New York, N.Y. (April 1, 2026) – Trial Run Productions rides into New York City with a double bill of wild West hijinks and sci‑fi heart: the award‑winning musical comedy Gunfight at the Not‑So‑OK Saloon and the near‑future musical comedy Does Not Compute. Together, the two modern musicals mash up Gilbert & Sullivan‑style wit, classic musical‑theater melody, and contemporary questions about love, ego, and artificial intelligence. Four performances only will be staged May 15–17, 2026 at the John Cullum Theatre at The American Theater of Actors, 314 West 54th Street, New York City 10019. Suitable for audiences 12+.
Gunfight at the Not-So-OK Saloon
Set in a delightfully off-kilter version of the Old West, Gunfight at the Not-So-OK Saloon is a musical comedy that asks: What if Gilbert & Sullivan wrote a Western? When a wide-eyed traveler named Chance rides into town looking for his lost love Hope, he discovers she’s now working in a saloon—and spending a little too much time with the pompous Sheriff Sunday. Hijinks, harmonies, and high-stakes hilarity ensue as love, ego, and one not-so-OK showdown collide.
Brooke deRosa (book, music and lyrics) and Liza Barskaya (choreographer) direct a cast of 13, including Christopher Anderson-West, Nandani Sinha, Brooke deRosa, Jonathan Matthews, Phil Meyer, Spencer Allen, Skylar Gaines, Mark Thurner, Jessie Massoudi, Brooke Iva Lohman, Annalise Staudt, Patrick K Compton, and Natalie Vatcher. Original direction by Jennifer Clymer.
“The jokes are fast, the stakes are high, and the harmonies are delightfully ridiculous,” says deRosa. “But beneath all the comedy, there’s a real heart to this show – a longing to be seen and chosen. It’s a love letter to classic musical theater, with a cowboy hat and a wink.
Gunfight at the Not-So-OK Saloon premiered at the Hollywood Fringe Festival in 2019 through Trial Run Productions, where it played to sold-out houses and received multiple accolades, including Pick of the Fringe, The Encore Producer’s Award, and The John Raitt Award for Best Music and Lyrics. A second, expanded production followed in 2023, again at the Hollywood Fringe, where it continued to charm audiences with its sharp wit and toe-tapping score.
Does Not Compute
In a near-future world where domestic robots are common, one overwhelmed couple orders two new helpers—only to find themselves in over their heads when the robots start asking big questions about love, purpose, and identity. As the humans struggle to teach their mechanical counterparts what it means to feel, the line between teacher and student begins to blur. Equal parts heartfelt and hilarious, Does Not Compute is a comic musical for the age of artificial emotion.
With music by Brooke deRosa and lyrics by Kelsey Johnson, Judy Louise Johnson directs a cast of six, including Brooke deRosa, Phil Meyer, Jonathan Matthews, Nandani Sinha, Kelsey Johnson, and Skylar Gaines. Understudies: Annalise Staudt, Brooke Iva Lohman, and Natalie Vatcher. Original direction by David P. Johnson.
“When I wrote this in 2018, I was thinking about how hard it is to teach someone to love, especially when we barely understand it ourselves. Now that AI is everywhere, the show feels even more timely,” deRosa notes. “At its core, it’s not about robots. It’s about humanity, connection, and what happens when our own creations start reflecting us back.”
Does Not Compute was originally commissioned by Cowtown Opera Company in Calgary and later received its premiere production in 2023 in Los Angeles, helmed by MC Arts. This heartfelt sci-fi comedy—set in a world where robots are asked to learn love—offered a fresh, funny, and resonant take on human connection and artificial intelligence.
Four performances will be staged on Friday, May 15, 2026 at 7:30 p.m.; Saturday, May 16, 2026 at 2:00 p.m. and 7:30 p.m.; and Sunday, May 17, 2026 at 2:00 p.m.
The evening’s runtime is two hours, plus one 15-minute intermission.
Suitable for theatergoers 12+.
General admission tickets are $50 + $4.22 Fees.
