The Connector

by Jason Robert Brown & Jonathan Marc Sherman

Manhattan Class Company

directed & conceived  by Daisy Prince

set by Beowulf Boritt, costumes by Marion Talan del Rosa,  lighting & projections byJeanette Oi-Suk Yew, sound by Jon Weston


Scott Bakula & company

Hannah Cruz, Ben Levi Ross, Scottt Bakula, and Michael Winther

Daniel Jenkins, Mylinda Hull, Max Crumm, Eliseo Roman, Michael Winther, Maxx Crumm, Ben Levi Ross, Ashley Perez Flanagan, DanielleLee Greaves, Jessic Molaskey, & Fergie Philippe

Hannah Cruz, Scott Bakula, Ben Levi Ross, & Daniel Jenkins

Fergie Philippe & Company

Hannah Cruz & Ben Levi Ross

Hannah Cruz & Ben Levi Ross

“Beowulf Boritt’s spectacular set—with its piles of manuscripts and box archives and its back wall lined with pages of proofs—will be instantly recognizable to anyone who’s worked at a print publication.“ ~ Melissa Rose Bernardo , Time Out


“Beowulf Boritt’s scenic design, dominated by a back wall of magazine pages and huge piles of manuscripts at the sides of the stage, provides a striking visual effect at the show’s conclusion.“ ~Frank Scheck, NY Stage Review


“The chic, swift seriousness of Prince’s staging, on a set by Beowulf Boritt, darkly lit by Jeanette Oi-Suk Yew, that consists mostly of magazine page proofs and towering stacks of manuscripts.” ~Jesse Green, The New York Times


“In Beowulf Boritt’s spare but inventive scenic design, the back wall of the stage is hung with galley pages which Jeanette Oi-Suk Yew’s lights and projections play upon evocatively. at a climactic moment, the set dramatically “collapses.” “~David Cote, Observer


“Scenic designer Beowulf Boritt also excellently recreates a newspaper collection: The exposed wings reveal valleys of crates and papers, perhaps representing the unseen labor of sifting through countless archives to get the facts.” ~ Caroline Cao, New York Theatre Guide


“A sleek, tilted set by Beowulf Boritt that culminates in a thrilling theatrical coup (never mind that he’s used a similar effect in two other shows — it’s never not cool).” ~ David Gordon, Theatermania


“Prince’s direction is breathtakingly fluid on Beowulf Boritt’s starkly modern set; the action moves across a variety of locales with great economy and almost no furniture.”~ Robert Hoffler, The Wrap


“Beowulf Boritt's ingenious set features a radiant tile floor bordered by a vertical grid of magazine galley proofs along the upstage wall. Jeanette Oi-Suk Yew's projections transform the grid into a Scrabble board backdrop for Ethan's first published feature story. Later, the barrier becomes the Western Wall in the enactment of Ethan's final feature, "Anna & The Western Wall: A Jerusalem Story." Gaps in the grid suggest cracks into which prayers are slipped, with gorgeous projected text translated into multiple languages. Throughout the show, the grid's gutters reveal glimpses of Jason Robert Brown and his orchestra.” ~Kimberly Ramirez, Talkin’ Broadway