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What Became of Us Digital Program

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A Letter From the Director

How do we stay connected to our past while building a future in a place that might never quite feel like home? I invite you to join us as we explore family, memory, and what it really means to belong.

When I first sat with Shayan Lotfi’s script for What Became of Us , I didn’t just read the words on a page; I felt the vibration they gave off. As a "souldriven" storyteller, I am always looking for the heartbeat of a piece and how it reflects the world we live in. What Became of Us does both. It is a poetic exploration of the oldest relationship one could ever know: the one between siblings.

In this play, one sibling was born "there," in the Old Country, and the other, "here," in the new one. Their story spans decades, tracing the invisible thread of memory and the different paths each takes. Both share the same origins but experience the world in their own ways.

I often say that theatre can turn abstract ideas like migration, identity, and parental sacrifice into something real. In our rehearsal space, we did more than just block scenes—we built a family and a culture that I hope you’ll recognize. We made a place where actors could be brave, take risks, and truly feel the complex times we live in. We asked ourselves: How do we carry our history without letting it weigh us down?

What Became of Us is a gift for anyone who has ever felt caught between two places, belonging everywhere and nowhere at once. It celebrates lives that may seem "unremarkable" but are truly extraordinary in their depth. At its core, this is a story about the lasting bond between siblings. I am deeply grateful to share the experience with Tony Award winner Francis Jue and Tony honoree Christine Toy Johnson, two powerhouse artists with tremendous bodies of work and hearts of gold. Together, they humanize the immigrant experience through the fresh lens of Shayan Lotfi’s characters.

Thank you for being in this room with us. Thank you for supporting work that captures the full, vibrant spectrum of our human experience. Let this play remind us that no matter how far we travel or how much we change, we are always bound by the stories that made us.

Enjoy the journey.

MARCH 20

Desi Comedy Fest Smart, Fearless Stand-up Comedy

MARCH 21

Earth, Wind & Fire Tribute Band All the Classics

MARCH 28 & 29

Icons of American Ballet New Jersey Ballet

APRIL 9 - 11

Spring Dance Plus Performed by Students in the Dance Program

APRIL 17

Chris Mitchell Begging for Sax Tour

APRIL 22

Celebrating Mingus Rutgers University Mingus Big Band

APRIL 24

Miles Davis at 100 Rutgers University Jazz Ensemble

APRIL 25

Yellow Brick Road A Tribute to Elton John

APRIL 28 - MAY 17

My Lord, What a Night Directed by Sheldon Epps

MAY 1 - 3

Americana A Vibrant Mixed-Repertoire Performance

MAY 5

New Lens Film Festival Annual Competition of Student Works

MAY 9 & 10

Snow White Experience the Timeless Fairy Tale

MAY 19 - JUNE 14

Sizwe Banzi is Dead Directed by Ricardo Khan

JUNE 25

Good Witch Bad Witch The Broadway Witches

Board of Trustees

Chairman: James N. Heston*

President: Penelope Lattimer, Ph.D.*

Vice President: Sharon Karmazin*

Secretary: Janice G. Stolar

Treasurer: Kimberlee S. P. Murphy, CPA*

Edgar Herrera*

Philip L. Kirstein*

Adele T. Macula, Ed.D.*

Dina M. Mastellone, Esq.

Norman Politziner

Jocelyn Schwartzman

Lora Tremayne

*Denotes Members of the Executive Committee

Al D’Augusta

Cody P. Eckert

Kenneth M. Fisher

Artistic Director Emeritus

David Saint 1997-2025

Trustees Emeriti

Peter Goldberg

William Hagaman

Clarence E. Lockett

Honorary Board of Trustees

James Cahill

Anthony L. Marchetta

Alan W. Voorhees

George Wolansky

Thomas H. Kean Eric Krebs, Founder

Honorary Memoriam

Maurice Aaron∆

Dr. Edward Bloustein∆

Robert L. Bramson∆∆

Dora Center∆∆

Douglas Fairbanks, Jr.∆

Milton Goldman∆

John Hila

Betty Wold Johnson∆

Arthur Laurents∆

Richard Sellars∆

Barbara Voorhees∆∆

Edward K. Zuckerman∆

Adelaide M. Zagoren

∆∆ – Denotes Trustee Emeritus ∆ – Denotes Honorary Trustee

CAST In Order of Appearance

(in order of appearance)

Christine Toy Johnson*

Francis Jue*

Time and Place

Then, in the Old Country &

Now, in the New Country

What Became of Us is approximately 80 minutes long with no intermission

There are flashing lights, haze, strong language, and adult themes in this production

What Became of Us (song)

Lyrics by Carol Lipnik

Music by Carol Lipnik and Scott Killian

* denotes member of Actors’ Equity Association

The actors and stage manager employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

The stage technicians of George Street Playhouse are proud members of IATSE Local 21.

