Kelcey Watson* as Alonzo Fields. Photo by Brennen Russell.

Looking Over The President’s Shoulder

Judith Hardes Theatre

October 29, 2025

—

December 14, 2025

2 Hours and 10 Minutes Including One 15 Minute Intermission

Hoover. FDR. Truman. Eisenhower. And the man who served them well. 

Ticket Prices: Start at $60

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About the Show

Behind every great leader, there is a story waiting to be told. Looking Over the President’s Shoulder is the remarkable true account of Alonzo Fields, who served as Chief Butler to four U.S. presidents, bearing witness to pivotal moments in American history. From the shadow of the Great Depression to the dawn of the Cold War, Fields navigated duty and sacrifice, trading his dreams of the opera stage for a front-row seat to history. This powerful solo performance is a tribute to resilience, service, and the unseen figures who help shape a nation. 

View Digital Playbill HERE

This show contains depictions of alcohol use, profanity, and use of era language for Asian and African-American people.
Audio Description and American Sign Language Interpretation are available for each production. ASL/Audio Describe Night is:
Thursday, November 20, 2025 7:30PM
Our Box Office is here to help!
Just call 602–254–2151 and we’d be happy to assist you.


Box Office Hours:
Monday – Friday: 10am to 5:30pm
Will Call: Two hours before show time

Looking to bring a group of 10 or more? Theatre is always better with friends and we have great group rates for you! Click here for details.

View Digital Playbill


Looking Over The President's Shoulder Playbill Gif Teaser

Video Gallery

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Photo Gallery

Text reading “Looking Over the President’s Shoulder”. The text sits above a Black man facing away from the camera in a butler’s uniform. On the wall in front of him are portraits of Presidents Hoover, Franklin Roosevelt, Truman, and Eisenhower.
Text reading “Looking Over the President’s Shoulder”. The text sits above a Black man facing away from the camera in a butler’s uniform. On the wall in front of him are portraits of Presidents Hoover, Franklin Roosevelt, Truman, and Eisenhower.

