BEFORE THIS NEW YEAR Indefinitely Postponed

Penned by Liana Sonenclar, BEFORE THIS NEW YEAR has been championed as a poignant tale of youth, reflection, and those unexpected reckonings that can nudge one’s life off course. The story revolves around Alison Bennett, a young track star navigating the bittersweet limbo between home comforts and university life. She encounters her former teammate Haley during the Christmas holidays, and the two are forced to confront lingering tensions, unspoken truths, and future-defining choices. While we may think of the track as a space for pure athletic prowess, in this play, it doubles as a metaphor for life’s breakneck speed—the clock always ticking, the finish line always shifting just out of reach.

The production had been slated to run at The Duke on 42nd Street at NEW 42 Studios from 19 March, with official opening night on 4 April, and a planned run through 11 May. For an Off-Broadway piece, that is a substantial window—a sign that the producers and creative team expected a loyal following. Statistics from the Off-Broadway League note that new plays, particularly those exploring teenage and young adult experiences, have seen a 12 per cent increase in audience interest over the past five years. The universal draw of self-discovery stories, it seems, speaks to both fresh-faced theatre-goers and seasoned patrons who still recall the awkward dance of adolescence.

A Cast Poised For Discovery

One of the more intriguing aspects of BEFORE THIS NEW YEAR was the casting of two rising performers right at the brink of stardom. Kaci Walfall (best known for her leading television role in Naomi) was set to portray Alison Bennett, and Emily Carey (who has earned acclaim in film and television, including House of the Dragon) was to step into the role of Haley. Both actresses are at that compelling stage of their careers where they can slip into roles depicting earnest, sometimes raw, teenage sensibilities. The stage, in this instance, would have given them an entirely different canvas on which to showcase their talents.

Alongside them, the production boasted a fascinating mix of both established and emerging performers. Arjun Biju, with credits from quirkily titled fringe pieces like An Adaptation of THAT KING OF THE HILL EPISODE WHERE PEGGY FALLS OUT OF A PLANE, was tapped to play Brandon. Pete Simpson, known for his work in GATZ, would bring depth to Coach. Melanie Nicholls-King of THE WIRE renown was set to play Mom, and Ella Stiller (fresh from ROSE OF ST. THERESE) would step into Jen’s shoes. Casting was handled by Anne Davison and John Ort, who seemed determined to assemble a company blending youthful energy with seasoned expertise.

The Creative Backbone

Bringing this modern coming-of-age drama to life was a skilled production team. Knud Adams had signed on as director, with scenic design by Afsoon Pajoufar (who’s lent her talents to THE BAND’S VISIT), costume design by Avery Reed, lighting design by Reza Behjat, and sound design by Peter Mills Weiss. Lurking in the wings was Jakob W. Plummeras production stage manager, ensuring the myriad moving parts would run like clockwork. And, overseeing it all, Jonathan Demar was producing, with Mott/Fischer Productions serving as general manager.

There’s an intriguing snippet some theatregoers may not have realised: Afsoon Pajoufar’s experience on THE BANDS’S VISIT might have significantly influenced the atmosphere of BEFORE THIS NEW YEAR. While THE BANDS’S VISIT is distinctly Middle Eastern in its aesthetic and thematic content, Pajoufar’s flair for creating intimate spaces where human connection stands out could have lent a unique authenticity to Alison and Haley’s reunions. And with Avery Reed, who designed costumes for On Set with Theda Bara, you can only imagine the subtle interplay of youthful style meeting more home-grown practicality. One wonders if Haley’s track jacket would have told its own story about the passage of time and the baggage we all carry from our younger days.

A Twist Behind The Scenes

Now, the big question on everyone’s lips: why has it been postponed indefinitely? The production team released a measured statement, emphasising their pride in what’s already been achieved and their gratitude towards all who’ve contributed. Yet they stopped short of pinpointing a single cause. Such a move is not unheard of in theatre—particularly Off-Broadway, where budget constraints, scheduling conflicts, or sudden logistical obstacles can derail even the most promising ventures. Industry insiders point to a rising incidence of last-minute postponements, especially in smaller venues that don’t have the financial cushion of well-established Broadway houses.

