent score & lyrics up close and personal! You will be surrounded by Sondheim. 🙂 We will also be doing Shakespeare there in the Spring.
What’s next for you?
After the five week 16 performance run of SWEENEY TODD we go into auditions for MACBETH, Shakespeare’s tragedy, which we will set amidst the witchcraft & sorcery of the South Pacific. David Fuller will direct.

Words, words, words and music, baby! I’m a Shakespeare geek and I call Stephen Sondheim the Bard of Musicals. I’ve also worked with him professionally. Heck of nice genius! 😉

Want More?
Facebook: Theater 2020
Instagram: Theater2020
Judith Jarosz (Producing Artistic Director/Director & Choreographer) is an actor, producer, director, choreographer, writer, editor, photographer and theater geek, who has been in the “biz” professionally since the age of five. for She is currently, along with David Fuller, the Co-Producing Artistic Director of Theater 2020 “Visions for a New Millennium” which is based in Brooklyn Heights, and is a recipient of New York Innovative Theatre Award Nomination for Outstanding Director for Theater 2020’s critically acclaimed production of A Midsummer Night’s Dream. As a producing team, Judith and David have been nominated 18 times for NYIT Awards…and won once!  She is especially proud of Theater 2020 founding the free “Shakespeare at Sunset” in the Brooklyn Bridge Park five years ago, and the fact that with our Romeo & Juliet tour to the Catskills we managed to garner Actor’s Equity Association union cards for six actors and a stage manager! Last season she directed 2020’s smash hit and IT nominated “A Little Night Music. Previously she directed THE Real MERRY HouseWIVES OF WINDSOR, Ct!” and choreographed The Singapore Mikado. The season before she directed their King Lear and choreographed their 40th anniversary revival of the Hal Prince version of the Leonard Bernstein musical Candide (directed by David Fuller), and both directed & choreographed Theater 2020’s 2013 Spring/Summer production of A Midsummer Night’s Dream which received four 2013 NY Innovative Theatre Award nominations, “Best Revival of a Play,” “Best Director,” “Best Movement & Choreography” & “Best Costume Design.” As a performer Judith has had leading or featured roles on Broadway, at the New York City Opera (Lincoln Center and on tour), regionally (including Goodspeed and BAM), and as far off Broadway as London, England and Taipei, Taiwan. She was a Principal Soprano at the late great New York City Opera, where she was also an Assistant Director and was the only person at NYCO at that time to simultaneously hold positions in the artistic and administrative departments. She is a member of multiple performance unions & organizations as well as a charter member of The League of Independent Theater, and a volunteer for the Brooklyn Women’s Exchange. For over ten years, Judith was the Producing Artistic Director for Theater Ten Ten at 85th and Park Avenue in Manhattan, which, under her leadership, was the recipient of multiple awards and nominations. She lives in beautiful Brooklyn Heights with the love of her life, David Fuller. Judith and David were proud to be honored as 2010“Persons of the Year” by

Show information (venue, dates, ticket info)
Venue: The McKinney Chapel, at First Unitarian Society
116 Pierrepont St., between Clinton St. & Monroe Place in Brooklyn Heights.
Subways: 2, 3, 4, 5 to Borough Hall, N, R to Court Street, A, F to Jay Street, C to High Street.
Limited five week, 16 performance run! Dates and Times: (NOTE all matinees are at 4pm!) Fri. 2/10@8pm, Sat. 2/11@8pm, Sun. 2/12@4pm (matinee only)
Thur. 2/16@8pm, (NO Fri), Sat. 2/18@8pm, Sun. 2/19@4pm (matinee only). Fri. 2/24@8pm, Sat. 2/25@8pm Sun. 2/26@4pm (matinee only).
Thur. 3/2 @8pm, Fri. 3/3 @8pm, Sat. 3/4 @8pm, Sun. 3/5@4pm Thur. 3/9 @8pm, (NO Fri), Sat. 3/11@8pm, Sun. 3/12@4pm (matinee only-final perf).
Tickets and Reservations: Tickets: $40.00 general, $30.00 senior & students
(The space is intimate and reservations are highly recommended!)
Cash only at the door tickets may be reserved at

Meet Qurrat Ann Kadwani & Love Alone (in NH)

Name: Qurrat Ann Kadwani

What is your current project?

