Jim Catapano examines A Legend Restored with the ATA production of Kenthedo Robinson‘s The Lewis & Clark Expedition: The Story of York
Kenthedo Robinson‘s The Lewis & Clark Expedition: The Story of York Returns a Hero to His Rightful Place in American History
“If a man can become a slave, a slave can become a man.”
In 1804, a country in its infancy was determined to explore the uncharted land that would soon be part of its territory. The treacherous and dangerous journey was famously undertaken by Meriwether Lewis and William Clark, but few know of the man who accompanied them and was utterly essential to the success of the quest: York, an African-American enslaved by Clark.
York is portrayed with astonishing power and authenticity by Rommell Sermons, who we see discussing his being chosen for the expedition with his wife Reeva (Marsha St. Julien; portrayed later in the run by Zsay Moore). Reeva is deeply unhappy with the idea of York going into certain danger with his white oppressors. Though York is loyal to Clark (Nicholas Dodge) because “Clark is loyal to him”, Reeva is much more skeptical about the nature of the relationship, a foreshadowing that will lead to a devastating revelation at the end of the play. Indeed, Clark seems somewhat benevolent, especially in contrast to Lewis (Travis Bergmann). Lewis here is seen to be a raging bigot, seething with contempt for York and threatening him with the whip at every opportunity (despite not having the “authority” to do so), something his “master” Clark has never done. Lewis is out for fortune and glory while Clark purports to be more nobly motivated by the chance to grow and unite the young country.
“I hate you because you exist!” screams Lewis at York, forever paranoid that the slaves and the indigenous people they are about to displace will rise up against their oppressors. Though Clark appears to respect and even care for York, he still refers to him as property and refuses to agree to give him his freedom, only mumbling that he will “revisit” the notion upon their return. It becomes clear that Clark is only good to York because he needs him.
And York is indeed crucial to the treacherous journey, his intelligence, skills and strength proving indispensable. The indigenous tribes encountered are fascinated by York, having never seen a person of African descent before, astonished that his dark “paint” doesn’t wipe off. After a tense face-off with Chief Cameawaite (Kevin Leonard), it is shown that his very presence provides essential assistance to the expedition in their dealings with the Native Americans they encounter. The indigenous peoples are portrayed by a talented cast including Sebastian Arteta (Chief Anapae), James Oliver (Chief Tall Crow), LeeSandra Moore (Sonomo/Stage Manager) and Ms. D (Highshee/Assistant Stage Manager). As the journey continues, events are cleverly linked by Clark’s correspondence with his back-home brother John (Alex Silverman).
York saves the day at every turn, becoming an icon to the native tribes but taken for granted by his own team, who still see him as property. He cares for a very ill Clark; he looks after Sacagawea (Natasha Sahs), an indigenous teenager who assists the expedition and travels with them all the way to the Pacific Ocean; and even saves his nemesis Lewis from a bear attack, in a sequence that is fantastically realized through excellent choreography and sound design (Lighting/Sound Liam Riordan).
Lewis’ utter lack of gratitude and his doubling down on his profound hatred is a chilling reminder of the depths of white supremacy that are still in evidence over 200 years later.
York’s spiritual encounter with the One From The Mountain Top (Jimena Rosas) gives him agency, self-worth, and a sense of purpose that will prove crucial upon his return from the journey, as the play concludes in a sequence of horrifying but powerfully depicted events that reveal the fates of Lewis and Reeva, and destroy any notion of Clark being a good man—sometimes evil and bigotry is more subtle than that displayed by the raging Lewis (a fact that those watching in 2026 need to stay aware of). This is where the production is at its most moving, as York refuses to be dominated and oppressed any longer; his self-actualization as he rises from the horror around him creates a triumphant resolution.
Written and directed by Kenthedo Robinson (with assistant direction by Andre Minkins), The Lewis & Clark Expedition: The Story of York sets history right, putting the man who was known as “The Bear God” back into the narrative, pulled from the obscurity where the history books had unfairly but predictably relegated him. The three leads, and the always exceptional Leonard and Sahs, are a wonder to watch, abetted deftly by a supporting cast that gels beautifully and is clearly moved by the important story they’re here to tell.
“It is better to walk into freedom.”
The Lewis & Clark Expedition: The Story of York runs at the John Collum Theatre at the American Theatre of Actors through February 22. It is presented as part of the African American Playwrights Initiative at the ATA.