For tickets and more information, visit:
https://americantheatreofactors.org/gunfight-at-the-not-so-ok-saloon-does-not-compute/
The works are presented by Trial Run Productions. Producers: Brooke deRosa, Jim Dooley, Josia Elliott, Giorgia Renosto, Liza Barskaya, David P. Johnson, Kelsey Johnson. Technical Director and Lighting Designer: Patrick K Compton; Costume Designer: Marianne Parker; Stage Manager: Mara Aguilar; Assistant Stage Manager: Ben Cole; Public Relations: Paul Siebold/Off Off PR.
Trial Run Productions is an independent production company founded by composer and creator Brooke deRosa. Dedicated to developing original musicals that blend comedy, heart, and unexpected worlds, Trial Run Productions champions bold new voices and genre-crossing stories. With roots in classical music, opera, and musical theater, the company’s mission is to spark joy, provoke thought, and celebrate the power of performance to bring people together.
MEET THE CAST & CREATIVES
Brooke deRosa (book, music, lyricist, director, Hope & D.O.T-e) is a Los Angeles-based composer, vocalist, conductor and creator whose work lives at the crossroads of musical theatre, opera, and film. She composed The Yellow Wallpaper, which premiered at Carnegie Hall in 2025, and Alice in Wonderland, which debuted at the 1,300-seat Wilshire Ebell Theatre and is currently being developed for Broadway. Her musical comedy Gunfight at the Not-So-OK Saloon earned multiple top honors at the Hollywood Fringe Festival, while her sci-fi musical Does Not Compute was commissioned in Canada and premiered in Los Angeles. Brooke has conducted for network TV (Scandal, Luke Cage, Queens) and scored the global #1 Netflix film The Merry Gentlemen. She is the founder of Trial Run Productions, where storytelling always gets a second act.
Liza Barskaya (director, choreographer) is a Los Angeles–based stage director and choreographer, and dancer. She trained in Southern California and attended summer programs with American Ballet Theatre, Boston Ballet, and Ballet Austin before joining Ballet Austin’s Professional Division as a trainee in 2010. She later spent several years living and performing in New York City before returning to Los Angeles. As a performer, she has worked with companies including Benita Bike’s DanceArt, American Swiss Ballet, Dances Patrelle, and Los Angeles Choreographers and Dancers. Her background in dance strongly informs her work in opera and theater, shaping movement, storytelling, and visual rhythm on stage. She currently serves as Resident Stage Director and Choreographer of the Independent Opera Company in Los Angeles. This marks her second collaboration with Trial Run Productions, where she previously choreographed and co-directed Alice in Wonderland.
Kelsey Johnson (lyricist for Does Not Compute, PIX-e) has been involved with music and performing since childhood. While in High School in San Francisco, she performed with Pocket Opera and The Lamplighters Music Theatre. Since graduating from Princeton University, Kelsey has performed with numerous opera and musical theatre companies and has also produced, directed, and written librettos and music for a variety of projects. She spends her time off-stage as an Asset Management Director at NYC Housing Development Corporation, which works to fund affordable housing throughout New York’s five boroughs. Kelsey currently resides in Manhattan with her husband David, their two dogs, and one cat.
Judy Louise Johnson (director for Does Not Compute) began her directing journey in 2016 as a teaching artist at LA Opera, as the movement and acting coach and assistant director for LA Opera Connects. Judy now, directs for the, Heart of Heart Theatre Co., the Temporal Refugee Foundation Theatre Company and she is a Resident Stage Director at The Wilshire Ebell Theatre of Los Angeles. Judy is the originating director of the first two installments of The Living HerStory Student Matinee Series, at the Ebell, The Everywhere of Her and We Can Do It. Does Not Compute, is Judy’s directorial debut of an off-broadway show!!
