Inside the Inaugural Diamond Mesh Manifestival at Paradise Factory Theatre
NEW YORK, NY — This summer, the NYC theater circuit gains a provocative new heartbeat. Diamond Mesh Incorporated — Theatrical Productions is proud to announce the inaugural Diamond Mesh Manifestival, running from July 16th to August 9th at the Paradise Factory Theatre. Harkening to the days of the original off-off Broadway movement, The Manifestival presents a curated slate of explosive productions paving the way for the “Next Great American Drama.”
At its core, the festival functions as an incubator for risk-taking storytellers. Reflecting on the grand scope of the event, festival co-founder Faith Pasch explains:
“The Manifestival is ultimately about why we feel alone — what creates such isolation when, as human beings, we share so many of the same intimate emotional struggles. Club 27 explores the pressure artists face around how they are “supposed” to create, and the dangerous idea that self-destruction is somehow tied to becoming legendary. It examines how we can fall deeper into our vices in order to maintain the image of being chaotic, exciting, and therefore interesting. While that narrative is often associated with artists of the ’70s, it remains just as relevant today. We hope the show resonates with artists, creatives, and anyone navigating their own personal journey. It’s also incredibly rare for a new work to debut with a 16-show run, and this festival has been instrumental in helping us share the show with far more people than we ever could have imagined,” says ManiFestival co-founder, Faith Pasch
The Mainstage Slate
The bedrock of the festival consists of three ambitious, full-run anchor productions challenging contemporary theatrical norms.
The Silly William Gambit
- Written by: Matt Bader
- Schedule: Thursday–Saturday (6:15 PM), Sunday (5:45 PM)
- Eccentric chess prodigy Silly William finds himself on a train bound for hell (or Philadelphia, as it is known in some circles). When a mysterious entity that only plays the 4-move Checkmate Attack hears of Silly William’s skill, it offers him his freedom if he can manage to defeat the entity in a series of chess matches. Silly William then narrates every move of the unfolding seven matches, which are played out on stage in real time, as he sets out to unravel the game, his past, and his very self.
piss.jpg (Working Title)
- Written by: Justin Jager & Michael Gardiner
- Schedule: Thursday–Saturday (8:00 PM), Sunday (7:30 PM)
- Subtitled by its creators as “The Next Great American Drama,” piss.jpg (Working Title) might be described as The Gen Z Waiting for Godot. It might not. There will be no further questions at this time. Co-creator Michael Gardiner remains unflinchingly optimistic about its trajectory:
“First stop: The Manifestival. Next: The Great White Way!” — Michael Gardiner
Club 27: A One Woman Confessional Cabaret
- Written by: Maeve Z. O’Connor
- Schedule: Thursday–Saturday (9:45 PM), Sunday (3:00 PM)
- Join your nameless (and fabulous) host in her liminal rock & roll nightmare as she deftly welcomes you to Club 27. Over the course of her set—and more than one argument with her enigmatic pianist—the host grapples with fame, death, legacy, and what it means to be an artist. When sex, drugs, and rock & roll convene, how do you make it out famous and alive?
The Signature Series
The Signature Series features extended-length independent works exploring deeply human, sometimes surreal landscapes.
FEATURED EVENT: My Ghosts
- Written by: David & Erica Laros
- Schedule: August 3 & 4, August 8 (3:30 PM)
- Step into the haunted clocktower to join us on a madcap journey against time with Cab Curio, famous writer, as he returns to his truest self while fending off his three zany inner critics, Shakespeare, Marlowe, and Jack Wilson, before his time runs out. Lenore, the clocktower ghost, helps Cab along the way as he re-discovers his passion for music. Sing and dance along with catchy, memorable songs and embrace characters you know and love.
The festival has proven to be a profoundly spiritual milestone for its creative team. When asked what the event means to them, co-creator Dave Laros shares: “My Ghosts” has been spiritually guided from the very start. We’re so grateful to be part of Manifestival. To us, Manifestival means complete alignment and true authenticity.
Co-creator Erica Elsa Laros echoes this sentiment regarding the developmental momentum: “Everything about ‘My Ghosts’ has been green light–green light–green light. The music flowed effortlessly after the idea. I had a recurring dream about Manifestival before it happened, then the universe breathed life right into the script. Before it was always just Dave and me. Now we’re building a team of talented and creative minds to collaborate on our show!”
The mirror reality of staging the piece has also fueled deep personal artistic growth. Erica notes:
“Watching my story of the artist and the inner critics come alive on stage, I feel like I am literally watching my own story play out about the crushing nature of self criticism and how it can be changed.”
Dave adds his perspective on pulling double duty behind the scenes and under the lights:
“To me, growing as an artist means exploring the different parts of the self and I’ve been able to do that in preparation for the Manifestival, not only as composer and lyricist but also as a performer in our musical.”
FEATURED EVENT: How Not to Fund a Honeymoon
- Written by: Stephanie Greenwood
- Schedule: July 27 & 28 (7:45 PM), August 1 (2:00 PM)
- The problem: Gwen and Charlie are strapped for cash. Their wedding is coming up and they have no way to pay for the honeymoon of their dreams. The solution: Break into Aunt Robyn’s house and steal the mysterious treasure that she is always bragging about but no one has ever seen. This is how Charlie and Gwen find themselves outside Aunt Robyn’s house holding a rock, wondering if they should throw it through her window and really hoping that she is definitely on holiday.
OTHER EVENTS IN THE SERIES:
The Ballad of Bonder Thrashman Fitzqualudes
- Written by: Fletcher Michael
- Schedule: July 20 (7:45 PM), July 21 (9:15 PM), July 25 (2:00 PM)
- A comedy that follows professional apartment ball player Bonder Thrashman Fitzqualudes as he attempts to navigate his way through an esteemed MFA playwriting program despite never having written a play. After receiving a full scholarship as a prize for winning the apartment ball world championship, Bonder avoids expulsion by agreeing to have his brain swapped with the recovered brain of Renaissance playwright Christopher Marlowe in a plan overseen by a secretly-sinister, Tony Award-winning faculty member who may have sold his soul to the devil.
