The True and Unquestionable Account of Dr. Joseph Snodgrass

New York City, New York | Theatre

Thriller, History

Greer Gisy

1 Campaigns | New York, United States

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This campaign raised $10,410 for production. Follow the filmmaker to receive future updates on this project.

123 supporters | followers

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Set in three overlapping timelines, "Snodgrass" walks a tightrope between drama and thriller, and sits on a knife’s edge between reality and fantasy. It is the story about a man on the edge of sanity, a real-life murder plot, and a house that manipulates the nature of reality.

About The Project

  • The Story
  • Wishlist
  • Updates
  • The Team
  • Community

Mission Statement

Marinelli New Dance Theater is a wild, boundary-pushing creative collective of women-identifying people who aim to think beyond metaphorical ceilings and develop enthralling, can't-tear-your-eyes-away spectacles of music, movement, connection, and intellect.

The Story

The True and Unquestionable Account of Dr. Joseph Snodgrass, headed by an all-female-identifying core creative team, is an experimental, musical play about the man who fabricated many of the facts we still believe about Edgar Allan Poe and the woman who first accused Poe’s potential murderer. 

The plot follows Margaret Fuller in the year before her death, as she prepares to write the obituary of her once-rival and sparring partner, Poe. Her quest leads her to Joseph Snodgrass: Poe's physician, coattail-rider and possible lover who is acting as the gatekeeper of Poe's legacy. But Joseph Snodgrass is not who he purports to be.


History of the Project

After the passing of a loved one, and much like the Poe in our play, Ashley Marinelli, our writer, began having nightmares filled with images of being buried alive. She sought comfort in research and unearthed some childhood favorites, including those of Poe's involving live burial. To make sense of her findings and emotionally cope with her loss, Ashley began writing with this concept, and Poe, at heart. 

What was evident in the first workshops was the need for a physical language - a way for the paranormal to become accessible to an audience and retain its magic. This language expanded into multi-bodied structures that transformed the architecture and design of our show, blurring the line between set and flesh. 

As the choreography progressed, so did the script. Invited readings and talkbacks morphed into zoom readings and socially-distant script revisals as the Covid-19 pandemic swept the country. This was the most unexpected but perhaps most important developmental time in our history. The past two years forced us to take the script on in a new way, challenging not the content or soul of the piece, but the manner in which we were telling it. We realized that we were an all-female-identifying creative team fully immersed in the work of a man, told through the POV of another man.

From Ashley came a revised character named Lou, fashioned after the very real Margaret Fuller.

Who is Margaret Fuller?

Edgar Allan Poe and Margaret Fuller were both equally famous in their day. He was the best-read poet of his time, she the best-read female writer. He created the detective genre while she became the first female war correspondent in history. 

Both were literary pioneers with strong convictions about how art should be made, and they once ended up in a famous spat, in which Poe announced: "There are three types of people: men, women and Margaret Fuller". Margaret did not mince words in her reply.  Both died at 40 years old (within a year of one another). Both died under mysterious circumstances. 

Poe lives on in our imagination today. Margaret has been almost entirely erased. 

Women have been buffed from the public narrative for as long as facts have been subjective to the fact keepers, and women in the theatre industry are still living in a Margaret Fuller world. Though our industry is female-dominated at the performance level, the storytellers and decision-makers are predominately male. As an all-female-identifying creative team, we have found that telling a man's story has more momentum, even if it's our Trojan Horse. This show is designed to look like "another Poe show," but it's our gateway through the gatekeepers to resurrect a female perspective.


Our Mission

As theater around the country and especially here in New York City begins to find its footing on the knife’s edge between pandemic and endemic, we feel secure in our plan to keep our team, cast, and audiences safe. Not only are we and our venue requiring full vaccination, but our COVID-Compliance Officer has created a testing schedule and mandatory supplies list that will ensure everyone’s safety from auditions to closing night. 

We’re also out to challenge the status quo, and to work with excellent performers who tend to get passed over in the traditional casting setting in a way that is long overdue. Radical inclusivity is a pillar of our mission both in casting and audience accessibility, as is creating an atmosphere from audition to paycheck that is sustainable and equitable by above-par standards.

How Far Your Gift Will Go

We can’t wait to mount our show at The Players Club in New York City on May 12th and 13th of this year, but more so, we can’t wait to share with all of you our vision for the future of The True and Unquestionable Account of Dr. Joseph Snodgrass. The funding provided by your generous support and eventual ticket sales will make the next iteration of this show possible - an iteration that we hope will bring us to a larger space and a longer run, and afford us the time and resources to bring every element to life.


Follow us on these platforms:

Instagram: @josephsnodgrassplay

Facebook: @josephsnodgrassplay

Twitter: @joesnodplay

Make sure you click "follow project" at the top of this page for updates from rehearsals, personal messages from the creative team, and be the first to grab new incentives as they release each week!