The Scenic, Costume, Lighting, Projection and Sound Designers in LORT theatres are represented by United Scenic Artists Local USA-829, IATSE.

Francis Jue (Z) received the Tony Award, plus Outer Critics Circle, Lucille Lortel, and Obie Awards for Yellow Face. Other recent theatre: Tartuffe, Cambodian Rock Band (Lucille Lortel Award), Twilight: Los Angeles 1992, Good Enemy, Soft Power (Outer Critics Circle Award), Wild Goose Dreams (Obie Award). Film/ TV: Good Sex, Our Son, White Noise, Joyful Noise, “Madam Secretary,” “New Amsterdam,” “L&O:SVU.”

Christine Toy Johnson (Q) is a Tony and Obie honored, multiple awardwinning writer, actor, and advocate for inclusion. As an actor, she’s been featured on Broadway, OffBroadway, National tours, regionally, on film, and TV. Highlights include GSP’s streaming production of It’s Only a Play, Season 2 of Marvel’s Iron Fist, the first National tour of COME FROM AWAY, and various shows at the Guthrie, Williamstown, and the Public. Her written works have been produced and/or developed by the Roundabout, O’Neill, Abingdon, Ars Nova, Florida Studio Theatre, Barrow Group, Goodspeed Opera House, etc. and are included in the Library of Congress’s Asian Pacific American Playwrights Collection. Treasurer of the Dramatists Guild, founder of the Asian American Theatre Artists Collective, co-founder of AAPAC. Alum of BMI, The Writers Lab, Sarah Lawrence College. Details: www.christinetoyjohnson. com

Shayan Lotfi (Playwright) is the current Tow Playwright-in-Residence at the Atlantic Theater and his play What Became of Us was awarded a Citation of Excellence from the Laurents/Hatcher Foundation. He is a member playwright at New Dramatists, and is an alum of The Working Farm Writers’ Group at SPACE on Ryder Farm and Page 73’s I-73 Writers Group. He is the recipient

of the Horton Foote Award from the Dramatists Guild, a MacDowell Fellowship, and is under commission from the Atlantic Theater, Manhattan Theatre Club, and South Coast Repertory. In addition to writing, he also works as an urban planning consultant. He holds degrees from New York University, the London School of Economics, and the University of British Columbia.

Laiona Michelle (Director/Artistic Producer)

Laiona Michelle (Artistic Producer) has a diverse background as a director, playwright, and actress. Some of her directing credits include: What Became of Us, Her Portmanteau, Having Our Say, and What the Constitution Means to Me—her work on the latter earning her a Broadway World Award nomination for Best Director. As an actress, Laiona is a recipient of the Barrymore and Carbonell Awards (2004); and the NAACP Hollywood Award (2005). Laiona was also nominated for numerous awards, including the Lucille Lortel and Antonyo Awards (2022); and the Helen Hayes Award (2005). Laiona co-starred in the Broadway production of Amazing Grace, The Musical at the Nederlander. Laiona has also starred in several shows at GSP, which include American Hero and Tiny Beautiful Things. In addition, Laiona created and starred as Nina Simone in the musical, Little Girl Blue, which also made its world premiere at GSP. Little Girl Blue is the recipient of numerous nominations and won the Off-Broadway Alliance Award and the Lilly Award in 2022. She penned the book for Mandela, The Musical, which premiered at London’s Young Vic in 2022. Some of her TV/FILM credits include: Law & Order series, CBS’s FBI, The Blacklist, Crashing, and Amazon’s Sneaky Pete. Loads of love to my darling daughters, sweetheart son, and loving husband, Kenderick Hardy. I am blessed to have you as my family. Facebook & Instagram @laionamichelle

Shoko Kambara (Scenic Designer) GSP: What the Constitution Means to Me, Ibsen’s Ghost, Having Our Say, Her Portmanteau, and Midwives. Off-Broadway: Ibsen’s Ghost

COMPANY Bios

(Primary Stages), Bees and Honey (MCC), Little Girl Blue: The Nina Simone Musical, Fairycakes. Other regional designs: Native Gardens (Syracuse Stage, Geva Theatre, Portland Stage), The Prince of Players (World Premiere, Houston Grand Opera, Florentine Opera), The Barber of Seville (Opera Philadelphia, OTSL, Opera Omaha, Virginia Opera, Lyric Opera of Kansas City, The Atlanta Opera, Utah Opera, Austin Opera).