Fletcher Michael, the founder and artistic director of Infinite Monkey Theater Company, values the festival’s willingness to embrace artistic vulnerability:
“At Infinite Monkey Theater Co., we see the ManiFestival as an opportunity to stage boundary-pushing, genre-defying, original, and truly downtown-y new work that might not otherwise find a home. Our show, The Ballad of Bonder Thrashman Fitzqualudes, required a festival willing to take a chance on what is certainly our most outrageous production to date, and in the ManiFestival, we have found that bold and brilliant support.”
Selkie Woman
- Written by: Zoe Stanton-Savitz
- Schedule: July 27 & 28 (9:15 PM), August 2 (1:00 PM)
- Layla and JJ navigate the complications of girlhood and friendship as they determine what it is to love and be loved. From age twelve to age eighteen, they hurt each other both physically and emotionally while clinging to the love they have for each other and the protection this friendship provides.
A Humorless Exploration of Humanity
- Written by: Ryan Sickles (Contact: rysick05@gmail.com)
- Schedule: August 3 & 4 (6:00 PM), August 8 (2:00 PM)
- A grief-fractured reality star invites cameras into her living room and accidentally lets something else in: an alien. Everyone is watched, no one is understood, and the red light never really turns off. It’s about loneliness. And aging. And maybe coughing.
Playwright Ryan Sickles looks forward to standing alongside his peers in the festival lineup:
“As emerging theater artists, we are very grateful to the Manifestival for the chance to share our work. Alongside the other productions involved, we plan to make this the best first Manifestival ever.”
One-Night-Only Events
The Manifestival packs its calendar with sharp, fast-paced, single-evening engagements that promise high theatrical stakes.
FEATURED EVENT: Ruff Ruff Ruff Ruff I’m a Dog
- Written by: Atlas Kazan
- Schedule: July 21 (7:45 PM)
- Plato has a reputation to uphold. As a former student of Socrates, the inventor of Western philosophy, he likes to think he’s as wise, intelligent, and virtuous as his mentor. However, Diogenes disproves that time and time again, humiliating him every chance he gets to show what real virtue and wisdom look like. As Diogenes and Plato squabble, Aristotle and Alexander try to make sense of philosophy itself.
Playwright Atlas Kazan emphasizes that self-producing via the festival layout is a vital tool for independent creatives:
“I had recently come to the conclusion that if I wanted to get my work produced, I gotta do some of the producing myself. I tackle subject matters that are rarely touched upon in contemporary theatre, so I understand why theatre companies would hesitate to produce my work if they don’t know how an audience is going to react to it. Fortunately, I know how an audience is going to react to it. Ruff Ruff Ruff Ruff I’m a Dog has gone through a long journey. Audiences went from liking it to loving it, and each time it was presented as a workshop or a reading, I refined it more and more. To me, the ManiFestival means an opportunity for theatre artists to prove to the theatre industry that they have the skill and the motivation to create great art, and in this specific instance, it has given me the opportunity to prove that my work is not only entertaining, but insightful.”
OTHER EVENTS IN THE SERIES:
The Adventures of Leo
- Written by: Dominic Sahagun
- Schedule: July 28 (6:00 PM)This play follows a childless married couple, Leo and Julia, on the Upper West Side. The jokester Leo is a security manager at Dick’s Sporting Goods, and Julia is a burnt-out ER nurse. When Leo’s father suddenly passes away, can he continue his routine? Or is all lost…?
Dominic Sahagun, an Assistant Professor of Voice at Berklee College of Music, found solace in the festival’s welcoming community structure:
“On the first webpage of Diamond Mesh Inc., home of The Manifestival, it reads ‘Why Do We Feel Alone?’ …And I’m not sure I can answer that. But I do know that if I write a play, and then stuff the script into the back of my closet, I sure would feel alone. The Manifestival allows me to do the opposite, present my work ‘The Adventures of Leo’ for the first time, and to just sit back and watch alongside a New York audience. Not alone at all. Thank you, Dominic.”
Songs I Sing in the Shower
- Written by: Danielle MacMath
- Schedule: July 27 (6:00 PM)In this comedic solo show[er], Danielle MacMath
- (Fragments with F. Murray Abraham, SantaCon The Play with Richard Kind, Eric Bogosian’s 1+1 Off-Broadway) manifests her childhood dreams and the catharsis of a hot shower. MacMath notes:
“Songs I Sing in the Shower will premiere at the inaugural MANIFESTIVAL. It’s so exciting to launch this journey with such a vast group of artists!”
Fingers Crossed
- Written by: Stacy Cancelarich | Directed by: Michael Gardiner
- Schedule: July 21 (6:00 PM)
- After a fateful car accident on Thanksgiving Eve, Stacy’s beloved father gets diagnosed with heart failure…. and then lung cancer…. oh, and Alzheimer’s too. Yikes. In this outrageously funny and darkly poignant solo show, Stacy attempts to care for her dying father while colliding with the COVID-19 Lockdown, her severely obsessive-compulsive mother, and her rehabilitated cult-member sister in a rollicking hospice care story. Director Michael Gardiner states:
“Fingers Crossed has been in development for a number of years, and we’re so excited to share with an audience and we couldn’t be in more esteemed company than with our fellow Manifestivalites!”
The March Hare
- Written by: Amanda DeLalla
- Schedule: August 4 (7:45 PM)
- This contemporary fairytale follows the day-to-day of Andra, a neurodivergent woman who works at a Manhattan teahouse. Although her interactions are “by the book,” it becomes apparent that all is not what it seems for the soulful bookworm as she faces a frustrating truth about love and memory. Writer and arts administrator Amanda L. DeLalla celebrates the script’s return to the stage:
“After its debut staging last year, the Manifestival is a terrific avenue for my script to get revived at the Paradise Factory with a brand-new cast and director. This will also be the first production of the play since its publication with 1319 Press, so I’m really excited that the audience can take a piece of The March Hare home from the show.”