Use the WishList to Pledge cash and Loan items - or - Make a pledge by selecting an Incentive directly.

Cash Pledge

Costs $0

Creative Costs

Costs $1,750

Costumes, set, and rehearsal fees.


Costs $1,000

Our show involves technical elements outside of a standard theatrical experience.


Costs $7,250

We value paying all performers above-par fees. This is an AEA showcase code performance.

About This Team

Ashley Marinelli | Writer, Choreographer

Helen Hayes Nominated and IRNE, Broadway World and Kennedy Center ATCF award-winning choreographer, director, playwright and performing artist based in NYC. As a dancer she has worked with Justin Bieber, Mariah Carey, Ne-Yo, Shakira, Shangela, Jill Johnson, Andy Blankenbuehler, Jeffry Denman, William Forsythe, Susan Marshall and many, many more. She loves hybridizing genres and challenging the idea of what musical theater can be. Ashley is a proud graduate of NYU’s Tisch School of the Arts (BFA Dance, BA Literature) and the Salzburg Experimental Academy of Dance in Austria. She currently teaches at Long Island University, Broadway Dance Center, Peridance and gives master classes all over the country. @alm433


Greer Gisy | Creative Producer

Dance Supervisor Hamilton Angelica Tour; Associate Choreographer Public Works Shakespeare in the Park's Twelfth Night; Choreographer Awakened Youth in Shanghai, China; Choreographer Responsible/Creative Consultant In the Heights in São Paulo, Brazil; Associate Director/Choreographer Holland America Cruiselines; Teaching: Alvin Ailey, Broadway Dance Center, The Dallas Conservatory, Texas State University, Syracuse University, and more;


Mary Colvin | Director

Mary Colvin is a Samuel French OOB Festival Winner, director, photographer, actor, and the artistic director of HoosierMuse, a devised-theater collective in New York, New York. Mary is a proud graduate of Millikin University and student of Pan Theatre (Paris), Stella Adler Studio and SITI Company. Mary is the founder of MJC Image and has collaborated with such artists as R Osh An, Matt Nakoa, and The Move Shop. @mjcimage_


Lily Desmond | Composer

Avant-guard violinist, vocalist and composer living in New York City. Graduate of Sarah Lawrence College with a background in music theory, history, anthropology and performance vocabulary of folk, pop, noise, punk, blues, jazz, and Hindustani and Karnatic music. She is a band member of Sloppy Jane. @lilygoddamndesmon


Roni Pillischer | Sound Designer

Live Mixer: Sheryl Crow and David Grey’s live radio sessions at The Bridge Sound and Stage. Asst Eng for Glee’s Warblers, Wyclef Jean, Drop Kick Murphys, and more at Q Division. Theater Mixer for Disney Cruise Line's Broadway style shows. Emmy Nom for sound mixing: Black America MLK:And Still I Rise (PBS). Post editor: Mr. Mayor, Young Rock, Helpsters, Hellraiser (2022), Jerry and Marge Go Large (2022), among many more.


Jeanette Abell | Associate Choreographer

Currently on the Disney Cruise Line creative team as a Dance Supervisor. She has taken on performance and collaborative choreographic roles with the Walt Disney Company, TCG Cirque Musica, Garrett+Moulton Productions, and LEVYdance Company, and graduated with her BFA in Dance as a proud company member of Etude Ensemble under mentorship from the late Donald McKayle at University of California Irvine. She is sought after for teaching, choreographing, and adjudicating dance youth on both the east and west coasts.  @jeanettable


Mary Alex Daniels | Showcase Producer

Theater Producer based out of New York City, pursuing her MFA in Theatre Producing at Columbia University. She has worked with companies such as Jujamcyn Theatres, Boneau/Bryan-Brown Agency, and Center Theatre Group in Los Angeles, California. She is most passionate about reimagining what we think of as “classical” theatre and highlighting stories from female and non-binary identifying voices. for more!” 

Edward Miskie | Showcase Producer

Executive Producer on Renaissancing by Edward the First (2021) and BariToned Does Broadway's Leading Ladies (2017-2022, concert series & tour), Associate Producer on Ladylike (2023, feature film), and The True and Unquestionable Account of Doctor Joseph Snodgrass (2022, immersive play with dance and music). Edward is also the author of Cancer Musical Theatre & Other Chronic Illnesses which can be found as a book on Amazon, and a Podcast on YouTube


Emily Lafrenière | Showcase Stage Manager

(Stage Manager) Regional Credits: CABARET, A NIGHT WITH JANIS JOPLIN, A CHORUS LINE, GREASE (Ivoryton Playhouse). Recent graduate of Marymount Manhattan College.


Creative Consultants:

Jena VanElslander | Assistant Choregrapher

Chris Grant and Lauren Yalango-Grant | Partnering and Choreography Consultants

Bailey McCall | Stylist

Kai Kim | Environmental Consultant

Ashley Frary | Visual Artist


Current Team