Preview: September 2, 2026
SEPTEMBER 3 - 26, 2026
Backstage At The Grand | Rated PG -13
FROM THE ARTISTIC DIRECTOR
W
elcome back for The Grand’s 2026 - 2027 theatrical season! We’re so excited that you could join us once again as we continue to bring you professional-quality theatre, at community theater prices. This year’s season features some great comedy and great drama. The production you’re about to see, Lady Day at Emerson’s Bar and Grill is an amazing show highlighting one of our countries greatest talents! We’re thrilled to welcome back Toni Byrd, who has directed several shows here at The Grand, and our former Operations Director. She has put together a fantastic production, and our entire team has done a wonderful job. I sincerely hope you enjoy the show!
This year we are also proud to continue our partnership with Excellence in the Community to bring you free community concerts once a month featuring some of Utah’s most talented musicians. We hope you will join us for these free concerts and see just how much amazing talent we have in our great state. Please remember to show your continued support for The Grand by helping us spread the word about our productions and all the incredible local talent they showcase. We would not be able to continue without the ongoing support of patrons like you. Helping spread the word about our shows and events really does make a difference! Thank you, and ENJOY THE SHOW! Seth Miller Artistic and Executive Director The Grand Theatre
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LADY DAY AT EMERSON'S BAR AND GRILL
CAST OF CHARACTERS
Presents
by LANIE ROBERTSON Musical Arrangements by DANNY HOLGATE Stage Director Musical Director
Production Stage Manager
Scenic Design Properties Design Lighting Design Sound Design Costume Design Hair and Make-Up Design Technical Director
TONI BYRD KIMBERLY APPLEWHITE IO CARLING KEVEN MYHRE MÁIRE NELLIGAN SETH MILLER PORTER CHARLESWORTH SHANNON MCCULLOCK ERIN MCCULLOCK ADAM DAY
LADY DAY AT EMERSON’S BAR AND GRILL is presented by arrangement with Concord Theatricals. www.concordtheatricals.com Any video and/or recording of this production is strictly prohibited.
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CAST OF CHARACTERS
Billie Holiday
NOELANI BROWN
Jimmy Powers
MYLES MANN
Lady Day At Emerson’s Bar and Grill will be performed without an intermission.
Setting Place: A small bar in south Philadelphia. Although the bar is presently closed and abandoned, the building still stands on the corner of Fifteenth & Bainbridge Streets. Billie Holiday appeared here in the 1950s. Time: About midnight of a night in March, 1959. It is obviously late in the evening and equally late in Billie Holiday’s life. Four months from now she will die of cirrhosis and heart failure in a hospital in Harlem on Friday, July 17, 1959.
SORENSEN LEGACY FOUNDATION
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LADY DAY AT EMERSON'S BAR AND GRILL
MUSICAL NUMBERS CAST OF CHARACTERS I'm in Love Again What a Little Moonlight Can Do Crazy He Calls Me Gimme a Pigfoot and a Bottle of Beer Baby Doll God Bless the Child Foolin' Myself Easy Livin' Strange Fruit Blues Entra’Act T’ain’t Nobody’s Bizness If I Do Don't Explain Deep Song
THEATRE
CA C A R R IE MUSIC BY MICHAEL GORE LYRICS BY DEAN PITCHFORD BOOK BY LAWRENCE D. COHEN BASED ON THE NOVEL BY STEPHEN KING
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FROM THE DIRECTOR Billie Holiday is one of jazz’s most documented figures. Her tragic life, unique vocal style, and lasting cultural influence have inspired countless books, studies, and documentaries. She lived life with remarkable intensity, embracing life with courage, and grace. Rather than merely passing through the years, she filled them with experiences, friendships, and accomplishments that reflected both her remarkable spirit and extraordinary talent. That talent became her passport into a rarefied world, opening doors to a society whose members included cultural icons such as Lester Young, Clifton Webb, Leonard Bernstein, Benny Goodman, Carmen McRae, Count Bassie, Duke Ellington, Talllulah Bankhead, Louis Armstrong, Orson Welles, Bob Hope, Paul Robeson, Charles Laughton, and Frank Sinatra. She moved comfortably among these legendary figures, earning not only their friendship, but also their respect through her own gifts and presence. One of Billie Holiday’s final performances took place in 1959 at a small, run-down nightclub in North Philadelphia. By that point in her life, Holiday’s health had deteriorated by years of addictions. Legal troubles and financial hardship had taken a heavy toll on both her career and her personal life. The audience that evening was sparse, but among the few patrons was the boyfriend of playwright Lanie Robertson. After witnessing the performance, he described the heartbreaking scene to Robertson, recalling that Billie “was obviously high” and that, at the end of the show, “she staggered out.” His account deeply affected the playwright and inspired her to write Lady Day at Emerson’s Bar and Grill. It became Robertson’s way of honoring Billie Holiday’s legacy and ensuring that audiences remembered not only the tragedy of her final years but also the brilliance and emotional power that made her one of the world’s greatest jazz icons, the legendary singer whose artistry transformed American music. Toni Byrd Stage Director LADY DAY AT EMERSON’S BAR AND GRILL