Love Alone by Deborah Salem Smith

Where are you performing it and why is it the right fit for your piece?

Shaker Bridge Theatre in Enfield, New Hampshire as part of their 10th anniversary season featuring works by female playwrights with strong female lead roles. When I read the play, I was immediately drawn to Dr. Becca Neal – an anesthesiologist who experiences loss professionally as well as personally. She is deeply nuanced and a great challenge to play. She is headstrong and vulnerable -she loves hard. Leading roles for women are rare and to be cast in this show by Richard Waterhouse filled me with pride.

What’s next for you?

I have been touring my solo play They Call Me Q, in which I play 13 characters in 1 hour, at colleges for several years. In February, I begin the 2017 Spring tour that will bring me to 25 colleges all over the US. Culture and identity are more important now than ever. I’m proud to spread the messages of diversity and acceptance to students who have the power of changing this world for the better.

Who is your biggest inspiration right at this moment and why?

Meryl Streep always because she takes on challenging roles to take herself to new heights.

Want More?

Twitter: @theycallmeqshow
Facebook: theycallmeqshow
Instagram: theycallmeqshow

Show information (venue, dates, ticket info)
Jan 19-Feb 5

Whitney Hall Auditorium
23 Main Street
Enfield, NH 03748

Meet Andrew Beall & Song of Solomon

Name: Andrew Beall

What is your current project?

Song of Solomon: A New Musical

Where are you performing it and why is it the right fit for your piece?

I am a the composer and I have been developing this musical for seven years, because I have an intense desire to tell stories through music….when it all comes together, it’s magic and it inspires. Miss Saigon inspired me to move to New York and pursue a dream that changed my life. Musicals (and Opera) are the highest form of entertainment – they combine all the elements into one glorious production. And for two hours, people are transported into another world, and when it’s over, they are different. Song of Solomon should transport folks to another time, another land, with similar political and romantic desires that we always have and will always have. The audience should forget that they just stepped off the streets of New York and step into our world for a little bit, and come out changed forever. All that paired with the romantic notion that the original epic musical is ready to come back to Broadway (and stay for awhile). That’s why I wrote Song of Solomon. I wanted to write a dramatic love story and share it with the world. Plus, who doesn’t want to know about the young vineyard girl who’s responsible for stealing Solomon’s heart, causing the creation of timeless love poetry that still inspires us today?

What’s next for you?

1. Broadway Con – the release of our Concept Album on January 27th at the Broadway Records booth.
2. 54 Below Album Release Concert (Spring/Summer)
3. New York Equity Workshop (Fall)
4. Out of Town Developmental Run
5. West End Opening
6. Broadway Opening
7. Feature Film

Who is your biggest inspiration right at this moment and why?

There will never be a bigger inspiration than my earliest: Claude Michel Schonberg and Alain Boublil.

Want More?


Hailed by New York Classical Review as “Spectacularly Virtuosic”, international soloist and composer, Andrew Beall’s works have been performed in Siberia, Italy, Germany, China, Lithuania, Sweden, UK, South Africa, and Mexico, to name a few. His second major orchestral work, Affirmation, was premiered at Avery Fisher Hall and recently recorded by the Siberian Symphony Orchestra. Mr. Beall has performed on Broadway in The Lion King, Les Miserables, Spiderman, In The Heights, and A Gentlemen’s Guide to Love and Murder, orchestras such as the American Symphony, Columbus Symphony, Greenwich Symphony, Philharmonic Orchestra of the Americas, and is the drummer for eclectic rock quartet, Cordis, and Broadway dance company, American Dance Machine. Mr. Beall has released two solo albums on BMP Records: Deliverance and Glass Jungle, and his third album (Concerti), will release in the Spring. President Emeritus of the Percussive Arts Society New York Chapter and owner of Bachovich Music Publications, Mr. Beall is an endorsing artist for Pearl Drums, Sabian Cymbals, Innovative Percussion, Latin Percussion, and Evans Drumheads and a graduate of Manhattan School of Music and New York University. Mr. Beall’s musical, Song of Solomon, recently finished a sold-out run at the Thespis New York Festival, where it was nominated for Best Musical and acclaimed as “A Breathtakingly Epic Crescendo” followed by a sold-out performance with Tony-nominated Robert Cuccioli at the The Wick Theater in Boca Raton. A Concept Album EP of Song of Solomon releases in 2016. Mr. Beall was recently commissioned by The Telling Company to write his second musical. /