PHOTOS BY DAN LANE WILLIAMS
New Theatrical Production Company, Diamond Mesh Inc., Announces “The Manifestival:” A New Frontier for NYC Independent Theater
In a world increasingly defined by digital isolation and existential questioning, a new theatrical force is rising to reclaim the stage. Diamond Mesh Inc.Theatrical Productions, led by producers Matt Bader and Faith Pasch, is proud to announce the inaugural Manifestival, a new works festival running from July 16th to August 9th in New York City.
The Search for Connection
Diamond Mesh is more than a production company; it is a response to the modern human condition. Launching with a provocative philosophical inquiry, the company’s mission centers on the “why” behind our collective loneliness.
“You did not stumble upon these questions. You found them. Just like you found this,” says the company’s statement. “We are Diamond Mesh. We have been looking for you too.”
The Manifestival: A Call for Submissions
The Manifestival is currently seeking digital submissions of new, 60–75 minute plays designed for intimate, character-driven production. Designed to strip theater down to its rawest, most impactful form, the festival emphasizes storytelling over spectacle.
Submission Guidelines & Opportunities:
- The Format: Scripts must feature a cast of five actors or fewer.
- The Aesthetic: Adaptable to minimal design (sparse set: one table, two chairs).
- The Series:
–The Signature Series: a Group of productions having a limited three performances during the festival.
–One Night Only Series: A high-impact, single-evening performance.
The MODEL: In a rare move for the NYC festival circuit, selected productions keep 100% of their ticket sales, providing a sustainable platform for playwrights & creators. Playwrights are encouraged to submit their work via the Official Manifestival Submission Form. Slots are assigned on a first-come, first-served basis.
Meet the Founding Executive Producers:
Faith Pasch — A New York City-based powerhouse, Pasch is an actress, singer, and producer with credits ranging from the I Was a Teenage She-Devil UK Premier to the Disney Cruise Line. A champion for marginalized voices, Pasch recently founded Faith Pasch Productions and co-founded Fate Productions, a company dedicated to highlighting female and non-binary voices in the cabaret circuit.
Matt Bader — A versatile actor, writer, and producer hailing from Milford, CT, Bader brings a wealth of international experience to Diamond Mesh. His past producing credits include The Silly William Gambit at the Edinburgh Fringe Festival. As a performer, he is known for his work in The Mystery of Edwin Drood (Connecticut Repertory Theater), the series The Startup, and his ongoing work with The Dinner Detective.
Join the Movement
- Website: diamondmeshinc.com
- Instagram: @diamondmeshinc
- Email: Mattbader@diamondmeshinc.com | Faithpasch@diamondmeshinc.com
The Winter of Discontent Finds Its Heat: Zachary C. Clark Takes the Throne in Atlas Shakespeare’s Richard III
NEW YORK CITY — The sun of York is setting, and in its place, a shadow looms over the Wild Project. Following their sweeping success with the Henry VI trilogy, Atlas Shakespeare Company is concluding the Wars of the Roses with a visceral, blood-soaked production of Richard III.
Running from February 17 to March 1, this limited Off-Off-Broadway engagement promises a return to classical roots, complete with period-accurate dress and live sword-fighting. But at the center of this political storm is a performance that has been a year in the making: Zachary C. Clark as the titular villain.
A Villain Formed in the Shadows
For Clark, the role of Richard is more than just a performance; it is a culmination. Having played Richard in the company’s previous Henry VI productions, Clark has had the rare opportunity to live in the character’s skin long before he ever reached for the crown.
“It’s fun to have the full story,” Clark notes. “So much of Richard’s backstory isn’t really explored in many productions because Henry VI is rarely performed.”
This continuity allows for a Richard that is far more than a caricature of evil. Clark approaches the role—the second-largest in the Shakespearean canon after Hamlet—with an eye for the “vulnerability despite how horrible he is.” It is a psychological tightrope walk between a “self-congratulatorily sociopathic” mastermind and a man unraveling under the weight of his own ambition.
The Descent into Madness
While the first half of the play showcases a charismatic strategist outmaneuvering his “dangerously suggestible” brother, King Edward, the latter half explores a much darker territory. Clark identifies the “descent to the point of near madness” as his greatest challenge.