Reviews

It is this remarkable journey, this transformation, that Kelcey Watson traces in a performance that ripples with energy and conviction. He captures the man’s humility, the ache of disappointment, and the pride of a life lived in disciplined service.
Herbert Paine, Broadway World
The production is blessed with Watson’s sharply defined performance as Fields. Watson keeps the audience intrigued by the differences of what Fields saw in each of the men and their wives he served.
Chris Curcio, Curtain Up Phoenix
Bragg’s direction wisely resists embellishment, letting the monologue unfold like a slowly opened letter, trusting both the eloquence of the text and the warmth of Watson’s performance.
Herbert Paine, Broadway World
Fields’ actions are guided flawlessly by director Chanel Bragg who keeps the play dynamic and an evolving testament to the importance of the staff serving the President.
Chris Curcio, Curtain Up Phoenix
One of the production’s great strengths lies in its visual storytelling. Douglas Clarke’s video projections – archival portraits and glimpses of historic events – are artfully integrated, and his minimalist set gives the performance room to breathe.
Herbert Paine, Broadway World
Nathaniel White’s sharp luminous lighting places Fields squarely at the center of the stage, amplifying both the elegance and solemnity of the White House.
Herbert Paine, Broadway World
Kelcey Watson provides a compelling and empathetic portrayal as Fields. His performance captures both the professionalism and the quiet frustration of a man who devoted his life to a position of dignity within a system that often denied him equality. Watson's warmth, humor, and gravitas keep the audience engaged ... his portrayal is quite effective in depicting the emotional cost of being both a trusted insider and a Black man in segregated America.
Gil Benbrook, Talkin' Broadway
Though the action is confined to a single setting, Bragg's staging makes effective use of movement and levels to create visual interest.
Gil Benbrook, Talkin’ Broadway
Visually, the production is handsome. Douglas Clarke's elegant set uses bright, white wood paneling to suggest the grandeur of the White House. Having the windows of the set also display historic photographs and archival video clips of the presidents Fields served and major world events of the time provides important context. These touches give the production a cinematic quality and help break up the monologue-driven structure, while Nathaniel White's lighting design beautifully evokes the reflective moments in Field's past.
Gil Benbrook, Talkin’ Broadway
It is this remarkable journey, this transformation, that Kelcey Watson traces in a performance that ripples with energy and conviction. He captures the man’s humility, the ache of disappointment, and the pride of a life lived in disciplined service.
Herbert Paine, Broadway World
The production is blessed with Watson’s sharply defined performance as Fields. Watson keeps the audience intrigued by the differences of what Fields saw in each of the men and their wives he served.
Chris Curcio, Curtain Up Phoenix
Bragg’s direction wisely resists embellishment, letting the monologue unfold like a slowly opened letter, trusting both the eloquence of the text and the warmth of Watson’s performance.
Herbert Paine, Broadway World
Fields’ actions are guided flawlessly by director Chanel Bragg who keeps the play dynamic and an evolving testament to the importance of the staff serving the President.
Chris Curcio, Curtain Up Phoenix
One of the production’s great strengths lies in its visual storytelling. Douglas Clarke’s video projections – archival portraits and glimpses of historic events – are artfully integrated, and his minimalist set gives the performance room to breathe.
Herbert Paine, Broadway World
Nathaniel White’s sharp luminous lighting places Fields squarely at the center of the stage, amplifying both the elegance and solemnity of the White House.
Herbert Paine, Broadway World
Kelcey Watson provides a compelling and empathetic portrayal as Fields. His performance captures both the professionalism and the quiet frustration of a man who devoted his life to a position of dignity within a system that often denied him equality. Watson's warmth, humor, and gravitas keep the audience engaged ... his portrayal is quite effective in depicting the emotional cost of being both a trusted insider and a Black man in segregated America.
Gil Benbrook, Talkin' Broadway
Though the action is confined to a single setting, Bragg's staging makes effective use of movement and levels to create visual interest.
Gil Benbrook, Talkin’ Broadway
Visually, the production is handsome. Douglas Clarke's elegant set uses bright, white wood paneling to suggest the grandeur of the White House. Having the windows of the set also display historic photographs and archival video clips of the presidents Fields served and major world events of the time provides important context. These touches give the production a cinematic quality and help break up the monologue-driven structure, while Nathaniel White's lighting design beautifully evokes the reflective moments in Field's past.
Gil Benbrook, Talkin’ Broadway

Cast

K.Watson
Kelcey Watson*
Alonzo Fields
C.Worthen
Calvin J. Worthen
Alonzo Fields Understudy
K.Watson
Kelcey Watson*
Alonzo Fields
C.Worthen
Calvin J. Worthen
Alonzo Fields Understudy

* Denotes a member of Actors’ Equity Association

*Denotes a Member of Actors’ Equity Association

Creative Team

Chanel Bragg
Director
Douglas Clarke◇
Scenic & Video Designer
Nathaniel White
Lighting Designer
Chris Neumeyer
Sound Designer
Maci Hosler
Costume Designer
Alanna Maniscalco
Properties Manager
Avant Johnston
Hair/Makeup Designer
Mandy Spartz*
Stage Manager
Michael San Roman
Company Manager
Karla Fredrick
Director of Production
Chanel Bragg
Director
Douglas Clarke◇
Scenic & Video Designer
Nathaniel White
Lighting Designer
Chris Neumeyer
Sound Designer
Maci Hosler
Costume Designer
Alanna Maniscalco
Properties Manager
Avant Johnston
Hair/Makeup Designer
Mandy Spartz*
Stage Manager
Michael San Roman
Company Manager
Karla Fredrick
Director of Production

* Denotes a Member of Actors’ Equity Association

+ Denotes a Member of Stage Directors and Choreographers Society

♢ Denotes a Member of United Scenic Artists (IATSE)

* Denotes a Member of Actors’ Equity Association | + Denotes a Member of Stage Directors and Choreographers Society | ♢ Denotes a Member of United Scenic Artists (IATSE)

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