With LAMB Design: In America: An Anthology of Fashion/In America: A Lexicon of Fashion (Metropolitan Museum Costume Institute).

Niiamar Felder (Costume Designer) Select credits, principal costume design: OffBroadway, August Wilson’s, Ma Rainey’s Black Bottom, Reparations, The Old Settler, Yellow Man, A Walk into Slavery (Billie Holiday Theatre), Sowa’s Red Gravy (New Federal Theatre), What The Constitution Means To Me, What Became of Us (George Street Playhouse), The Other Play (LaChanze Productions), Crumbs from the Table of Joy (Crossroads Theatre), Sally: A Solo Play (Wharton Center for Performing Arts).

Television/LiveProduction: 12 Angry Men and Women (Billie Holiday Theatre) HitCityTemptations. Film: “An Extraordinary Life” (One Outta Twelve). Associate Designer: Wine in Wilderness (Classic Stage Company), Here There Are Blueberries (Tour) Assistant Designer: The Wiz (US Tour/Broadway), Back to The Future (Broadway) and Ain’t Too Proud, The Life and Times of The Temptations (US Tour).

Christopher J. Bailey (Lighting Designer/ Artistic Producer) This season marks Christopher Bailey’s 27th at George Street Playhouse and his 2nd as Artistic Producer, Production and Operations. Over the years, he has also served the Playhouse as Production Manager for 19 seasons, Technical Coordinator, and Sound and Lighting Manager.

At GSP, Christopher’s design work includes lighting for last season’s What the Constitution Means to Me and sound for King James. He

was also the Lighting Designer for Clever Little Lies, which transferred from GSP to the Guild Hall Theatre in East Hampton and subsequently Off-Broadway to the Westside Theatre. In addition, he has designed six scenic and nine sound designs for GSP’s Educational Touring productions, as well as 28 lighting and 40 sound designs for the Playhouse’s mainstage productions.

Beyond GSP, Christopher has designed for numerous companies, including Pearl Theatre, Barrington Stage, Premiere Stages, Bickford Theatre, Abingdon Theatre, Strand Theatre, Berkshire Theatre Festival, Two River Theater, Ashlawn Highland Opera, LKB Dance, Randy James Dance, Rand Theater, The Irish Repertory Theatre, Westport Country Playhouse, Long Wharf Theatre, Delaware Theatre Company, Jacob’s Pillow, and more. He also teaches Stagecraft and Play Production at Middlesex County College.

Scott Killian (Composer & Sound Design) Off B’way: Manhattan Theatre Club: Sarah, Sarah, Five by Tenn, A Picasso (Lortel nom.), The Other Side; The Public Theater: Lenny and the Heartbreakers; New York Theater Workshop: A Forest in Arden; MCC: Side Effects; Red Bull Theatre: Volpone, Duchess of Malfi, Women Beware Women, Edward the Second; Rattlestick Theatre: Steve and Idi, Miss Julie. Many regional theatres, including: George Street Playhouse (over 25 productions), Berkshire Theatre Group (Resident Composer/Sound Designer-over 40 productions), Alley Theatre, Shakespeare Theatre (DC), ACT San Francisco, Seattle Repertory Theatre, Cleveland Playhouse, Shakespeare and Company, Cincinnati Playhouse, Huntington Theatre, Williamstown Theatre Festival. Original music for dance: Alvin Ailey American Dance Theatre, Hubbard Street Dance Chicago, Nikolais-Louis Dance, The Jose Limon Company, ZviDance (over 30 works), Cherylyn Lavagnino Dance (Artistic Associate), Shapiro and Smith Dance (Resident Composer) and works with choreographers Susan Marshall, Ralph

Lemon, Bebe Miller and Johannes Wieland.

