Dana Marschz is a recovering alcoholic and once-ambitious actor who now teaches high school drama in Tucson, Arizona. Though he views himself as an inspirational mentor, his classroom spirit is tested by two devoted students, Rand Posin and Epiphany Sellars, and a string of underwhelming school productions that largely remix popular Hollywood films (his latest being Erin Brockovich) for the stage. When a new term begins, budget cuts force a fresh intake of students into his class, and Dana finds himself at odds with Octavio, a new pupil who challenges his authority and methods.
Principal Rocker delivers a gut punch: the drama program will be shut down at the term’s end. In a bid to salvage his career and his students’ love of theater, Dana hatches a bold plan to write and stage an original play. This is no ordinary class project—it's a sequel to Hamlet, told through a time-travel lens to spare the characters’ deaths, and it introduces audacious twists, including Jesus Christ as a character with a singing and dancing number, titled Rock Me Sexy Jesus. Hamlet Ian McKellen looms large as a literary touchstone, but Dana aims to push boundaries far beyond the Bard’s tradition.
The troupe gradually warms to the idea, yet the path is rocky. Rand, cast as a bi-curious Laertes and overshadowed by Octavio’s Hamlet, storms out and leaks a copy of the script to Principal Rocker, who promptly orders Dana to halt the production. Personal turmoil compounds professional strain when Dana’s wife Brie leaves him for the unremarkable but fertile border Gary they had taken in to help with finances, revealing that Dana is infertile. Crushed, Dana slips off the wagon, contemplating abandoning the project, but his students rally around him. They secure an abandoned warehouse and rave space, marshal technical help, and organize security with the help of the football and wrestling teams from the school.
Around this upheaval, the conflict grows into a civil liberties debate, stoked by Cricket Feldstein, a zealous ACLU activist who channels growing public interest in Dana’s venture. The controversial work bursts onto the stage to a sold-out audience, even attracting a critic from The New York Times. Rand returns to the fold, apologizing for his departure, and Dana welcomes him back to the Laertes role.
Reception of the play is imperfect and provocative. Its chaotic reinterpretation of Hamlet and the new, time-travel-driven emphasis on repairing family rifts generate a mixed response, with protesters infiltrating the audience as the production makes its initial push. Yet the show slowly wins people over by leaning into its audacious premise and the emotional core of father-child relationships reimagined through time. In the end, Dana’s stubborn faith in his students pays off, and the production culminates in a sense of hopeful reconciliation among the cast.
As the curtain rises toward a Broadway-bound finale, Dana—now dating Elisabeth Shue—meets with his students to prepare for the big opening alongside an original ensemble. The film closes on a note of resilience and renewed purpose, underscoring how a small, defiant theater program can transform a community and its ambitions.