Additional One-Night Engagements:
The Rosary Through Which We Talk to the God We (Don’t) Share (Alejandra Cepeda Batiz |
July 20 @ 6:00 PM):
Victoria wrestles with whether to tell her deeply religious grandmother about her sexuality
It’s Five O’Clock Somewhere (Justin Jager & Friends
July 20 @ 9:15 PM:
A staged reading of a collection of one-act plays written by chronic jackass Justin Jager and cohorts while horribly inebriated.
Princess Fantasy! (Alexandra Brokowski
July 26 @ 1:00 PM):
The journey of a long-dormant princess whose kingdom awaits her coronation. Will her fantasies shake her deep sleep, or will she remain our resident sleep paralysis demon?
Occupation Housewife (Abigail Tilly
Aug 3 @ 7:45 PM):
In 1955 Iowa, five housewives meet for their weekly brunch to escape monotony until life-changing news upsets the status quo.
Special Events & Screenings
The Manifestival expands beyond standard live theatre, incorporating mixed-media events, industry-facing showcases, and musical tributes.
- The Vampire (Written by Alec Silberblatt | July 22 @ 7:00 PM): A pulpy horror story mixed with club beats and Adderall-induced fights that serves as a potent metaphor exploring modern masculinity.
- “Interface” Screening with Umami (Justin Tomchuk) (July 29, Time TBD): An intimate screening of the 24-part web series turned 2-hour animated sci-fi epic. Includes an appearance by Tomchuk and a post-screening talkback.
- Front and Center (Aug 5 @ 5:00 PM): A showcase revealing the creative talents of the festival’s box office pros, ushers, and concessions staff working as playwrights and directors.
- Clowning Around (After Hours) (Curated by Faith Pasch Productions | Aug 5 @ 6:30 PM): A lively showcase where past and present clown performers step out of their big shoes to reveal their offstage artistry in dance, music, and theatre.
- Rumours: In the Room (A Fleetwood Mac Tribute) (Produced by Faith Pasch Productions | Aug 5 @ 8:30 PM): An acoustic, theatrical reimagining of the iconic album Rumours, set inside an intimate recording session where personal relationships unravel in real time right in front of the audience.
Ticket & Venue Details
All performances take place at the Paradise Factory Theatre. For performance schedules, full ensemble credits, and box office ticket reservations, visit the official Diamond Mesh Manifestival online portal.
Jim Catapano has [Camp] Growing Pains thanks to Esme Roberts Hilarious Coming-of-Age Comedy Little Bitches Lights Up the Fresh Fruit Festival
Little Bitches is a lively, authentic play about maturing teens that starts at 60mph, opening with a call-and-response chant of “Little Red Wagon” led by Gabriel Ryan-Kern and Sarah Brown that gets the audience pumped. It stays at full speed from there, as we see Jenna (Hailey Gates) and Natasha (Gigi Kazanjian) meet as little kids in 2016.
“If you were a boy I would love to marry you,” says a charmed Jenna.
“Actually my mommy says that you can marry girls too,” Natasha replies. “My aunt is part of this religion called ‘lesbianity’ where she just gets to marry girls all day!” But we soon learn that while Jenna grows up to be on board with that, to her heartbreak Natasha may not actually be joining that “religion” after all.
Following that foreshadowing we fast-forward to the girls at age 15 at a California summer camp, surrounded by many peers of wildly different personalities and persuasions, under the guidance of Counselor Kiwi (Veronica Piurek). Natasha’s bestie Sophie (Lucy Kirkland) arrives from Spain, and intrigued “ally” Billy (Samantha Fath) is thrilled to meet a “real immigrant” but then is disappointed to learn that Sophie was only vacationing there. Jenna, meanwhile, is surprised to be only finding out now about Natasha’s supposed BFF, while Natasha wishes for a date with Tyler (Leo Ruckenstein) from the boy’s camp. Significantly Jenna is not interested in anyone from that camp, and is upset that Natasha seems so different from the previous summer.
“I think it’s normal for people to change in school,” says bunkmate Kate (Charlotte Gilbreth).
“I guess but I don’t want them to change,” says Jenna.
“Change is inevitable,” Kate says, and thus we have the theme of Little Bitches, handled lightheartedly but genuinely from a writer who knows, and a talented cast who delivers.
Roberts was 17 when she crafted Little Bitches, and therefore close enough to her own experience of the era she is depicting for it to still be fresh fruit (pun, as always, intended).
Our adventures with the camp company lead to a very bizarre yoga class led by Humuh (Dominik Valcin), where bunkmate Rian (Chiara Di Giorgio) gets hurt in a game of leapfrog with Racie (Ruby Carlon), but is thrilled to be accompanied by her crush Jack R (Devan Martin). As the girls distill alcohol from hand sanitizer, Jenna struggles with her feelings for Natasha and her jealousy of Sophie, who suspiciously disappears, leading the group to hold a hilarious séance. This is followed later by some equally uproarious (and impressive) musical numbers, including one from the now “in love” Rian and Jack R (“Don’t judge me, I’m sick right now”) says Rian.
The angst, the budding romances and the teenage anxiety over sexuality and orientation are generally played for laughs, but without sacrificing the reality of the character’s experience. Roberts has mentioned the show PEN 15 as an influence, and that is delightfully evident here. The characters fly near the top, but their feet are still close enough to the ground to feel genuine and relatable. It’s a lead-off home run from Roberts and makes one excited to see what the up-and-coming author does next.
Little Bitches is a Production of the Next Door Theatre Company, produced and directed at The Wild Project in Spring 2026 by Samantha Lako and Victoria Smith.