Key Themes Explored in This Production:
- Political Melodrama: The shifting allegiances and the desperation to retain power.
- The Weight of Curses: A world where the supernatural is as real as the steel of a blade.
- The Human Cost: A portrait of how a quest for the crown costs a man his family and, ultimately, his sanity.
Classical Craft for a Modern Audience
Founders Adriana Alter and Alexander Nero have built Atlas Shakespeare Company on the principle that the Bard’s work should be vivid, relatable, and profoundly human. By utilizing full classical dress and high-stakes choreography, the company aims to strip away the “dusty and stale” reputation Shakespeare sometimes carries.
Clark echoes this mission, stating that the primary goal is clear storytelling. “I think as long as we tell the story in a way the audience will understand, we’ve won. To keep an audience engaged and following the plot is the most important goal.”
Whether it’s the chilling delivery of Clark’s favorite line—“So wise so young, they say, do never live long”—or the sparks flying during the live combat, this production is designed to be a “cautionary tale about being careful what you wish for.”
Performance Details
- Dates: February 17 – March 1
- Venue: Wild Project, 195 East 3rd Street, NYC
- Tickets: Available at atlasshakespearecompany.com/tickets
Don’t miss the “bloodsoaked finale” of a saga that has captivated New York theatergoers for the past year. Come witness the rise—and the inevitable, crashing fall—of Shakespeare’s first great villain.
Broadway Legend Meets Baltimore Nightlife: Flipping the Script Productions Announces “Musicals Without Music”
BALTIMORE, MD — Flipping the Script Productions (FTS) is thrilled to announce its upcoming presentation of Peter Filichia’s “Musicals Without Music,” directed by George Andre Tittle. This unique, immersive production will play for two performances only at the
La Familia Soundstage on Sunday, March 29, 2026, @ 2:00 & 6:00 PM.
A New Way to Experience Theater
Breaking away from the traditional proscenium arch, “Musicals Without Music” transforms Baltimore’s La Familia Soundstage into an intimate, high-energy nightclub setting. Ditching rows of theater seats for tables and chairs, the production promises to “break the fourth wall,” bringing the action directly into the audience for a truly interactive experience.
The Show: SNL Meets Broadway
“Musicals Without Music” is exactly what it sounds like. Through a series of fast-moving, “SNL-style” sketches, the show explores the hilarious and poignant moments that happen after the music stops.
“Peter Filichia has a way of honoring musical theatre while also poking at it, questioning it, and celebrating the wonderful spaces it lives in,” says FTS Founder Stephen Rourke.
The Creative Powerhouse
The production brings together some of the most respected names in the industry:
- Playwright Peter Filichia: A legendary New York-based critic, author, and former President of the Drama Desk. Filichia has seen over 11,000 theater performances and is a renowned authority on Broadway history.
- Director George Andre Tittle: A disciple of the late Mike Nichols, Tittle is known for his dynamic vision and deep script analysis. His past credits include The Crucible and Waiting for Godot.
- Producer Stephen Rourke: Founder of Flipping the Script Productions, Rourke is a veteran of the Baltimore theater scene and a member of Ken Davenport’s TheaterMakers Studio.
Flipping the Script’s Mission
Founded by Stephen Rourke, FTS is dedicated to championing original work and elevating voices from historically underrepresented communities—including women, Black artists, people of color, and the LGBTQ community. “Musicals Without Music” serves as a cornerstone of this mission, bringing smart, original theater to the Baltimore community.
Event Details
- What: Musicals Without Music by Peter Filichia
- When: Sunday, March 29, 2026 | 2:00 PM & 6:00 PM
- Where: La Familia Soundstage | 836 Guilford Avenue, Baltimore, MD 21202
Tickets & Casting To Be Announced Shortly.
About Flipping the Script Productions
Flipping the Script Productions (FTS) was founded by actor, attorney, and producer Stephen Rourke to bring new, diverse, and underrepresented voices to the stage. By focusing on script development and innovative staging, FTS seeks to create theatrical experiences that are as inclusive as they are entertaining.
