Interview: Director Elizabeth Troxler Talks NIGHT OF JANUARY 16TH at Ruth Stage

Ruth Stage's production of Night of January 16th by Ayn Rand, a courtroom thriller where the audience is the jury in Karen Andre’s murder trial, will take place next weekend. We chatted with the director, Elizabeth Troxler, about the show. Check out the interview below!

When powerful financier Bjorn Faulkner is found dead, his devoted secretary and alleged lover, Karen Andre, is charged with his murder. What follows is a high-stakes trial fueled by ambition, seduction, betrayal, and competing versions of the truth. In a signature twist, twelve randomly selected audience members are brought onstage to serve as the jury, listening to testimony, weighing evidence, and ultimately deciding Karen’s fate. No two performances are the same; the verdict can change nightly.

Directed by Elizabeth Troxler and starring artists from New York and New Jersey, this immersive production places you inside the courtroom, and forces you to confront the razor-thin line between justice and persuasion.

Performances of Night of January 16th will run April 2-4, 2026.

What first attracted you to directing Night of January 16th?

I was drawn to the opportunity to collaborate with Matt de Rogatis and to be part of Ruth Stage's bold and inventive productions. I've always loved classic plays, and this piece immediately stood out to me—it centers on a woman being judged by those around her rather than truly seen, heard, or celebrated. That tension felt both timeless and deeply compelling to explore.

But after the first few readings of the play, Matt and I realized that a straightforward courtroom drama might not pack the punch needed for the traditional intensity of Ruth Stage productions and modern audiences. The play was written nearly 100 years ago and we felt we needed to make adjustments. So we went back to the drawing board and totally re-imagined this piece, which is really at the heart of what Ruth Stage does. We reimagine the classics. And what we've landed on is going to be very different from what audiences are likely expecting. Matt is a huge Ayn Rand fan, and the two of us collaborating on this has been so much fun, because we've found a way to put our own spin on the show while preserving every word of the text and honoring all of Rand's themes. It's been an exhilarating creative process, and I think audiences are going to feel that energy the moment the lights come up.

Can you tell us about the cast and creative team bringing the show to the Jersey Shore Arts Center stage?

Our cast and creative team are truly exceptional—an eclectic group of artists from a wide range of backgrounds and generations, all deeply invested in shaping this piece into a gripping thriller. We have really enhanced elements of the show, particularly with our spin on the Judge, played by Matt de Rogatis, and the Stenographer, who we've reimagined as a representative of the blindfolded Lady Justice herself — a role brought to life by Gracen Taylor, a member of my own Chronicle Dance Theatre. That image alone tells you this is not your grandfather's courtroom drama.

There's an incredible range of talent involved — actors who train at the Theo Devaney Acting School in North New Jersey, and even performers with Broadway credits to their name. Our design team works out of Penn State University, and Christian Specht, the official lighting designer for Ruth Stage, has created an eerie, almost otherworldly atmosphere that plays directly into our revisionist concept. It is striking in the best possible way.

Our approach throughout has been sharp, daring, and visually striking, while remaining rooted in the author's original intent. With this fresh perspective, the relationships intensify and the power dynamics — across gender, class, and wealth — come into sharper focus, allowing the truth beneath the text to fully come alive. So many talented people have poured themselves into this production, and once it all comes together, I truly believe audiences are going to experience a version of this play they have never seen before — and never will again. That is, of course, unless we transfer to New York City, which is something we are actively thinking about.

Interactive plays are becoming very popular. What makes this show a standout?

What sets this production apart is the depth of its immersion. Not only do we honor the original concept of the jury being part of the action, but we expand it — the audience doesn't just observe the courtroom, they step into its world. They feel the weight of the characters as they move through the space, becoming an active force within the story. Ultimately, they don't just watch Karen Andre's fate unfold — they help decide it. Guilty or not guilty. And that verdict has the potential to lead to different endings every single night.

Haley Jones plays Karen Andre, and she brings such sensuality and strength to this iconic role. I am genuinely excited to see how each jury responds to her, as Rand wrote this play so that nearly every witness may be hiding something and might not be fully telling the truth. That ambiguity is baked into the DNA of the piece, and it means the scales of justice could tip in any direction on any given evening. The potential for a completely new show every night is very real.