THE RETURN OF THE FESTIVAL GIANT: Midtown International Theatre Festival Announces Triumphant NYC Comeback with a powerhouse 2026 Season
NEW YORK, NY — The lights are coming back up on one of independent theatre’s most vital institutions. After a nearly decade-long hiatus, the Midtown International Theatre Festival (MITF) officially announces its historic return to the New York stage in June/July 2026. In a landmark collaboration, MITF Founder and Executive Producer John Chatterton has partnered with indie theatre luminary Jay Michaels to relaunch the festival at the prestigious American Theatre of Actors (ATA). The revival coincides with the ATA’s 50th Anniversary, turning the entire three-theatre complex into a sprawling hub of creative innovation from June 15 through July 26, 2026.
OFFICIAL SHOW LISTINGS: 2026 SEASON (dates and tickets TBA)
Americaring By Kate Gill Directed by Frank Licato. The conflict of the play is set off by an injustice of the healthcare system. A family is left motherless with a father who turns to alcohol. The teen daughter and her brothers must find a way to survive on their own. Then the girl falls in love with a wealthy boy in her high school. But there is a secret barrier they face.
Beethoven’s Wrong Note By Jay Stephenson starring James Harkness (Broadway: Ain’t Too Proud; Beautiful; The Color Purple, Chicago). as Ludwig van Beethoven. This 2024 Perry Award winning original musical finds Beethoven caught in a Faustian deal with Mozart’s librettist over a potboiler script. The drama quickly pours outside the confines of the rehearsal stage in what could have been “The Greatest Opera Yet Written!”
Cool at Camp By Dani Tapper, Peter Weidman, Steven Blutig, Robin Raskin, and Emily Stumer Cool at Camp is an adult, meshuga musical comedy packed with humor, a slightly raunchy edge, and the kind of nostalgia that brings the audience right back to their teenage summers at camp.
Crabs in a Barrel By Reginald T. Jackson A dramatic tour de force centered on three people who find themselves in an existential “Hell.” Jackson, a PEN America Writers’ Fund grant recipient, presents a modern-day love triangle where secrets and unspeakable crimes are slowly revealed. Jackson just completed a world premiere of another play at the Fresh Fruit Festival.
How to Swallow a Volcano By Anne McDermott Directed by Padraic Lillis, this solo show explores love, therapy, and the art of making bad choices with enthusiasm. Anne navigates sessions with an unflappable therapist and the mess of real life, exploring what happens when being “nice” becomes a liability.
Leaving Kiev: Coming Full Circle By Mila Levine An autobiographical one-woman show featuring original music, poetry, and dance. It tells the story of a resilient Jewish girl from Ukraine immigrating to the United States. Addressing themes of antisemitism and immigration, the show marks a “full circle” moment for Levine, whose work first debuted here in 2015.
Monarch: The Mexican-American Musical By Alfonso Molina and Mayu Molina Lehmann A powerful new work exploring the lives of undocumented immigrants. The story follows Luis as he takes refuge in a church, pursued by an ICE officer in a narrative style reminiscent of Les Misérables. After a successful premiere at the Los Angeles Theater Center and a Helen Hayes Award recommendation, the production makes its Off-Broadway debut.
Mother Boswick: The Best Show You Never Knew You Needed By David Magidson Meet a 121-year-old advice-giving widow from the tiny hamlet of Squinch Hollow. Magidson, a former Ringling Bros. clown, brings his international experience to this character-driven comedy where Mother Boswick dispenses questionable wisdom and unique astrological advice.
Omeed’s Tapestries By Barry M. Putt, Jr. Directed by Robert Liebowitz, this play tells the story of an Iranian shopkeeper and his partner planning to flee their homeland to live openly. Inspired by over three dozen first-person accounts, the play navigates the danger they face when their secret is discovered. The Drama Book Shop will host a special event for this production in June.
One In A Million Cabaret By Kevin Davis Featuring a live band led by Davis, an internationally acclaimed musician, on saxophone, a group of friends humorously discovers the fragility of life, love, and faith when they win the lottery! The production arrives with five BroadwayWorld nominations, including Best Director.
Pandemia: Act of Gods by Jason S. Abrams follows the colliding lives of two households: a straight couple navigating the chaotic pressures of parenting a young child in a cramped apartment, and a pair of ex-boyfriends forced to navigate the awkward transition from former lovers to sequestered roommates. As the world outside grinds to a halt, these four New Yorkers are forced to confront their pasts, their futures, and each other during the COVID-19 pandemic.
Picking Up Stones By Sandra Laub An 80-minute one-woman theatrical piece that confronts the Israeli-Palestinian conflict through the personal lens of an American Jewish woman processing the aftermath of October 7, 2023. Written and performed by Laub and produced by Jerry Fischer, the play uses stones as a central metaphor for memory and historical weight. Winner of the 2024 Providence Fringe Artists For Artists Award. “…a must see show” Edinburgh Fringe Festival.
Shangri-La-La By Mike Meier and Peter Giambalvo A comedy musical about Siegfried & Roy that captures the moment Las Vegas reinvented itself as a family-friendly destination. The story follows a young German assistant named Joshua who sees behind the sequins and manufactured myths of the legendary magicians.
Stick to the Script! By Amy Losi Directed by Laurie Rae Waugh (both members of the American Theatre of Actors repertory), this is a comedic look at the chaos of independent theater. An amateur troupe has one week left to rehearse a new play, but they are hampered by dropped lines, a TikTok-distracted stage manager, and a sarcastic director with a short fuse.The one-act version won “The Spirit of the Hartford Fringe Festival Award.”
The Anxiety of Laughing by Andrew Justvig is a heartfelt tale of resilience and love that follows Joey, a stand-up comedian with cerebral palsy, and his fiancée, Leah, a talented ballerina. As they support each other in pursuing their dreams, a tragic car accident shatters their lives, leaving Leah paralyzed from the waist down and testing the depths of their commitment.