Show information (venue, dates, ticket info)
Broadway Con – Cast Signings: Sunday (29th) at 1pm

Meet Adrian Rifat (Marry Me a Little & You’re a Good Man…)

Name: Adrian Rifat

What is your current project?

Marry Me A Little, in Rep with You’re a Good Man Charlie Brown

Where are you performing it and why is it the right fit for your piece?

The Gallery Players, a smaller and more intimate space, perfect for a tale of two lovelorn New Yorkers in Brooklyn!

What’s next for you?

A new musical adaptation of the Russian story book, The Nose. More details to come.

Who is your biggest inspiration right at this moment and why?

Sia Furler. And the entire team involved with this repertory project. The talent, diligence, vulnerability, and teamwork vulnerability are off the charts!

Want More?

Twitter: @AdrianRifat
Instagram @adrianisinspace

Adrian Rifat was last seen as Horton the Elephant, he’s over the moon to be playing in his sixth(and seventh) show at Gallery! Let’s play!

Show information (venue, dates, ticket info)

The Gallery Players
199 14th Street(between 4th and 5th avenue)
Brooklyn, NY 11215
Runs Thursday to Saturday 8pm

More info at

Meet Paul Williams (Marry Me a Little & You’re a Good Man…)

Name: Paul Williams

What is your current project?

Currently I am playing Man in Marry Me A Little and Charlie Brown in You’re A Good Man, Charlie Brown.

Where are you performing it and why is it the right fit for your piece?

Both of these musicals are being performed in repertory at The Gallery Players in Brooklyn. This theatre is absolutely perfect for both shows, but especially for Marry Me A Little. This space provides the actors an opportunity to be intimate with the audience and it feels great to have them right there with us while we are telling this story.

What’s next for you?

I hope more opportunities, like this one, come along where I get to perform with a great cast and work with an amazing creative team!

Who is your biggest inspiration right at this moment and why?

I’m inspired by people who are passionate about what they do and who pour their hearts and souls into their work. The Marry Me A Little cast and creative team are prime examples of this. We have taken a show and applied a completely new concept that is going to affect so many people in such a positive way. I’ve learned something from every single actor I share this show with and I do not know what I would do without them. Each day I walk into the theatre I am inspired to be better and for that I thank them!

Want More?

Twitter: @_paultwilliams
Instagram: @_paultwilliams

Paul Williams is making his debut NYC performance at The Gallery Players. He received his masters degree from Oklahoma City University in music theater and his bachelor’s degree from The University of Southern Mississippi in music education. Some of his previous roles include Tom Collins (Rent), Smokey Joe’s Cafe (Adrian), Coalhouse Walker Jr. (Ragtime), and Jim (Big River).

Show information (venue, dates, ticket info)

The Gallery Players

199 14th St. Brooklyn, NY 11215

January 26th – February 18th

Tickets can be purchased at

More info:

Interview with Barrie Gelles, Director of Marry Me a Little at The Gallery Players


Barrie Gelles stages revivals in unexpected ways. That’s what she said to me when we were chatting about her upcoming revival of Sondheim’s Marry Me a Little. The musical premiered Off-Off Broadway in 1980 for a two month run and then ran again for a in 1981 at The Actors Playhouse. After that, Marry Me… enjoyed runs around the world though it’s never been produced on Broadway. Gelles felt that this was a musical that best reflects her aesthetic. She knew her concept of a two character play performed by three casts would be ambitious and a great challange. However, she knew she had her vision and the support of the historic,The Gallery Players, to make it happen. A woman after my own heart.