What might surprise many is that indefinite postponement doesn’t always spell doom. Sometimes a show reemerges stronger than before, having used the extra time to refine the script, broaden the marketing reach, or secure more robust funding. Indeed, I’ve tracked numerous Off-Broadway works that sprang back onto the scene after months—or even years—of silence, only to resonate far more deeply with audiences thanks to the added creative incubation.

The Wider Implications For Emerging Artists

It’s easy to forget the ripple effect such postponements have on the cast and crew—particularly the younger actors who were looking to make a name in a demanding industry. Kaci Walfall and Emily Carey, each having made strides on screen, were poised for a significant stage debut that could have propelled them further into the theatrical limelight. Industry data suggests that many film and television actors who transition to stage roles gain credibility as versatile performers, which can lead to a broader range of opportunities. The indefinite halt of BEFORE THIS NEW YEAR therefore represents a temporary setback not just for audiences hungry for fresh narratives, but for the entire creative team’s growth and momentum.

Nevertheless, performers often speak of postponed productions as valuable learning curves. The early rehearsals, table reads, and immersive script analysis remain a part of their professional development. Often, a shelved project can sow the seeds of future collaborations. In a world where relationships are everything—especially in theatre—these early connections might yet yield remarkable creative endeavours, even if they’re not the ones originally planned.

What Made BEFORE THIS NEW YEAR Stand Out

Sceptics might say, “Teen drama on stage? That’s hardly new.” But the detail that set BEFORE THIS NEW YEAR apart was its nuanced focus on the transition from high school to university and the emotional whiplash that can follow. So often, we find musicals or plays centred on younger protagonists revolve around high school hallways, pointed social commentaries, or comedic coming-of-age hijinks. Sonenclar’s script promised a deeper dive into that subtle shift where old friendships rub up against new truths.

Alison’s storyline—revisiting the hometown track she once dominated—reflected a universal impulse to measure progress by returning to our roots. If we judge the typical theatre audience demographic, roughly 35 per cent are under thirty years old (based on recent surveys in major cities). That’s a robust portion of the crowd with a vested interest in stories about forging adult identities. This could explain the genuine buzz that began swirling around the show as soon as it was announced.

Staying Hopeful Amidst Uncertainty

Yes, it’s disappointing. Yes, we’re left with more questions than answers. But, as any theatre devotee will tell you, indefinite postponements can transform into triumphant returns. Perhaps we’ll see BEFORE THIS NEW YEAR land on a different stage, or under a new producer’s wing, or even find it reimagined for a bigger venue. Sometimes, an unplanned pause in the theatre world is less a cancellation and more a recalibration—a chance to gather strength before launching again.

If you’ve ever stood on a track, waiting for the starter’s gun, heart pounding in your ears, you know that delay only amplifies anticipation. That’s precisely how I’d describe the current state of affairs with this play. We’re all waiting for the gun to fire. We’re all holding our breath. And we’ll be ready to leap the moment the race begins.

For Those Craving New Voices

The theatre landscape is ever-evolving, filled with bright possibilities and occasional heartbreaks. BEFORE THIS NEW YEAR’s indefinite postponement stands as a reminder that even the most promising productions can find themselves on shaky ground. Yet, the excitement surrounding this piece hasn’t dimmed; if anything, the sudden halt to its momentum might galvanise future demand. After all, stories about self-discovery, identity, and second chances are timeless—and nothing in theatre ever truly disappears. Works like this resurface when you least expect them, often stronger and more resonant.

So keep your ear to the ground. Keep a page dog-eared for news of its revival. Because when a show dares to explore the raw edges of adolescence, leaving no stone unturned, it has a knack for echoing through the years. And whether it reappears next season or five seasons from now, there’s little doubt that this delayed offering will eventually find a stage worthy of its promise. In the end, perhaps this postponement isn’t a closure, but the start of a much longer, more intricate story—one that might just surprise us all.