THE FINE FAMILY
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LADY DAY AT EMERSON'S BAR AND GRILL
FROM THE PLAYWRIGHT In 1959, a boyfriend of mine saw the great Billie Holiday in a little dive in North Philadelphia about three months before she died. He said she stumbled in obviously “quite high,” carrying her little Chihuahua Pepi, whom she introduced to her audience. A water glass was kept filled with booze atop the piano for her. She and piano player performed ten or 12 of her songs for an audience of seven patrons. Then, he said, she staggered out. That image of the world’s greatest jazz singer being so undervalued at the end of her life and career was an image that has always haunted me. Writing Lady Day at Emerson’s Bar and Grill was an attempt to rid myself of that ghost. Lanie Robertson Playwright LADY DAY AT EMERSON’S BAR AND GRILL
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Dan Miller, President; Cynthia Bell Snow, Office Administrator; Jackie Medina, Art Director; Ken Magleby, Patrick Witmer, Graphic Design; Paula Bell, Dan Miller, Advertising Representatives; Transcript Bulletin, Printer. Printed on “Recyclable” paper. PLEASE RECYCLE. The Grand Theatre playbill is published by Mills Publishing, Inc., 772 East 3300 South, Suite 200, Salt Lake City, Utah 84106 Phone: 801.467.8833 Email: advertising@millspub.com Website: millspub.com. Mills Publishing produces playbills for many performing arts groups. Advertisers do not necessarily agree or disagree with content or views expressed on stage. Please contact us for playbill advertising opportunities. Copyright 2026.
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ABOUT THE CAST & CREATIVE TEAM NOELANI BROWN (Billie Holiday) is a McCarty represented actor, painter, selfpublished poet, autism aide and, most recently, assistant director at Meanwhile Park. Her recent acting credits include American Idiot (Grand Theatre), Summer Show 2025 (SLAC), and a TV debut on Random Acts (BYUtv). She is thrilled to be back on the Grand Theatre’s stage to honor her long held affinity for jazz, and her recently deepened admiration for Lady Day. Noelani hopes to impart this message: you are way more capable than you think you are. MYLES MANN (Jimmy Powers) is a talented pianist, organist, producer and writer from Newburgh, NY. He has toured Europe with renowned groups like Harlem Gospel Choir and Dream Gospel Voices, showcasing his skills on various stages. Myles has also collaborated with notable acts such as Emma Nissen, Jordan Smith, Black Pearl, and Carvena Jones. As the music director for Billboard-charting group The King Will Come, he brings a unique vision and expertise to their sound. Myles is also leader of the exciting trio Pique, that released their debut single in September 2025. Keep an eye out for Myles Mann’s musical journey as he continues to make waves in the industry! ABOUT THE CREATIVE TEAM
KIMBERLY APPLEWHITE (Music Director) is thrilled to be returning to The Grand after playing Michelle in Dreamgirls last spring. Music Director 8
Credits: Finding Nemo Jr. (WVA), Little Shop of Horrors (CPT/WVA), Between the Lines (Empress). Stage credits: Xanadu (Muse/Swing, WVA); School of Rock (Patty, CPT). TONI BYRD (Director) has been acting and directing in the Salt Lake area for over 30 years. After stepping away for many years, she is grateful to The Grand for giving her the opportunity to do what she loves. She has directed numerous productions for The Grand including Baby, Forever Plaid, She Loves Me, How To Succeed In Business Without Really Trying!, Bye Bye Birdie, Pajama Game, Arsenic and Old Lace, Broadway Bound, Nonsense II: The Second Coming, Pump Boys & Dinettes, The Marvelous Wonderettes, You’re A Good Man Charlie Brown, and Miss Evers' Boys. Her acting credits with The Grand include Louise in Always….Patsy Cline, Crowns, Olive in The Odd Couple (Female version), Esther in Two by Two, Hubert in Nunsense I and Nunsense II: The Second Coming, Sadie Delany in Having Our Say and Tituba in The Crucible. Along with Melissa Adams, Ms. Byrd cofounded EttaGrace Black Theatre Co. which produced The Meeting, Heat and with the help of the Grand, Miss Evers' Boys. IO CARLING (Stage Manager) is a Stage Management student at the University of Utah. Io has worked with The Grand for two seasons now and is excited for future shows to come! Credits include: The Producers (1st ASM, The Grand), The Full Monty (ASM, The Grand), DreamGirls (ASM Intern, The Grand), Amal and the Night Visitors and Other Holiday Favorites (ASM, The Grand), Drowsy Chaperone (Backstage crew, The Grand), Legally Blonde (1st ASM, Meldrum Theater), Xanadu (2nd ASM Meldrum Theater), Dancing at Lughnasa (PA, Studio 115).