The Crossword Play (or Ezmeranda’s Gift) By Donna Hoke Directed by Janel Walton and featuring Xavior Love as a professional crossword constructor who creates a custom puzzle for his ex-boyfriend’s new girlfriend live on stage. As he fills the grid in real-time, he unravels a deeply personal story of love and redemption. Nominated for a record 10 BroadwayWorld Anchorage Awards including Best New Play and Best Play, winning Best Director for Janel Walton
The Hallway written by Bill Keenan and directed by Jesse William Green. Trapped in a hotel hallway at 3:17 a.m., two strangers in bathrobes discover that the hardest door to knock on is always the one you most need to.
The Harm by Dennis Leroy Kangalee The Harm is a stripped-down, four-character play set in a college classroom, where a provocative lecture on media, race, and power unravels into a crisis of perception and accusation. The play investigates how language shapes reality in the present moment—how words, intention, and interpretation diverge, and how “harm” is constructed, claimed, and adjudicated.
Whatever By Scott Brooks Directed by Ashley Olive Teague, A billionaire’s private pilot is paid to NOT fly him anywhere in this suspenseful play about power, information and what it means to be human in this digital age.
THE 2026 ROSTER ALSO INCLUDES:
A Woman in Reverse (Andrea Mezvinsky); Across a Crowded Room (F.J. Hartland); Functions (Anton Spivack); Husbands (Matthew Ethan Davis); I Am (Brooklyn) (Vince Bandille); Kierkegaard’s Gun (Andy Treusch); Where I Come From (Jerry Metzker); Princess Peighs Sword Fighting Tea Party (Zach Alexander and Melissa Leigh); Samovar (Roger Hendricks Simon)
Jim Catapano has a view of the ‘80s from the Edge of Your Seat at Sean Szak Prasso’s Obscene Desire at the ATA
Following on from his first original play last year, the acclaimed Angel in the Heat, writer/director Prasso has delivered another intense character study, featuring many actors from that production but this time taking us back to 1986 Long Island. Obscene Desire centerson Emma Reed (Annie Unger), on the night before she leaves for college. Her BFF Scarlett (Samantha Seiff) wants to go on a girls’ night before the big move, though Emma had promised to see her possessive boyfriend Greg (Dustin Pazar) that night. The brooding Greg has returned to the drinking problem that has caused many past issues, and Emma is on the cusp of leaving him. Emma and Scarlett’s adventure leads them past the home of Emma’s teacher Henry Johnson (Travis Bergmann), who they see through the window striking his wife Jennifer (Jean-Marie Stodolski). Despite Scarlett’s protests Emma is called to take an action that puts her in danger, as she soon finds that the woman she thinks she is rescuing is not what she seems. Meanwhile the tortured Greg meets with his pot-loving buddy Adam (Jonathan Beebe), who urges him to move on from both Emma and the booze. He puts a gun on the table and asks Greg to go to the shooting range with him. The pot begins to boil as the three sets of characters get ever closer to climactically converging.
PHOTOS BY DAN LANE WILLIAMS/DLWPhotographyNYC
The twists, turns and revelations that follow make Obscene Desire a gripping one-act; none of them will be spoiled here, but what can be said is that Prasso has done a masterful job of making the characters grow more 3-dimensional before our eyes. The dark past is revealed and motivations become clear, as the characters go from sinister to sympathetic, well played by actors who are clearly quite comfortable working with each other in such an intense situation. The 80s vibe—the music, the hair and outfits, and the pivotal lack of cell phones, coupled with the normal-at-the surface suburban atmosphere (homemade cookies, gardening, baseball and cruising through town) give an old-school horror movie vibe, which shifts to psychological drama as we learn the tragic backstory that brought them all to this fateful night.
It all comes together to make Obscene Desire a very satisfying theatre experience, with a writer/director and his cast at the top of their game and telling a thrilling nail-biter of a story. One looks forward to seeing much more from this talented team.
Obscene Desire runs at the Beckmann Theatre at the American Theatre of Actors through May 10, 2026.
“My Kingdom for a Tour De Force” cries Jim Catapano about A Dizney-fied Retelling of Richard III Delights at the American Theatre of Actors
There’s something weird in the Kingdom of Disneare! King William has been overthrown by some very familiar-looking evildoers, and the scheming Richard (Joshuah Patriarco) sees an opportunity to seize the throne. Sounds like Richard III, and it is, but in a dazzling new form. Richard III: A Twisted Fairytale brings classic Disney characters to the famed historical, making for an incredibly entertaining theatre experience. Devised by the Epiphany Shakespeare Company, the team who brought us last year’s compelling Hamlet/Batman hybrid Hamlet: The Clown Prince, the production is an ingenious mash-up that works better than anyone could have anticipated. It can be enjoyed on many levels and by all demographics, as evidenced by the enthusiasm of the children in the audience (many of whom were in costume). Shakespeare’s original text is mostly intact, but accompanied by the fairy tale aspects of traditional Disney and the colorful over-the-top characters that go with it. The story is introduced and narrated by Sir Jiminy (Andrew Austin), the “Conscience of the Kingdom”. Patriarco’s Richard starts out traditional and transforms into “Malevolent” (Maleficent); hero Clarence (Rommell Sermons) becomes Prince “Phil”; Queen Elizabeth (Mikelle Terson) is the Evil Queen; Lady Anne (Samantha Mileski), who talks to the chirping animals of the forest, becomes Sleeping Beauty, with some beautifully sung songs from Mileski along the way; and Thomas Annunziatta is Buckingham, who resembles a certain Royal Vizier, complete with snarky parrot on his shoulder. The costuming by Mileski (who also oversaw makeup and special effects), are letter-perfect, with every famed Disney character instantly recognizable, down to the tentacles of “Ursul The Sea Dog” James Hammill. Edward Gibbons-Brown does a hilarious turn both as King Edward and a certain honey-loving golden bear; and we also get the Dutchess of Deville (Shannon Rivoli), complete with Dalmatian fur coat and toy puppy. (With all the larger-than-life Disney characters, the famous scene of Richard being haunted by his victims is a particular sight to behold in this iteration.)
