In a Broadway landscape that’s more ambitious and fast-evolving than ever, two young producers are betting on a fresh, streamlined approach to how theater gets made and how it reaches audiences. Jacob Stuckelman and Andrew Patino have launched Regular People, a theatrical production company that unites producing, general management and marketing under one roof. The goal: move nimbly, tell stories about regular people and bring audiences into the experience long before the curtain rises.
Their credentials are already notable. Stuckelman is a three-time Tony Award winner for “Maybe Happy Ending,” “Merrily We Roll Along” and “Parade,” while Patino is a Tony nominee for “Dead Outlaw.” This past summer, they made waves with Off-Broadway’s “Well, I’ll Let You Go.” Together, they represent a new generation of producers bridging downtown innovation and Broadway scale.
“We’re just two young guys who love theater and realized that we work well together,” Patino told Broadway News. “Jacob and I always say we could be successful in our own right, but together we would definitely hopefully rise to even higher heights.”
Stuckelman is an established general manager (having worked for Bond Theatrical) and a producer, and Patino is the founder of the marketing agency Ursa Creatives — though they first met years ago as aspiring producers. Their London collaboration on Samantha Hurley’s “I’m Gonna Marry You Tobey Maguire” in 2024 proved pivotal. “Our biggest takeaway from London was we work well as a team,” Patino recalled. “We just fit naturally into these complementary roles.” Stuckelman agreed: “Good producing is also knowing how to have really good taste in marketing. They go hand in hand.”
Back from London, the two decided to formalize their partnership in April 2025.
One roof, three disciplines
Regular People’s structure is designed to streamline costs and keep artists at the center. “Keeping things under one roof is sometimes financially driven” around the industry, Stuckelman noted. “We are able to keep our costs low because our overhead is low. There aren’t five or six agencies involved; it’s singularly our in-house team.” That leanness, he said, “inherently supports the art.”
“Our marketing side interfaces with the artists directly,” Patino added. He pointed to their first Off-Broadway project, Ken Urban’s Drama Desk Award-honored “Danger and Opportunity” as an example. “We had an in-depth conversation with the writer and the director about the key art. We ended up with this deep maroon color, and the scenic designer used that same color to paint the walls in the theater,” Patino said. “It tied the whole world together.”