When the Truth Is Found To (Possibly) Be Lies: Jim Catapano attends David Gutierrez’ RETRACTION
David Guiterrez’ Masterful RETRACTION Looks at Real Life Events that Nearly Damaged a Movement for Change
“If your mother tells you she loves you… check it out,” is the first statement we hear from journalist Wendy Denison (Renata Friedman), ambitious reporter for the popular magazine Heart Rhythm. This stunning declaration immediately sets the tone of uncertainty and discomfort that shadows RETRACTION, a compelling and timely work by David Gutierrez.
The title refers to what Rolling Stone actually found itself having to print in the aftermath of an article they published in November 2014. The piece, “A Rape on Campus,” claimed that a woman had been attacked by several fraternity members as part of an initiation ritual. Discrepancies in the account of that evening led to doubt and finally discredit, leading to lawsuits, and ultimately threatening the very cause the magazine was attempting to champion.
RETRACTION goes backwards and forwards in time to tell a fictionalized version of this event—at the center of which is Lacey (Rachel Resheff), a college student at Carolina Atlantic University. Lacey’s revelations regarding her attack at the Frat House draw the attention of Wendy, who wishes to bring awareness to the epidemic of sexual assault against women, and is supported in this endeavor by her editor Zack (Nathaniel Stampley). Wendy also speaks to Gillian (Bella Serrano), a fellow student and assault survivor, who is a steady presence during the rollercoaster of events that follow. Wendy publishes Lacey’s story in Heart Rhythm, and the article is scathing in its condemnation of the failure of University authorities to address the issue. It’s enough to create widespread outrage and make a Pariah of Carolina Atlantic’s Dean Gasso (Shannon Dorsey), who begins getting death threats for her perceived failure to protect her student.
But it is soon learned that the usually thorough Wendy was blinded by her passion for the cause, and made fundamental mistakes in her reporting. The recollections of the friends that Lacey had run to on the night of the alleged attack do not align with the events as portrayed in the piece. Chief among these is Travis (Charlie Webb), who had failed to reciprocate Lacey’s feelings right before she went on the date with the junior that ended in the attack she describes; along with Chris (Carson McCalley) and Melissa (Eliana Rowe), Wendy had failed to fact check with him or get any information from or regarding the alleged perpetrators. Lacey claims abandonment by all her friends, accusing them of words and actions that they later vehemently deny Add to that a competing reporter Victor (also McCalley) who suspects that things are not what they seem, plus Lacey’s subsequent admission that she felt her story “was true at the time,” and the situation implodes to the point where the movement to identify and stop rampant sexual abuse is in itself in danger.
The cast are collectively compelling in these difficult roles, with Friedman and Resheff anchoring with intensity and a command of their difficult roles. All the others deftly play dual parts…a podcaster, reporters, and lawyers who are all woven into the storyline. The stark set design by Julian van Haubrich complements the production well, with its white office tables, towering street lights and rolling chairs that at one powerful moment are rolled across the stage by the actors under the harsh, interrogation room -like lighting (by Adrien Yuen).
Under the expert guidance of director Caroline Fairweather and with the skillful writing by Guiterrez, RETRACTION handles an extremely delicate issue with sensitivity and without condemnation. It is never implicitly stated that Lacey is lying; it’s made clear in the narrative that PTSD could be affecting her memory of what was a very real assault. Were there 6 guys or 4? Was it dark or could she see them? Was the blood on her dress not there at all, or just too subtle for her friends to notice? Though the real truth (or at least the truth within Wendy and Lacey’s fictional story) is never arrived at in RETRACTION, what we know to be at fault here is the careless reporting that was certainly in evidence in the real life situation, which impacted many lives and ended up putting the safety of women on campus and beyond at further risk. It is a powerful and necessary reminder that these issues must be handled carefully and delicately, both in art and in life. RETRACTION doesn’t provide easy answers, but it will leave one determined to ask the right questions.
RETRACTION runs at the The Shiner Theatre at The Sheen Center for Thought and Culture through January 31, 2026.
“YEARS TO THE DAY” Makes Highly Anticipated New York Debut at American Theatre of Actors: Emmy Award Winners, Jeff LeBeau and Peter Zizzo, Star in Allen Barton’s Searing “Shaw for the 21st Century”
Renaissance man Allen Barton brings his critically acclaimed play, YEARS TO THE DAY, to the landmark American Theatre of Actors (314 W. 54th St.) for its New York City premiere. Opening February 25, the production stars Emmy Award winners Jeff LeBeau and Peter Zizzo in a play named one of the “10 Best New Plays” by LA Weekly.