For the final performance of the initial run, Antares Puentevella took on the role of Peter Pan (the one “Prince in the Tower” instead of two), in his professional NYC stage debut. Puentevella is the son of ATA Executive Director Jessica Jennings and grandson of legendary ATA founder James Jennings and Jane Culley, and he sparkled in the role of the boy who won’t grow up. His sword battle with “Lord” Hook (Zorich Lequidre—AKA Captain Zorich), realized in the rafters of the John Cullum Theatre, was an absolute highlight, further lifted by Puentevella’s exuberance and Lequidre’s classic campy villainy.
Other pop culture references provide very funny Easter eggs, including lines from The Godfather and Richard’s fitting (and even poignant) a cappella rendition of “Behind Blue Eyes”.
Stylishly written and directed by Patriarco, and overseen by the production team of John Rivoli (SpongeBob SquarePants), Jake Minter, Terry Prideaux and Liam Riordan, this is an incredibly clever and creative production, with lots of enjoyment for Shakespearean fans. Plus terrific Disney flourishes and comedic moments for kids of all ages. It all comes together to make Richard III: A Twisted Fairytale a must-see when it returns to the stage.
A Tangled Web Gives Way to Connection and Love: Jim Catapano reviews Reginald T. Jackson’s Hilarious and Heartfelt When We Practice to Deceive Shines at the Fresh Fruit Festival
With When We Practice to Deceive, performed at The Wild Project in Spring 2026, renowned playwright Reginald T. Jackson lets the trans community know that he sees, hears, and supports them. The delightful production is mostly lighthearted; as Jackson has observed, many theatrical dishes on pivotal subjects are best served with humor. Thus the characters are instantly familiar, sympathetic, and believable.
Veterinarian Kevin Cooper (Maddoux) is catching up in NYC with his Louisiana-residing mom Martha (Yvette Dingwall). He is late because he had just been in surgery to remove a dog’s spleen. “This is what you do with that expensive medical degree you have?” chides Martha, who wants to know when he’s going to find a nice partner. He in fact, has, in Lady Jasmine (Sunna Bee), and nervously plans to have them meet. He confides in Beth (Jasmyn Green), his friend at the hospital, over how to broach the subject that Lady Jasmine is a transgender woman to his kind-but-conservative mom. But Martha finds that out on her own, when sharing a restaurant restroom with Lady Jasmine before realizing that she’s her son’s new partner. The exchanges to follow are tense and realistic but with a light touch that keeps the audience engaged and sympathetic to all the characters. Martha claims to not drink (“you can’t serve both the lord and the bottle”) but then orders and chugs a Manhattan after the revelation. Bee pulls at the heartstrings as Lady Jasmine, wanting to be seen and accepted for who she is after being tragically disowned by her own parents. Cooper’s relatable Kevin is stressed to the high heavens, terrified that he will have to choose between Lady Jasmine and his own mother. But the wise and loving Martha comes around, embracing Lady Jasmine and (over) enthusiastically planning the wedding after the couple gets engaged right in front of her. “Don’t be so surprised, I’m capable of growth!” she announces to laughter and relief.
A charming and believable performance from Dingwall gives the story a warmth and realism; this is aided by a hilarious and effervescent Chetan Rao as Lady Jasmine’s BFF Diamond Dupree. Amiere A . Bell is Charlie the bartender, who oversees the events and provides a calming presence, as does Green’s charismatic Beth.
The entire cast brings a heart and depth to their characters that realize Jackson’s intent, and bring tremendous life to his witty and thoughtful dialogue. The road to the wedding is incredibly fun, but balanced with a sad moment when Lady Jasmine is once again confronted by her intolerant, dead-naming parents. It is a scene that is heartbreaking but necessary, as a reminder that violence against the trans community, both emotional and physical, is a tragic epidemic (as Jackson has observed).
Deftly directed by Kubbi, When We Practice to Deceive is, a Jackson puts it “a love letter to the trans community.” It’s an essential work that comes at a pivotal moment, and a triumph for Jackson and the cast and crew.
ALL THE WORLD IS THIS STAGE: Jay Michaels and New York Shakespeare Launch “The Global Bard Initiative”
NEW YORK, NY — In a world increasingly driven by digital synthesis, two titans of the theatrical community are returning to the raw power of the human voice. Jay Michaels Global Communications (JMGC) and New York Shakespeare are proud to announce the launch of The Global Bard Initiative, a worldwide search for seasoned professional, untapped talent, and the next generation of classical performers.
“This isn’t just a contest,” says Rodney Hakim, founder of New York Shakespeare, “it’s a movement to democratize the works of William Shakespeare. By stripping away the barriers of geography and language, the Initiative seeks to prove that the Bard’s 400-year-old insights remain the heartbeat of the modern global stage.”
THE CHALLENGE: HUMAN VS. ARTIFICIAL
In a bold stand for artistic integrity, the Sponsor has issued a strict “Human-Only” mandate. While technology is used to broadcast the event, the performances themselves must remain pure.
“We are looking for soul, not software,” says Industry notable, Jay Michaels. “At a time when AI can mimic almost anything, we are seeking the irreplaceable spark of a live performer.”
HOW TO ENTER: FROM SCREEN TO STAGE
The Global Bard Initiative is open to independent artists and theatrical institutions worldwide. The journey from digital submission to a New York spotlight follows a rigorous three-phase path:
- Phase I (The Digital Call): Actors may submit up to five (5) Shakespearean soliloquies via video (MP4 or YouTube link).
- Phase II (The NYC Call-Backs): Selected finalists will perform live at a New York City venue in August 2026 (possible telecast opportunities for international artists).
- Phase III (The Global Finals): The best of the best will compete in a grand finale in September 2026, which will be simulcast to a worldwide audience and recorded for Channel Indie TV.
Submission Requirements at a Glance
Exclusively William Shakespeare (Solo Monologues) in any language (Non-English performances must include subtitles) of a Maximum of 5 minutes per video.
