It is a gift to have a show like Stranger Things because there is lore attached to it.

There there is so much history attached to it.

So I have the opportunity to watch people who are dedicated fans as well as people who have never experienced Broadway ever.

And both experiences are so captivating.

Shinove.

Welcome to Hawkins.

Patty Newbie Henry Creole.

Hi, I'm Tavia Ray Jefferson and I am the associate director at Stranger Things: The First Shadow.

It's not real.

I'm normal.

Nightmares don't make you a monster.

They do if you can make them come true.

Something sinister is going on.

Stranger Things: The First Shadow is a prequel to what we see on the series in the 1980s.

This happens in 1959.

This is the origin story of Henry Creel, ultimately subject to 001, ultimately Vecna.

And so, we're watching who he was before he became this monster.

The magnitude of this show both artistically and technically is so much to manage.

My job requires me to maintain the artistic integrity of the show.

Particularly collaborating with stage management to make sure that the show remains as set.

So what the directors wanted from the beginning and just making sure that we stay on track.

One moment that is particularly anxietyridden for me is the mind flare moment.

After all of this these shows, I know exactly what it's supposed to look like when Mindy, we call her Mindy, the mind flare, when Mindy comes in and I can tell when something's not right.

We've got all of these technical elements and it's so important that we stay specific because there are so many amazing illusions in this show that if we're just even so slightly off that, you know, it'll change the experience for the audience and we want to make sure that they get the right experience every time.

Hi, Zo.

You guys did it.

No, mom did.

Great job the other day.

I'm watching the show probably two to three times a week and I give notes to the artists who have shows that night.

And so I'm I'm watching the show the night before.

I come in around 6:00 the next evening and I let them know, hey, this is what you know, just come downstage a little bit or you were out of your light or I can't hear you on this part.

And if necessary, I'll maybe call them an hour before and we'll do some things on stage if something's like really off or something's really not working.

But I do my very very best just because I want them to get all of their rest and um really have the opportunity to relax before the show to not call them in.

But you know sometimes you just got to do what you got to do.

Can you wait until after she says me to get in between them?

Right now I think you're crossing a little early and so we miss the irritation.

So I had them note that you're speaking from the back of your throat.

Keep the sound forward in that sound.

Okay.

Yes.

I think I'm finally getting there.

It's very good.

Good.

I'm proud of you.

All of that um trust exercises.

I never break character.

I said it played very well.

No more, no less.

Good job.

Every artist is different.

There are some artists who like me to be a little tougher on them, a little more rigid.

And then there are some who need a lot of care and nurturing.

And it's really about discernment.

And you just you never know until you know.

The feeling that I get from being a part of this show is still kind of surreal.

Sometimes I sit up in the mezzanine and I'm I'm watching all of this stuff go on and I'm sitting amongst all of these people who are cheering and so excited and I'm like I'm in charge of this which is both really exciting, very humbling and a little nerve-wracking, right?

of like I'm it's my job to make sure that this goes well, that this goes right.

And I just still can't believe that I'm a part of this amazing production.

We are Broadway.