Austin Ku (Associate Director) is an award-winning new works director based in NYC. Off-Broadway: Parity (Pan Asian Rep's NuWorks). Readings: Dragon Empress of China (York Theater), Who You Kiss For Fun (Frank Silvera Writers’ Workshop), Everest and The Pearl of the East (NAAProject’s DISCOVER: New Musicals), Jie Jie (PlayGround-NY/People’s Choice Award) and more. Assistant Director: Queen of the Mist (PEAK Performances), Tomorrow We Love (Chain Theater) and more. Directing Observer: Oh, Mary! (Broadway/Tony Winner Sam Pinkleton), Yellow Face (Broadway/Leigh Silverman), This is Not a Drill (York Theatre/Gabriel Barre), Flower Drum Song (East West Players/Lily Tung Crystal). Austin is also an accomplished actor (Grammy nominee for Soft Power, Inventing Anna on Netflix and more), audiobook narrator (Indie Ink Award nominee) and food/cooking enthusiast who aspires to host/judge a food/travel show. www.Austin-Ku.com/directing • @secretaustinman

Samantha Flint (Production Stage Manager) (she/her) Previously at George Street Playhouse: ...Big Jersey Christmas Show, An Old-Fashioned Family Murder, King James, Gene & Gilda, What the Constitution Means to Me, tick, tick...BOOM!, The Club, Having Our Say, Tales from the Guttenberg Bible, ...Spelling Bee, Her Portmanteau, A Walk on the Moon, It’s Only A Play, Bad Dates, Conscience, Midwives, The Immigrant. Broadway. Venus in Fur (MTC). Off-Broadway: Gene & Gilda (Penguin Rep at 59E59); Final Follies, HIM (Primary Stages); Measure for Measure, In the Wake, The Winter’s Tale, The Brother/Sister Plays (The Public). Selected Regional: Franklin's Key (Pig Iron, World Premiere); Murder on the Orient Express (World Premiere), Disgraced, The Winter’s Tale, The Brother/Sister Plays, Herringbone (McCarter Theatre Center); Murder on the Orient Express, Somewhere (Hartford Stage); Camelot (Two River Theater); June Moon, The Visit (Williamstown); Kinky

Boots, ...Spelling Bee, Barefoot in the Park (Bucks County Playhouse); Tales from the Guttenberg Bible (Bay Street Theater); Chicken & Biscuits (Crossroads Theatre Company); And A Nightingale Sang (Westport Country Playhouse). Education: The Theatre School at DePaul University.

Caitlyn Ostrowski (Assistant Stage Manager) is a Stage Manager from East Brunswick, New Jersey. Select credits include ASM for Gene & Gilda (Off-Broadway), The Shark Is Broken, Small, Gene & Gilda, What the Constitution Means to Me, tick, tick…BOOM!, The Club, Having Our Say, and …Spelling Bee; Production Assistant for Clyde’s and Her Portmanteau (George Street Playhouse); ASM for Tales from the Guttenberg Bible (Bay Street Theatre); and Production Assistant for The Last Supper and The Gorgeous Nothings. She holds a BFA in Stage Management from Rutgers Mason Gross School of the Arts. She would like to thank her partner Emily, her family, and her friends here at GSP for always supporting and believing in her.

Carol Lipnik (singer/songwriter) is acclaimed as one of New York’s most individualistic and virtuosic singer/songwriters. Stephen Holden of The New York Times called her an “Ethereal vocal phenomenon.” With her stunning multi-octave range, subtle wit, charismatic stage presence, and distinctive songwriting, she draws equally on 70s art-rock, theater music, Eastern mysticism, opera, and the decaying phantasmagoria of the Coney Island where she was born and raised. Carol has built a dedicated following through her popular performances at the East Village boîte Ptangea, and at Joe’s Pub at the Public Theater in New York City. She has released seven albums on her Mermaid Alley Music label. Visit carollipnik.com for more information

McCorkle Casting, Ltd. (Pat McCorkle, CSA, Casting Director) is proud of its longstanding collaboration with George Street Playhouse. Broadway credits include over 50 productions such as On the Town, Amazing Grace, End of the Rainbow, and A Few

COMPANY Bios

Good Men. Off-Broadway highlights among more than 60 productions include Tribes, Our Town, and Driving Miss Daisy. Regional work spans hundreds of productions nationwide, including seasonal casting with the Contemporary American Theatre Festival, Barrington Stage, Play Makers Repertory. Film credits include over 100 projects and currently, casting for three upcoming theatrical features, as well as recent work on four Hallmark movies, Tripped Up, and Motherland. Notable past projects include The Thomas Crown Affair, Die Hard with a Vengeance, and School Ties. Television work includes Twisted, Sesame Street, Californication (Emmy nomination), Chappelle’s Show, and Strangers with Candy, among many others.