When I heard about your concept for Marry Me a Little, I was intrigued. This is a two character musical by Stephen Sondheim and your concept of a rotating cast (2 couples: a man and a woman; two men; and two women) is a fresh and new approach. It’s clever and ambitious. How did the concept present itself and how did you go about bringing it to fruition?

Barrie: I am going to cheat a little here and answer by way of the “director’s note” that I wrote for our audiences.  When I started working on this show, months before casting, it became clear to me that the appeal of this show was its central thesis on love. With that thought, it seemed obvious that this production could and should subvert the typical gender-normative casting and hetero-normative narratives of most musical theatre. The premise of Marry Me a Little is that of two strangers, living in New York City, in the same apartment building, one floor apart.  The story is about love lost and love yet to be found.  It seemed a perfect opportunity to be more inclusive and rethink the casting of the lovelorn duo. I decided to cast three separate duos (one male/female, one male/male, and one female/female) because I believed that the distinctly different interpretations of the same piece of art would create a unique musical theatre experience.

I appreciate you saying it was clever, and I acknowledge that it certainly was ambitious, because we didn’t have any more time that we would usually have to create a musical.  An equity showcase production allots five weeks of rehearsal, regardless of how many casts you may have.  On top of that, we are doing Marry Me a Little in repertory with You’re a Good Man Charlie Brown, so we had even less time.  We had to budget our time wisely and create a system in order to block the show with three sets of actors.  We spent each rehearsal tagging-in to the blocking session.  So we’d begin blocking our opening number “If You Can Find Me, I’m Here” and one duo would start the work.  About a third of the way through the song, they would step down and the second duo would get on their feet for the blocking session, then the third duo would follow.  Once the entire number was blocked, each duo would have a chance to run through it in its entirety.  It was as strange as it sounds and more marvelous than you can imagine.  

What are some of the challenges and breakthroughs during the rehearsal process?

Barrie: As you can imagine, it was very challenging to block in the way I have described.  However, many of our breakthroughs happened because the actors had a chance to watch someone else play their part.  By having three actors all creating the same character, they could be inspired by the adjacent interpretations.  

In order to keep the show cohesive, I insisted that all three duos commit to following one clear and consistent narrative.  In that sense, I was very much the dramaturg of the show as well as the director.  During the months leading up to rehearsal, I worked on the show a great deal.  It has no libretto, it is a sung through musical and it is made up of songs that were originally written to be part of other musicals.  Because these songs have been uprooted from their original context, they carry with them their ghosted meanings.  In order to direct this show, I had to strip the songs of their original narratives and reconsider them anew.  I had to create a given circumstances for the show and a narrative arc that we could all latch onto in order to ensure the coherency of the piece.  Because we had three casts, I had to go into the first day of rehearsal with this story already fully formed so that the actors would have a tether to keep them grounded in a very emotional musical that has no traditional plot.  I believe that this process allowed the actors to move into the more delicious realm of character development and intricate song work.  I think that the breakthroughs that they had (individually and collectively) about the songs were so rich because we hit the ground running with the narrative of the piece.

For practicality reasons, most of the blocking of the show is the same between the duos. But there are distinct differences in the physical interpretations of each of the characters.  No two actors play the characters exactly the same way, nor do they take up the stage space in the same manner.  One of the most challenging rehearsals was also the most delightful: I had to choreograph three different dances for “A Moment With You” in order to suit the actors’ bodies and to honor each duo’s particular story.  What other circumstance would yield such a crazy exploration?  

Did the script and score need to be adjusted to fit your vision?

We did not change a single word of the score – the music and lyrics have all remained the same.  In fact, there is a female actor singing the “Man” role and a male actor singing the “Woman” role and we didn’t even change the key of the music for them, we simply cast actors who could sing it (and can they ever!). Through the magic of musical theatre, where we are so willing to suspend disbelief while acknowledging the overt theatricality of people bursting into song, the pronouns and gender specific words just seem to blend into the narrative seamlessly.  This is a huge credit to the actors who are playing the roles.  

Why did you choose this show?