No fees to enter
Deadline: July 1, 2026
SEND ENTRIES TO info@jaymichaelsarts.com
GLOBAL REACH & MEDIA IMPACT: The Global Bard Initiative is designed to provide massive exposure for participating artists.
Finalists will have their performances reviewed by accredited professionals and featured on global streaming platforms. By participating, artists join a prestigious roster of talent showcased by JMGC and New York Shakespeare, gaining a non-exclusive, worldwide platform for their craft.
READY TO TAKE THE STAGE?
Digital submissions and biographies should be directed to: INFO@JAYMICHAELSARTS.COM.
About Jay Michaels Global Communications & New York Shakespeare:
Dedicated to the promotion of independent artists and the preservation of classical theater, these organizations collaborate to bring high-caliber performance art to diverse audiences across the globe.
Diamond Mesh Incorporated Unveils the 2026 “ManiFestival” Lineup
A Provocative New Summer Theatre Experience Set to Ignite the NYC Circuit
NEW YORK, NY — This summer, the New York City theater landscape gains a provocative new heartbeat. Diamond Mesh Incorporated — Theatrical Productions is proud to announce the inaugural Diamond Mesh ManiFestival, running from July 16th to August 9th, 2026, at the iconic Paradise Factory Theatre.
The ManiFestival asks the questions we often fear to voice. The answers lie within a curated slate of explosive mainstage productions, signature series events, and high-octane “one night only” showings that challenge the boundaries of legacy, addiction, and the quest for the “Next Great American Play.”
MAINSTAGE PRODUCTIONS
Running Thursday – Saturday (Evenings) and Sunday (Matinees)
The Silly William Gambit | By Matt Bader
Thu-Sat @ 6:15 PM | Sun @ 5:45 PM
Eccentric chess prodigy Silly William finds himself on a train bound for hell (or Philadelphia, depending on who you ask). When a mysterious entity—known for the lethal 4-move Checkmate Attack—challenges him, William must play seven matches in real-time on stage to win his freedom and unravel his fractured past.
Piss.JPG (Working Title) | By Justin Jager & Michael Gardiner
Thu-Sat @ 8:00 PM | Sun @ 7:30 PM Heralded as “The Next Great American Drama,” this production is a Gen Z Waiting for Godot for a digital age. Cryptic, bold, and unapologetic, the creators have stated there will be “no further questions at this time.”
Club 27: A One Woman Confessional Cabaret By Maeve Z. O’Connor
Thu-Sat @ 9:45 PM | Sun @ 3:00 PM Join a nameless, fabulous host in a liminal rock & roll nightmare. Grappling with fame, legacy, and an enigmatic pianist, she explores the high cost of artistic immortality. When sex, drugs, and rock & roll convene, how do you make it out famous and alive?
SIGNATURE SERIES
Deep-dives into unconventional narratives.
- The Ballad of Bonder Thrasher Fitzqualudes (Fletcher Michael): A comedy about an “apartment ball” champion who swaps brains with Christopher Marlowe to survive an MFA program. — July 20 (7:45), July 21 (9:15), July 25 (2:00)
- How Not to Fund a Honeymoon (Stephanie Greenwood): A desperate couple attempts to rob their aunt’s house. High stakes, one rock, and a lot of hope that she’s actually on holiday. — July 27 & 28 (7:45), Aug 1 (2:00)
- Selkie Woman (Zoe Stanton-Savitz): An intimate journey of girlhood and friendship following Layla and JJ from ages 12 to 18. — July 27 & 28 (9:15), Aug 2 (1:00)
- A Humorless Exploration of Humanity (Ryan Sickles): A grief-stricken reality star accidentally lets an alien into her living room. A study on loneliness and the red light that never turns off. — Aug 3 & 4 (6:00), Aug 8 (2:00)
- My Ghosts (David & Erica Laros): A madcap journey in a haunted clocktower where writer Cab Curio fends off the inner critics of Shakespeare and Marlowe to find his true self. — Aug 3 & 4, Aug 8 (3:30)
ONE NIGHT ONLY & LIMITED ENGAGEMENTS
Raw, experimental, and fleeting.
- The Rosary Through Which We Talk to the God We (Don’t) Share (Alejandra Cepeda Batiz): July 20 @ 6:00 PM. A powerful exploration of queer identity vs. religious tradition.
- It’s Five O’Clock Somewhere (Justin Jager & Friends): July 20 @ 9:15 PM. Staged readings of plays written under the “influence.” A testament to friendship and the dangers of Google Docs.
- Fingers Crossed (Stacy Cancelarich): July 21 @ 6:00 PM. A darkly poignant solo show about caring for a dying father during the COVID-19 lockdown. Directed by Michael Gardiner.
- Ruff Ruff Ruff Ruff I’m a Dog (Atlas Kazan): July 21 @ 7:45 PM. Diogenes humiliates Plato in a squabble over virtue and the point of Western philosophy.
- Princess Fantasy! (Alexandra Brokowski): July 26 @ 1:00 PM. A long-dormant princess navigates dreams and sleep paralysis demons on her path to the throne.
- Songs I Sing in the Shower (Danielle MacMath): July 27 @ 6:00 PM. A comedic solo manifestation of childhood dreams and hot-water catharsis.
- The March Hare (Amanda DeLalla): Aug 4 @ 7:45 PM. A contemporary fairytale following a neurodivergent woman in a Manhattan teahouse.
EVENT SERIES: BEYOND THE STAGE
- “Interface” Screening with Umami (Justin Tomchuk): July 29 (TBD). A rare screening of the 2-hour animated sci-fi epic followed by a talk-back with the creator.
- Front and Center: Aug 5 (TBD). A showcase of original work written and performed by the ManiFestival’s own front-of-house staff.
- Clowning Around (After Hours): Aug 5 (TBD). Performers shed their noses and shoes to reveal their offstage artistry in dance, music, and theatre.
- Rumours: In the Room: Aug 5 (TBD). An intimate, acoustic reimagining of the Fleetwood Mac classic, where the music becomes a weapon in a dissolving recording session.