Spencer Allen (Gabe) is an award-winning Greek-American actor and director. He is a graduate of iO West, Second City Hollywood, UCB, and ComedySportz LA. Recent credits include: “Hacks” (HBO Max), “The Infinite Husk” (AppleTV+), “Late Night with Chucky” (Universal), Blow the Man Down: A Sea Shanty Concert, and Let’s Write a Musical!. He is also a board-certified music therapist and a tour guide on the Studio Tour at Universal Studios Hollywood. He has an MFA in Film Production from Florida State University. He is the commissioner of some Fantasy Football leagues and hosts a theme park podcast called Theoretical Thrills. (IG/TikTok: @spencer101f)
Christopher Anderson–West (Floyd) studied at the San Francisco Conservatory of Music where he majored in Voice and studied Composition with Eleanor Armer. Christopher has performed with the Los Angeles Opera as a member of the Chorus as well as performing operatic roles and recitals in Europe, China and around the United States. Favorite roles performed to date are: Hoffmann in Offenbach’s “Les Contes d’Hoffmann,” Tamino in Mozart’s “Die Zauberflöte,” Pinkerton in Puccini’s “Madama Butterfly,” Don Jose in Bizet’s “Carmen,” Mario Cavaradossi in Puccini’s tragedy “Tosca,” Rodolfo in Puccini’s “La Boheme,” Nemorino in Donizetti’s “L’elisir d’amore,” Il Duca di Mantova, from Verdi’s “Rigoletto” at the Tuscia Opera Festival in Italy, Ferrando in Mozart’s “Cosi fan tutte” for the Narni Music Festival in Italy and Tsar Berendey in the American debut of Rimsky-Korsakov’s “Snegurochka,” at Harvard University in Boston.
Patrick K Compton (Hank, technical director, lighting & scenic designer) is a native of Frankfort, KY, where he performed as (The Phantom) and (Beetlejuice) for the 2023 Best of Broadway Showcase – FUMC Frankfort. Patrick has performed at Carnegie Hall (Tenor I) for the 2017 DCINY Dreamweaver Concert, and as (King George III) Hamilton, and (Gleb) Anastasia for other Broadway Showcases. He was Production Assistant to Brooke deRosa for the 2025 world premiere of The Yellow Wall Paper at Carnegie Hall. Mr. Compton is a Lighting Designer, Sound Engineer, Technical Director, designing for many schools, theatres, churches, concerts, and special events. He’s a graduate of Murray State University, B.S. Electrical Engineering Technology. He served as a crew member with The MSU Department of Theatre. Follow him on YouTube: Patrick K Compton Instagram: @pkcompton
Skylar Gaines (Abe, BYTE) is an LA based actor, author, and proud owner of 5 ukuleles. While not traversing the Great White Way, Skylar can be found performing in regional theatres, producing, writing, and directing original theatre in LA, or, more often than not, espousing the values of their debut novel Spellweaver. If you’d like to follow them on IG @SkylarCardigan or contact them via their website SkylarGaines.com, that’d be super special.
Brooke Iva Lohman (Lucille) “Hailed as witty, adorable, and one to watch, soprano Brooke Iva Lohman is gaining recognition for her clear, high range and compelling character portrayals. Recent roles include Lucia (Lucia di Lammermoor), Zerbinetta (Ariadne auf Naxos), Gilda (Rigoletto), and Queen of the Night (Die Zauberflöte). She has performed with LA Opera, Opera Santa Barbara, Pacific Opera Project, and other companies across California. Most recently, she sang the soprano solo in Orff’s Carmina Burana and was featured as the soprano soloist in the world premiere of The Turning Point by composer Sherry Blevins. Brooke lives in Altadena, California, with her husband and three cats.”
Jessie Massoudi (Janine) is a Persian-American performer making her Off-Broadway debut in the role she originated at the Hollywood Fringe Festival (2019, 2023). Praised for her “young, quirky Elizabeth McGovern quality,” she brings sharp comedic timing and delightfully offbeat charm to every stage. Her credits span musical theater, operetta, and opera, including Musetta (La Bohème), Gertrude McFuzz (Seussical), Jan (Grease), and Grittly in the West Coast premiere of Offenbach’s Le 66. Offstage, Jessie creates delightfully unhinged content for her popular “talking button cat,” Roscoe Squeaks.