Scott Goldman (Artistic Producer) Scott Goldman was appointed General Manager in 2019 and has been with George Street Playhouse for 20 seasons beginning his career as Company Manager. His time at George Street Playhouse has allowed him to work with legendary artists spanning nearly 100 productions and the NY transfers of world premieres of productions of The Toxic Avenger, It Shoulda Been You, Gettin’ The Band Back Together, Clever Little Lies, Curvy Widow and Little Girl Blue. Since 2012, he has served as Foundation Manager for the Laurents / Hatcher Foundation, named after legendary playwright Arthur Laurents and his partner Tom Hatcher, distributing over $20 million in grants to support new work at theaters across the country. Goldman is a graduate of Ithaca College with degrees in Speech Communication and Drama, and a Masters of Science in Communications.

Edgar Herrera (Executive Director) is an arts leader and entrepreneur with more than two decades of experience across the U.S. and Mexico. Since 2023, he has served as Executive Director of George Street Playhouse in New Brunswick, NJ, where he sets strategy, forges partnerships, expands audiences, drives strategic growth, and deepens community engagement. He has also led several symphony orchestras, bringing vision and innovation to major

performing arts institutions.

Alongside his leadership in the performing arts, Edgar built and sold an IT startup, led an export–import company, and launched an accelerator for small businesses, ventures that shaped his entrepreneurial mindset and focus on innovation. He also directed a foundation dedicated to measuring social impact.

Passionate about the arts and a pianist at heart, Edgar champions Latin American classical music through The Ponce Project Music Foundation, where he volunteers to promote and resuscitate the music of great composers of the past.

GEORGE STREET PLAYHOUSE

gratefully acknowledges the following for their annual support:

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THANK YOU for Your Annual Support

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Stage Left

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Frank Rees

Michael Reyes

Cheryl Mintz and Harris Richter

Christopher Root

Judith Marino and Edwin Robinson

Marlene and Karlheinz Timmerman

Alfred Sainato

Jacqueline Sarka

Ludmila Sak

Stanley and Cory Schneider

Rubeena Sehgal

Michele Senko

Michael Shernicoff

Pat Shiffner

Valerie Slade

Martha Smith

Mary Scott

Christine Sohn

Lynn and John Semmlow

Sally and Robert Stevens

Marjorie and Jeffrey Stevens

C. Parella and D. Tomasso

Pannie Trifillis-Kiledjian

Michael Triebe

Ernest Vernachio

Amy Vames

Jana Varlejs

Elaine and Evan Wasserman

Bonnie and Allan Warton

Amari Williams

Nancy and Edward Winant

Janet Zastko

We are grateful to our new and renewing annual fund donors listed here for their gifts received between August 15, 2024 and October 1, 2025. If you notice an error here, please do not hesitate to contact us at development@georgestplayhouse.org so that we may correct it for our next printing.

THE BLANCHE AND IRVING LAURIE FOUNDATION

We thank the Blanche and Irving Laurie Foundation for its support of What Became of Us, the most recent production in a long history of the Foundation’s support for theater.

Past productions supported by the Foundation at other theaters have included On the Twentieth Century, featuring Kristin Chenoweth; The Spoils, featuring Jesse Eisenberg; The King & I, featuring Kelli O’Hara; and Holiday Inn: The New Irving Berlin Musical.