TICKETING & INFORMATION
Experience the future of New York independent theatre. For performance schedules and tickets, visit: https://www.diamondmeshinc.com/
#DiamondMesh #ManiFestival2026 #NYCTheatre #SupportIndieArt
“The NPR of Theatre” Approaches 5th Anniversary:Stage Whisper Launches $15K Fundraising Campaign to Sustain Independent Arts Journalism
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NEW YORK, NY — Since 2020, what began as a humble conversation at a dining room table has evolved into the heartbeat of the independent arts scene. Today, Stage Whisper, the #1 podcast for independent artists, announces its 5th Anniversary Campaign, seeking to raise $15,000 to ensure that the voices of New York’s creators continue to be heard loud and clear through 2026
Five Years of Amplifying the UnseenAs Stage Whisper approaches its fifth year in July 2026, its impact is undeniable. Having facilitated over 1,550 interviews and covering more than 1,000 shows annually, the platform has become a vital lifeline for indie theatre, dance, opera, film, and poetry.”Stage Whisper is the NPR of theatre podcasts,” says actress Laura Shoop, echoing a sentiment shared by thousands of listeners. For many creators, the platform is more than just a media outlet; according to PR strategist Jay Michaels, “Stage Whisper has become the difference between success and total anonymity for many arts companies.”
The “Hard Reality” of Independent MediaDespite achieving 2.4 million annual social media interactions and surpassing 100,000 downloads, Stage Whisper remains a fiercely independent, unbiased beacon. To keep its content free for both artists and audiences, the team operates on a grueling 90-hour weekly production schedule.
The $15,000 goal will directly fund the essential “behind-the-scenes” infrastructure required to maintain this pace in New York City, including:
Show Operations: Studio space, global broadcast equipment, and high-speed tech.
On-the-Ground Coverage: Transportation and tickets to 5+ shows a week to ensure no artist is overlooked.
The Human Element: Supporting the basic stability—from medical bills to childcare—that allows the production team to stay on air.
Give a “High-Five” for the Arts
To celebrate five years of service, Stage Whisper is inviting its community to participate in the “High-Five” initiative:
The $5 High-Five: A small gesture with a massive impact. If every past guest and listener gave just $5, the goal would be met instantly.
Become a Producer: Larger contributions serve as a direct investment in the future of arts journalism.
SHOUT the Whisper: Supporters are encouraged to share the campaign to help find patrons who believe independent voices matter.
A Tax-Deductible Investment in Culture
In a show of community solidarity, Genesis Repertory Ensemble, Inc.—the arts and education organization chaired by Jay Michaels—will serve as the fundraising sponsor. Consequently, all donations to Stage Whisper are tax-deductible, allowing patrons to support the arts while receiving a federal tax benefit.”The arts are the heartbeat of our community,” says the Stage Whisper Team. “But that heartbeat needs a home. We are asking our community to help us keep the mic live.”
To donate or learn more, please visit: https://gofund.me/e12f0a5f0
Gothic Musical “MY GHOSTS”to Headline ‘One Night Only” Seriesat Inaugural ManiFestival in NYC
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NEW YORK, NY — This summer, the spirits of literary giants will haunt the New York stage as Laros Theatre presents a special, one-night-only showing of the new gothic musical, MY GHOSTS.
The production serves as a featured event of the ManiFestival, an inaugural new works festival produced by Diamond Mesh Inc. Theatrical Productions (led by Matt Bader and Faith Pasch). Scheduled for August 4 at 9:15 p.m., the performance acts as a “Grand Finale” for the festival’s special event series, intentionally timed to celebrate the birth of romantic poet Percy Bysshe Shelley—the radical thinker and husband to Frankenstein creator, Mary Shelley.
A Tunefully Dark Comedy of Literary ProportionsMY GHOSTS is a fantastical dark musical comedy that pulls back the curtain on the agony of creation. The story follows acclaimed author Cab Curio as he struggles to defeat his most relentless “inner critics” — the literal ghosts of Shakespeare, Marlowe, and Wilson. Racing against a ticking clock, Curio seeks the aid of Lenore, a mysterious clock tower ghost with a secret of her own, in a desperate bid to find his voice before his time runs out.
The musical is the brainchild of a powerhouse creative duo:Book by Erica Elsa Laros: A poet, artist, and New York Times-published obituary writer.Music & Lyrics by David Laros: An international piano entertainer and veteran musical theatre composer and director.
MY GHOSTS had two successful workshop production in New York prior to this off-Broadway showing. It is also featured on Channel Indie TV.
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The ManiFestival Mission: Reclaiming ConnectionThe ManiFestival (running July 16th – August 9th) arrives at a time of deep digital isolation. Diamond Mesh Inc. created the festival as a response to the “why” behind modern loneliness, seeking to build a bridge between the artist and the audience.“You did not stumble upon these questions. You found them,” says the Diamond Mesh mission statement.
“We have been looking for you too.”The Mainstage LineupIn addition to MY GHOSTS and a series of one & two night only special events, the ManiFestival features three anchor productions:
Club 27 (Written by Maeve Z. O’Connor; Starring Faith Pasch): A confessional cabaret grappling with the spirits of Janis Joplin, Amy Winehouse, and the infamous “27 Club.”
Piss.JPG (Working Title) (Written by/Starring Michael Gardiner & Justin Jager; Dir. Daniel Yaiullo): A “Gen Z Waiting for Godot“—an absurd romp through the American stage that is as life-affirming as it is impossible to explain.
The Silly William Gambit (Written by/Starring Matt Bader; Dir. Justin Jager): An eccentric chess prodigy plays seven real-time matches against a mysterious entity on a train bound for Hell (or Philadelphia).
TICKETS & SHOWTIME for MY GHOSTS – August 4 @ 9:15 p.m.Full ManiFestival schedule: July 16 – August 9, 2026
Contact info@jaymichaelsarts.com
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