LADY DAY AT EMERSON'S BAR AND GRILL
ABOUT THE CREATIVE TEAM PORTER CHARLESWORTH (Sound Design) is a graduate of the Performing Arts Design Program at the University of Utah. He has been involved in recent productions at The Grand such as American Idiot (sound design and engineer), The Full Monty (audio engineer), Dreamgirls (co-sound design), Jesus Christ Superstar (audio engineer), The Drowsy Chaperone (audio engineer), Pride and Prejudice (audio engineer), Fate? (audio engineer), and Title of Show (sound designer). Other productions include the University of Utah’s productions of Legally Blonde (sound designer), Xanadu (sound designer), Spring Awakening (scenic designer and audio engineer), The Heart of Robin Hood (sound designer), Everybody (sound designer), and Into the Woods (assistant sound designer).
music video. Her resident designer position finds her primarily designing for The Grand, however, she has also been fortunate to design for SLAC, the Utah Classical Greek Theater Festival, Westminster College Opera Studio, the U of U, and the Utah Museum of Natural History Children’s Theater Program.
ERIN MCCULLOCK (Hair & Makeup Design) has 20+ years’ experience designing hair and makeup. She is a lifelong student but studied at Stan Winston School of Character Arts. Her recent designs include The Full Monty, Sweeney Todd and The 39 Steps (The Grand); Pinkalicous (Salt Lake Acting Company); and assistant mask designer for Perdida (The Grand). Her favorite thing about designing is seeing everything come to life on opening night.
Theatre community
SHANNON MCCULLOCK (Costume Design) is a Utah based costume designer residing in Salt Lake City. She received her BFA in Performing Arts Design from the University of Utah in 2010. Shannon began designing for The Grand as Resident Costume Designer in 2016. Though her body of work emphasis is musical theater, she has also designed for opera, classical Greek theater, American classic theater, children’s theater, and
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ABOUT THE CREATIVE TEAM Seth Miller (Lighting Design) started out working in the Local 99 stagehands union, after which he attended the University of Utah for a degree in theatrical design. In 1997 he began working at Lagoon Amusement Park in the Entertainment Department as the Staff Lighting Designer, before moving on to be the Technical Director at The Egyptian Theatre in Park City. He has worked as a freelance Lighting Designer for several local theatre companies and many events around the country, including Walt Disney World, Harley Davidson’s Annual National Dealer’s Convention, W5 Creative, and many others. For the past eleven seasons, Seth has been the Artistic/Executive Director for the Grand Theatre in Salt Lake City.
Lonesome for Me (Hank Williams), The Gardener (Claude Monet) and Blythe Coward (Noël Coward). His works have been produced at the Alley Theatre, the Alliance Theatre, Annenberg Center, Arena Stage, Barrington Stage, the Edinburgh Festival, Festival d’Avignon, George St. Playhouse, Kennedy Center, Old Globe, Primary Stages, Playwrights Horizons, Theatre de la Huchette, Theatre Petit Montparnasse, Theatre Silvia Montfort, Vineyard Theatre, Virginia Stage, the Walnut Street Theatre, Westside Arts Theatre and Williamstown Theatre Festival. He is a member of the Dramatist Guild, the Society des Auteur et Compositeurs Dramatiques and the Writers Guild, East. Bio provided by Concord Theatrical.
KEVEN MYHRE (Set Design) has been designing at the Grand Theatre since 2003 He appreciates all the support, trust and inspiration Seth Miller and Richard Scott have given him over the years. It has been an amazing working with them and the staff. Some of his all time favorite Grand Theatre set designs are Eurydice, Quilters, Children of Eden, Death of a Salesman, Crowns, Godspell, and Always…Patsy Cline.