Stephen Sondheim’s music is so lush and so heartbreakingly complex.  It is a pleasure to work with his material.  But I mostly chose this show because it is a unique character study within a musical.  It has the trappings of a realistic, contemporary drama: it is the small world of an apartment, on a single Saturday night, where the action of the play is steeped in everyday life tasks such as reading the paper and pouring a drink.  But along with this “real life” simplicity comes an overwhelmingly emotional journey for the characters, told entirely through song.  Furthermore, because the two characters live in two separate apartments, they spend a great deal of the show without interacting with a scene partner.  The show presents one of the strangest and most intoxicating acting challenges in musical theatre: realism within a musical; unity while being alone; and a story about love that is of the past or the future, but not the present.


This is a charming and bittersweet musical featuring rarely heard songs by Stephen Sondheim. Two urban singles live through a Saturday night of deep yearning and sweet fantasies while never leaving the confines of their solitary New York City apartments. Together they breathe new life and meaning into a collection of trunk songs that were culled from the original Broadway productions of shows such as Follies, Company, A Funny Thing Happened on the Way to the Forum, and A Little Night Music. A must for Sondheim aficionados and any New Yorker who ever found themselves alone on a Saturday night, thinking about love that was lost and love to be found.

By special permission from Mr. Sondheim, Gallery will be presenting this two character musical with male/female, male/male and female/female pairings.]


[A first for this show, there will be three rotating casts performing each weekend.]

Female/Female pairing

Laura Cetti

Cassandra Dupler

Male/Female pairing

Jesse Manocherian*

Alyson Leigh Rosenfeld*

Male/Male pairing

Adrian Rifat

Paul Williams


Thurs, Jan 26 @ 8:00pm (Jesse Manocherian & Alyson Leigh Rosenfeld) M/F pairing

Fri, Jan 27 @ 8:00pm (Adrian Rifat and Paul Williams) M/M pairing

Sat, Jan 28 @ 8:00pm (GalleryTalks) (Laura Cetti and Cassandra Dupler) F/F pairing

Thurs, Feb 2 @ 8:00pm (Adrian Rifat and Paul Williams) M/M pairing

Fri, Feb 3 @ 8:00pm (Laura Cetti and Cassandra Dupler) F/F pairing

Sat, Feb 4 @ 8:00pm (Jesse Manocherian and Alyson Leigh Rosenfeld) M/F pairing

Thurs, Feb 9 @ 8:00pm (Laura Cetti and Cassandra Dupler) F/F pairing

Fri, Feb 10 @ 8:00pm (Jesse Manocherian and Alyson Leigh Rosenfeld) M/F pairing

Sat, Feb 11 @ 8:00pm (Adrian Rifat and Paul Williams) M/M pairing

Thurs, Feb 16 @ 8:00pm (Adrian Rifat and Paul Williams) M/M pairing

Fri, Feb 17 @ 8:00pm (Jesse Manocherian and Alyson Leigh Rosenfeld) M/F pairing

Sat, Feb 18 @ 8:00pm (Laura Cetti and Cassandra Dupler) F/F pairing\

*appearing courtesy of Actors’ Equity Association


Producer – Jonathan King

Director and Choreographer – Barrie Gelles

Lighting Designer – Scott Cally

Costume Designer – Hayley Zimmerman

Set Designer – Paul Radassao

Production Stage Manager – Jillian Christensen

Assistant Stage Manager – Emily LaRosa


Meet Laura Cetti and Marry Me a Little

Name: Laura Cetti

What is your current project?

Steven Sondheim’s Marry Me a Little

Where are you performing it and why is it the right fit for your piece?

The Gallery Players in Brooklyn. Gallery is an amazing space. The large, multi-level playing area really suits this piece as the designers have been able to really replicate a Brooklyn loft apartment. Also the fact that the audience seating begins just a few feet from the stage makes it feel as though they are right there spending our Saturday night with us.

What’s next for you?

Well… back to pounding the pavement! Also, I will be working with some good friends at Asterism Theatre Company on a new piece focusing on life after the election. How our nation has become untied and how we can become united again.

Who is your biggest inspiration right at this moment and why?