Photo by Joan Marcus

ARTISTIC

Artistic Producers

Edgar Herrera, Executive Director

Christopher J. Bailey

Scott Goldman

Laiona Michelle

FINANCE & ADMINISTRATION

Director of Finance

Administration Manager / Board Liason

Business Assistant

DEVELOPMENT

Director of Advancement

Ganapathi Kamath

Megan Cherry

Lynne Holton

Todd Rosen

Development Manager Alicia Whavers

Development Associate

Jane Mirvis

MARKETING & PATRON SERVICES

Marketing Manager

Sales and Audience Development Manager

Data Services Manager

Patron Services Manager

Assistant Patron Services Manager

Patron Services Associates

EDUCATION

Acting Studio Teaching Artists

PRODUCTION

Assistant Production Manager

Company Manager

SETS

Technical Director

Shop Foreman

Head Carpenter

Carpenters/Riggers

Scenic Charge

PROPERTIES

Properties Director

COSTUMES

Costume Shop Manager

Head Draper & Assistant to Costume Shop Manager

Wardrobe Supervisor

Marcus Montgomery

Erin Neupauer

Vanessa Hamilton

Rose Curran

Gary Frangione

Susan Blumert

Jessica Pace

Marlene Zyontz

Sam Clemett

Chad Colacurcio

Caroline Festa

Charlie Hudson III

Billy Goheen

Sal Fabio

Mohamed Haddara

Nick Skiba

Jake Blanchette

Tyler Hughes

Ezra Silkes

Jim Hancocks

Robert Lavagno

Becky Erlitz

Kaden Adrian

Woodward

Christina Gillespie

FOR THIS PRODUCTION

Associate Director

Austin Ku

Assistant Scenic Designer Madeline Goddard

Associate Lighting Designer Jason Flamos

Rutgers Assistant Lighting

Designer

Benjamin Levie

Assistant Sound Designer Christopher Peifer

Assistant Stage Manager Caitlyn Ostrowski

Production Assistant Caro Yeung

Lighting Supervisor

Sound Supervisor

Dresser

Ryan Fisher

Chiara DeSantis

Lucy Pizzicarola

Production Intern Abhi Doddapaneni

Original Music and Lyrics

Carol Lipnik

NEW BRUNSWICK PERFORMING ARTS CENTER

Executive Director

Managing Director

Merissa Buczny

Mark Sharp

Director of Patron Services Victoria Muscio

Senior House Manager

House Manager

Jessica Jasionowski

Sadiera Esannason

Assistant Patron Services Manager Gwen Streitman

Marketing Director

Eric Greenberg

Social Media Coordinator Shellby Lawless

Box Office Associate Shellby Lawless

Production Manager/ Lighting Supervisor

Deck Supervisor

Tommy Williamson

Jerry Pacheco

Sound and Video Supervisor Joey Copsetta

Assistant Sound and Video Supervisor & A1

A2

LX Programmer and Board

Operator

Deck Crew

Prince Bawuah

Jason Jackson

Matt Binkowitz

Chris Neilsen

For Your Information

George Street Playhouse is located at the New Brunswick Performing Arts Center 11 Livingston Avenue, New Brunswick, NJ 08901

GeorgeStreetPlayhouse.org • Patron Services: 732-246-7717

AUDIO-DESCRIBED PERFORMANCES

We offer audio-described performances for patrons with visual impairment.

Please call the Patron Services, 732-2467717, for further information. Large print and Braille programs are available upon request. Audio-described performances are made possible by support from Fund for the New Jersey Blind, Inc.

CAPTIONED PERFORMANCES

We offer captioned performances for patrons with hearing impairment.

George Street Playhouse’s accessible programming is made possible in part by Fund for the New Jersey Blind, Inc.

ASSISTIVE LISTENING SYSTEM

For patrons who have a hearing impairment, light-weight, comfortable receivers are available from the NBPAC Concierge desk. If any individual requires special assistance or assistive technology, please contact the Patron Services Manager at 732-246-7717 as far in advance of the program as possible.

FIRE NOTICE

The exit indicated by the red light and sign nearest to the seat you occupy is the shortest route to the street. In the event of a fire or other emergency, please do not run, WALK TO THE EXIT.

INCLEMENT WEATHER

George Street Playhouse maintains a policy of not canceling performances due to inclement weather. Please call Patron Services, 732-246-7717, if you have any questions.

LATE SEATING POLICY

The theatre is open to the public one halfhour prior to the performance. In consideration of all patrons, latecomers will be seated at the discretion of House Management.

RECORDING EQUIPMENT

Due to copyright and union regulations and restrictions, still cameras, video cameras or any type of recording equipment is not permitted at any time in the theatre and will be confiscated.

SMOKING

The NBPAC is a smoke-free environment. There is no smoking or vaping in the building.

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