MUSIC CREDITS: “Foolin’ Myself ” written by Jack Lawrence and Peter Tinturin. “God Bless the Child” and “Somebody’s On My Mind” written by Billie Holiday, Arthur Herzog Jr. Used by permission of Edward B. Marks Music Company. “Deep Song” words and music by George Cory, Douglas Cross. All rights owned or administered by Universal Music Corp. (ASCAP). Used by permission. “Don’t Explain” words and music by Arthur J. Herzog, Billie Holiday. All rights owned or administered by Songs Of Universal, Inc. (BMI). Used by permission. “Gimme a Pigfoot and a Bottle of Beer” words and music by Wesley A. Wilson. All rights owned or administered by Universal Music Corp. (ASCAP). Used by permission. “T’ain’t Nobody’s Bizness If I Do” by Porter Grainger, Everett Robbins. All rights owned or administered by Universal Music Corp. (ASCAP) Used by permission.
LANIE ROBERTSON (Playwright)’s first plays The Insanity of Mary Girard and Back County Crimes are frequently performed by schools and community theatres. His play about Billie Holiday, Lady Day at Emerson’s Bar and Grill, was produced on Broadway and in London’s West End with Audra McDonald. Many of his works are about iconic artists and the societal issues they faced: Nasty Little Secrets (Joe Orton), Woman Before a Glass (Peggy Guggenheim), Alfred Stieglitz Loves O’Keeffe (Georgia O’Keeffe), Nobody 10
LADY DAY AT EMERSON'S BAR AND GRILL
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LADY DAY AT EMERSON'S BAR AND GRILL
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PRODUCTION STAFF Resident Staff Artistic and Executive Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Seth Miller Patron Service Coordinator. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Natalie Trumbo Marketing and Outreach Coordinator. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sophia Mancilla Technical Director. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Adam Day Associate Producer and Resident Stage Manager. . . . . . . . . . . . . . . . . . . . . . . . . Caroline Cain Marketing Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Trina Polta Photographer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Stephen Speckman Front of House Box Office Staff. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Owen Briggs, Toni Byrd, Sheila Trujillo Chief Usher. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Cheryl Gren, Peggy Sprouse Ushers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Josh Alvarez, Richard Barnes, Brenda Barnes Haley Luker, Lee Markham, Teresa Nordstrom Tauna Toole, Nigel Trujill Running Crew Audio Engineer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Porter Charlesworth Lightboard Operator. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Emily Mullaney Build Crew Carpenters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Adam Day Scenic Artist. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Heather Poulsen Master Electrician. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Emily Mullaney Electricians. . . . . . . . . . . . . . . . . . . Logan Black, Bailey Derrick, Josie Maguna, Megan Willis
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LADY DAY AT EMERSON'S BAR AND GRILL
PATRON INFORMATION AUDIO ENHANCEMENT EQUIPMENT is available for theatre patrons who are hearing impaired. The concession stand has Comtex wireless personal receivers, which allow a patron to sit anywhere in the theatre and receive high-fidelity audio. Because this service is not charged, you will be requested to leave your driver’s license with the cashier until the equipment is returned. BABIES AND SMALL CHILDREN often make it uncomfortable for other theatre patrons. Therefore, no children under 5 are allowed. Small children must have their own seat. DISABLED PATRONS may use wheelchair seating areas in the theatre. Each area can accommodate four wheelchair patrons and companion chairs. Ticket prices vary for each section. Aisle seats may be requested by patrons who can be assisted in the transfer from wheelchairs to theatre seats. BOX OFFICE HOURS are from 12:00 PM to 5:00 PM Monday through Friday and 12:00 PM to 8:00 PM on the night of the performance, including Saturdays.
You good?
LATECOMERS will not be seated in their reserved seats until the end of a scene. Latecomers will be seated in available seating that will not disturb punctual theatre patrons. LOST AND FOUND will be held by the head usher until the end of the performance. Thereafter, please contact the Box Office at 801.957.3322. All items, after a period of 24 hours, will be taken to Administrative Services in Room 1-060. They may be contacted at 801.957.2201. PHOTOGRAPHY, AUDIO, OR VIDEO RECORDING of any performance or the possession of any such device inside the theatre without written permission of management is prohibited. Offenders may be requested to leave and may be liable for damages and other lawful remedies. THEATRE PARKING is available at no charge in the parking areas on the East and North side of the building. Ticketing will occur when parked in the disabled parking areas without a valid pass. Please note that parking meters are still active during performances.
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