Without a doubt it is the amazing “Marry Me” team. The 3 rotating casts, comprised of 3 men and 3 women all rehearse together in a tag team collaboration that has been soooo eye opening. To step out of your own scenes and songs for a moment and see it through someone elses eyes, told by someone else voice and body teaches me so much about myself and my interpretation of the character. The support has been overwhelming. We all depend on eachother and build eachother up. I can’t imagine taking on this difficult, sung through Sondheim without them. Especially Jesse and Paul the two brilliant actors who share the role of “Man” with me.

Want More?


Laura Cetti is a singer, actor and mother of two. Recent credits include Imaginary (New York New Works Festival, Semifinalist), We Were Children (Thespis Festival/Hudson Guild Theater), Lady Parts(The AlphaNY) and Pieces(Planet Connections Theater Festivity) for which she was awarded Best Supporting Actress in a Musical 2014.

Show information (venue, dates, ticket info)

The Gallery Players

199 14th St. Brooklyn, NY 11215

January 26th – February 18th

Tickets can be purchased at

Meet Alyson Leigh Rosenfeld and Marry Me a Little

Name: Alyson Leigh Rosenfeld

What is your current project?

Marry Me A Little (in rep with You’re A Good Man Charlie Brown)

Where are you performing it and why is it the right fit for your piece?

We are performing at The Gallery Players. The space has the kind of intimacy that the piece requires. It is just two actors and a piano on stage for 70 minutes. That’s it! It wouldn’t work as well in a larger house. In this theatre, we can create the kind of safe space that is necessary for the actors and the audience to really dive in emotionally.

What’s next for you?

I am also a voice actor and my newest cartoon called “Nella the Princess Knight” premieres on Nick Jr. on February 6th. You can also hear me on your TV every Saturday morning on Pokémon, Yu-Gi-Oh!, and Regal Academy.

Who is your biggest inspiration right at this moment and why?

I would have to say my collaborators on this piece are my biggest inspiration right now. Building these characters has truly been a team effort among the three rotating casts, and it has been an incredible experience to see how the exact same given circumstances and blocking can create wildly different characters and moments on stage. Everyone has shown up with extreme generosity, lack of ego, and a readiness to play, and I feel so grateful to be in the room where it’s happening.

Want More?


Twitter: @AlysonRosenfeld

Instagram: @alysonleighrosenfeld

Alyson was last seen in Seussical, The Baker’s Wife, Emma (TGP), Fish in a Tree (MMAC), The Last Cyclist (West End Theatre), Opa! The Musical (dir. Dan Knechtges), All The Rats and Rags (Joe’s Pub). Last heard: “Pokémon” (Disney XD), “Yu-Gi-Oh!”, “Regal Academy” (Nickelodeon). BFA: NYU Tisch. Proud member of AEA & SAG-AFTRA.

Show information (venue, dates, ticket info)

The Gallery Players

199 14th St. Brooklyn, NY 11215

January 26th – February 18th

Tickets can be purchased at

Join Ghostlight Project TONIGHT!

IMG_8693.PNGTONIGHT, January 19 at 5:30 PM

On January 19, 2017 at 5:30 pm in each time zone across the country, members of the theatre community (from Broadway to regional theatres to high schools and colleges and community theatres) will gather in front of theatres and art spaces to launch The Ghostlight Project. This collective action will signify an ongoing commitment to social justice in the coming years, taking a variety of forms and actions for individual artists and institutions.

Inspired by the tradition of leaving a “ghost light” on in a darkened theater, artists and communities will make or renew a pledge to stand for and protect the values of inclusion, participation, and compassion for everyone—regardless of race, class, religion, country of origin, immigration status, (dis)ability, gender identity, or sexual orientation.

Many of you already serve as models for people newer to community engagement. We need not be uniform, but should be united as a field in championing our values. Continue to work daily/weekly/monthly for social justice in your world.

CLICK HERE to see Ghostlight Project’s website for host theaters around the country.