Jonathan Matthews (Chance, Frank) returns to the roles of Chance and Frank. Jonathan sings with Opera Santa Barbara Chorus, Arete Vocal Ensemble, and New West Symphony Chorus. He holds a Bachelor of Music in Vocal Performance from the University of Utah and a Master of Music from Indiana University. Performed roles include Romeo, Ruggiero, Faust, Don José, and Tamino. As a studio singer and voice-over actor, he has recorded hundreds of songs, commercials, films, video games, and audiobooks.
Phil Meyer (Sheriff Sunday, J.E.E.V.Z.) is hailed by some (his mom, mostly) for a singing voice that is “not half bad,” Phil’s opera repertory consists of Old Guys, Bad Guys and Funny Guys (and, in Brooke DeRosa’s recent Alice in Wonderland, a spate of non-humans). Phil has sung major roles in many California companies, including Pacific Opera Project, Lyric Opera of Orange County, Opera Modesto, VOPA, Repertory Opera Company, Mission Opera, Independent Opera Company and the Mendocino Music Festival. Concert appearances include soloist in the Verdi, Mozart, and Faure Requiems, as well as Handel’s Messiah. Phil most recently played Ea, God of Wisdom, in the world premiere of Diana Farrell and Derrick Skye’s Gilgamesh, the Opera at the Cerritos Center for the Arts in California.
Nandani Sinha (Netty, Jane) is an American mezzo-soprano, educator, and arts advocate whose work bridges performance, education, and social impact. An International Liszt Competition Winner, Metropolitan Opera Regional Finalist, and Opera Buff Competition Award Winner, she has performed with companies including the South African National Opera, LA Opera, New York City Opera, Krefeld Opera, Opéra-Comique (Paris), Düsseldorf Opera, Dublin Opera, Botswana National Opera, and the No. 1 Ladies’ Opera Festival, among others. She has also appeared at venues such as the Pasadena Playhouse and Walt Disney Concert Hall. Sinha founded Music Heals Minds, advancing music’s role in dementia care. For more information www.mezzonani.com
Annalise Staudt (Francine) is a Los Angeles–based actor, singer, and visual artist with an MFA in Acting from UCLA and a Bachelor of Music in Vocal Performance from the University of Redlands. Recent credits include Micaela in Carmen, Penny in Hairspray, Despina in Così fan tutte, an original one-woman wrestling show Wrestling with Tomorrow, and Anne Bonny in the new musical The Great Age of Sail. By day, she is a Warner Bros. Studio Tour guide, where she tells stories for a living and cannot confirm or deny anything. She is also a visual artist and illustrator, and a mother to her son, Jameson, who remains her most discerning critic.
Mark Angelo Thurner (Wyatt) is a half-Cypriot actor, director, and singer born and raised in Boston, Massachusetts. He has a BS in theatre from Skidmore College and studied at the Moscow Art Theatre abroad. Lately he studies at the Howard Fine Acting Studio in Los Angeles. He and his co-star recently won Best Actor Duo for their performances in the short film “The Self Starter” (2024). Last summer he played a lead in Pure Woman, a new play performed at Hollywood Fringe which got brought back for a second run at ‘Beyond Fringe.’
Natalie Vatcher (Annabelle, swing) – Favorite credits include Queen of the Night in Magic Flute (MassOpera, HPAF), Alice in Brooke deRosa’s premiere of Alice in Wonderland (Trial Run Productions), Mabel in Pirates of Penzance, Casilda in Gondoliers and Patience (VCGSRC), Little Red in Little Red Riding Hood (Guild Opera), Clara in The Light in the Piazza (Eastman Theatre), Morgana in Alcina, and Cendrillon (Longy Opera). Additional companies: Boston Baroque Chorus, Boston Opera Collaborative, and Pacific Opera Project. Alumna of Eastman School of Music (BM) and Longy School of Music of Bard College (MM).
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