Officer Scott
Created and performed by Sloan Brettholtz; Co-written and Directed by Bailey Nassetta
Brooklyn Art Haus | 24 Marcy Avenue, Brooklyn, NY 11211
April 10–11, May 22–23, and July 10–11, 2026
At Brooklyn Art Haus, theater doesn’t politely stay on the stage. It spills into the corners, creeps down the hallways, and occasionally surprises you where you least expect it. That sense of playful rule‑breaking is exactly what makes this new comedy show feel so at home in the Williamsburg venue where it was born.
What began as a small experiment has grown into a fully immersive, genre‑defying theatrical event - one that feels less like a traditional performance and more like an invitation. An invitation to laugh loudly, to breathe a little easier, and to remember that joy itself can be radical.
Brooklyn Art Haus was the show’s first venue, and it quickly became its creative engine. The technical flexibility of the space encouraged bold choices, allowing the creative team to use the entire building as a storytelling canvas. From the bathrooms to the far edges of the stage, the show leaves “nowhere to hide,” pulling the audience into a world that is alive, unpredictable, and buzzing with energy.
Though often described as a solo show, it’s more accurate to call it “a solo show and a lot extra.” A dynamic ensemble supports the central performance, helping to create a full sensory experience. For the creator, who comes from a theater background, world‑building is sacred. This is theater you don’t just watch; it’s theater you sit inside, breathe in, and feel in your body.
At its core, the show is a comedy. But it’s a comedy with heart. The laughter comes fast and freely, while the emotional undercurrent sneaks up on you near the end, offering a moment of reflection without overstaying its welcome. The balance is intentional. “Life is heavy enough,” the creator explains. “Theater can be fun. Comedy can be fun.” The goal is simple but powerful: leave audiences feeling lighter than when they arrived.
The show’s origins are as unexpected as its form. The central character began as a sketch written for someone else, inspired by big, physical comedy and larger‑than‑life personalities. When the original performer fell ill the night before a show, the creator stepped in as a last‑minute replacement. A costume ordered overnight, a leap of faith, and suddenly something clicked.
Performing the character, particularly in drag, unlocked a new sense of command and confidence. It was transformative. “I felt in control. I felt important. I felt like I could take up space,” the creator says. What began as a backup plan became a turning point, redirecting an entire artistic trajectory.
That transformation deepened after a personal loss. In August 2022, the creator’s mother passed away, sending them into a period of profound grief. Rather than retreat, they returned to the character, expanding the sketch into a full monologue and bringing it to comedy and character shows around the city. The work became both a creative outlet and a lifeline. “That character saved my life,” they say plainly. Art, in this case, wasn’t just expressive - it was healing.
Over nearly three years, the show has evolved through multiple iterations. Once a 90‑minute piece, it’s now a tight, exhilarating hour. Feedback was taken seriously. Fat was trimmed. What remains is focused, energetic, and intentional. The first half leans into clowning and improv; the latter half blooms into musical storytelling, reflecting the emotional arc of the character’s journey.
Stylistically, the show refuses to be boxed in. It draws from clown, improv, musical theater, burlesque, and even puppetry. That multiplicity mirrors one of its central themes: the pressure to be one thing, to fit neatly into expectations. For the creator, a plus‑size performer long told they didn’t “look right” for certain roles, this resistance is personal. Rather than waiting for permission, they made their own door.
That philosophy extends to the show’s future. Aspirations include touring, festival runs, and ultimately an Off‑Broadway (and maybe Broadway) home. An upcoming goal is a run at the Edinburgh Fringe Festival, with venues like Underbelly Cowgate and Paradise Green in their sights. The vision is expansive: guest performers, evolving formats, and a show that continues to grow without losing its soul.
None of this, the creator is quick to note, happens alone. They credit their director and co‑collaborator, Bailey Nassetta, along with the entire creative team - from producers and designers to the ensemble cast - for making the work possible. “I feel fully supported. Fully loved,” they say. The show is a testament to collaboration and chosen family.
In an industry often driven by profit and prestige, this piece leads with heart. It’s about staying in line, holding your ticket, and believing your number will be called. It’s about turning pain into laughter and making space for unfiltered joy. And at Brooklyn Art Haus, where this show first found its footing, that joy feels right at home.
Click HERE for tickets.
Editorial by Malini Singh McDonald.
Published by Theatre Beyond Broadway on March 26, 2026. All rights reserved.