Here’s an incomplete list of New York City “hubs” you are welcome to join tonight at 5:30pm:

Midtown Manhattan
Times Square (on the red steps) and the ART/New York Theatres, 53rd Street/10th Avenue

Downtown Manhattan
The Public Theater and HERE Arts Center

Uptown Manhattan
The National Black Theatre

Downtown Brooklyn
The steps of the Brooklyn Academy of Music (BAM)

Bushwick, Brooklyn
Bushwick Starr

The Ghostlight Project is: Claudia Alick, Saheem Ali, Daniel Beaty, Alexandra Billings, Sammi Cannold, P. Carl, Rachel Chavkin, Lear deBessonet, Sarah Flamm, Rachel Hauck, David Henry Hwang, Christine Jones, Moisés Kaufman, Mia Katigbak, Jenny Koons, Lisa Kron, Tina Landau, Lorin Latarro, Zhailon Livingston, Rebecca Martinez, Jennifer McGrath, Okieriete Onaodowan, Lisa Peterson, Sam Pinkleton, Clint Ramos, Randy Reyes, Leigh Silverman, Kristyn Smith, Jeanine Tesori, Liesl Tommy, Stephanie Ybarra, David Zinn, and YOU.

For more information and to sign up
to participate, please visit:  


Meet Cassandra Dupler (Marry Me a Little & You’re a Good Man…)

Name: Cassandra Dupler

What is your current project?

I am currently playing Woman in MARRY ME A LITTLE, as well as the female swing in YOU’RE A GOOD MAN, CHARLIE BROWN.

Where are you performing it and why is it the right fit for your piece?

The Gallery Players theatre is a wonderful, intimate setting which allows the actors to connect with the audience in an extraordinary way. This is ideal for the material we’re singing in “Marry Me a Little”. Our show is about the personal lives of two ordinary people, home alone on a Saturday night. Gallery’s theatre gives the audience an opportunity to get a personal, almost one-on-one glimpse into their private moments.

What’s next for you?

I’m back to auditioning, searching and hoping to do a piece as meaningful as this one.
Who is your biggest inspiration right at this moment and why?
My great aunt, Carol Sawyer, (the original Fruma-Sarah in the 1964 Broadway production of FIDDLER ON THE ROOF) has had an incredible impact on my life. As long as I can remember, we’ve talked about theatre, preparing for auditions and roles, and so much more. She has shared her personal insights about her Broadway and summer stock experiences at Tamiment. I grew up hearing anecdotes about such legends as Jerome Robbins, Zero Mostel, Betty Comden, Adolph Green, Leonard Bernstein, Neil Simon, Hal Prince and George Abbott, to name a few. She helped give me a deep foundation and a unique perspective on the world of theatre.

Want More?


NYC credits: MARRY ME A LITTLE (Woman), YOU’RE A GOOD MAN, CHARLIE BROWN (female swing) at The Gallery Players (upcoming!), FIRST COMMUNION (Barefoot Theatre, starring Anna Chlumsky)

Regional credits: SISTER ACT (Sister Mary Patrick) at The Fireside Theatre, THE NOTEWORTHY LIFE OF HOWARD BARNES (Maggie-lead) in Kooman & Dimond’s musical at the Goodspeed Opera House, GYPSY (Electra) at Connecticut Repertory Theatre, starring Leslie Uggams.

Other favorite roles: THOROUGHLY MODERN MILLIE (Mrs. Meers), ON THE TOWN (Hildy Esterhazy), CAROUSEL (Carrie Pipperidge), LES MISERABLES (Madame Thenardier), SMILE (Maria Gonzales), THE TAMING OF THE SHREW (Katherine), MUCH ADO ABOUT NOTHING (Beatrice), TWELFTH NIGHT (Olivia), YOU OUGHT TO BE IN PICTURES (Libby Tucker), THE GINGERBREAD LADY (Polly Meara), THE OWL AND THE PUSSYCAT (Doris W.), THE TIN WOMAN (Sammy), BERMUDA AVENUE TRIANGLE (Rita), WEST SIDE STORY (Rosalia), WORKING (Rose Hoffman), BOOK OF DAYS (Ruth Hoch), SCAPIN (Zerbinette)

Proud graduate of the Hartt School, BFA in Music Theatre

Show information (venue, dates, ticket info)

The Gallery Players