First premiering in 2013, YEARS TO THE DAY has become a global phenomenon, performed in a dozen cities across three continents. The play utilizes the spare construct of a single conversation between two old friends to dissect marriage, social media, the delicate relationship between parents and children, politics, and gay rights. It is a raw, timely exploration of whether friendship can survive the calcification of middle age.
“After meeting an old friend, four years to the day from our last get-together, it struck me that though we knew what phones and computers we were using, we had no clue about each other’s lives,” says playwright Allen Barton. “The script was written to be ‘evergreen’—a timeless treatise on how friendship survives a world that changes more quickly every year.”
The Powerhouse Trio
The production features a unique collaboration of top-tier talent:
Allen Barton (Playwright): A Los Angeles-based “Renaissance man,” Barton is a playwright, director, Steinway Artist classical pianist, and owner of the renowned Beverly Hills Playhouse. His previous works include Circling, Disconnection, and Engagement.
Jeff LeBeau (Jeff): An Emmy Award winner with extensive credits including the Geffen Playhouse (Hurlyburly), Circle Rep, and film/TV roles in The Practice and Life as a House.
Peter Zizzo (Dan): An Emmy and Grammy Award-winning songwriter and producer who has sold over 100 million records with artists like Celine Dion, Jennifer Lopez, and Avril Lavigne.
Critical Acclaim
- “A social satire that’s simply George Bernard Shaw for the 21st century… an hour and a half of delight.” — LA Weekly
- “David Mamet meets Bret Easton Ellis… dialogue fit for massive adult human consumption.” — Joe Straw Theatre Blog
- “Insightful dissection of some big ideas about life and how to live it.” — The Public Reviews, Edinburgh
- What: YEARS TO THE DAY by Allen Barton
- When: Opening February 25. (Full schedule to be announced).
- Where: American Theatre of Actors, 314 W. 54th St., New York City.
- Tickets: To be announced shortly.
About ALLEN BARTON (Writer/Director) is a Los Angeles-based playwright/author, director, teacher and classical pianist. As Playwright: OUTRAGE (2023), CIRCLING (2020), DISCONNECTION (2015), YEARS TO THE DAY (2013), and ENGAGEMENT (2010). YEARS TO THE DAY was named one of Los Angeles’ 10 Best New Plays by LA Weekly, and has since been performed in ten cities across three continents. As Supervising Director for Beverly Hills Playhouse: SEX WITH STRANGERS, THE PURPLE LOUNGE, LOST LAKE, BELLEVILLE, AN INFINITE ACHE, A DOLL’S HOUSE. Allen earned many years’ worth of L.A. stage, television and film credits as an actor, and he is also active as a classical pianist – he was a prizewinner in the 2002 Los Angeles Liszt Society Competition, has recorded five compact discs, and performs solo recitals on both coasts. In 2010 he was made a Steinway Artist. A native of the Boston area, a graduate of Harvard University and longtime student of the late Milton Katselas, Allen is currently owner and principal teacher at the renowned Beverly Hills Playhouse acting school. A compilation of his work as a playwright, ALLEN BARTON: FIVE PLAYS, has just been released and is available at Amazon.
The King of Villains in the Concrete Jungle: Adriana Alter and Atlas Shakespeare Company Take on Richard III
In the bustling landscape of New York theater, where experimental “black box” concepts and modern deconstructions often dominate the stage, Adriana Alter is championing a different kind of revolution: the return to tradition.
As the co-founder and artistic director of Atlas Shakespeare Company, Alter is currently preparing for an ambitious, extended run of Richard III. For Alter, Shakespeare isn’t just a literary obligation; it’s a lifelong obsession that she believes holds the key to modern empathy.
A Director’s Secret Weapon
While many directors approach the Bard with a sense of intimidation, Alter finds a unique freedom in the 400-year-old texts. “I’ve found that Shakespeare is by far the easiest thing to direct!” she admits.
Her reasoning is rooted in the practical history of the theater. Because Shakespeare was an actor writing for a fast-paced repertory system with minimal rehearsal time, he “baked” the direction into the language itself. While modern plays often require a director to build character depth from scratch, Alter notes that Shakespeare has already done the heavy lifting. “Right off the page, these are three-dimensional, engaging characters, with believable relationships and satisfying narrative arcs.”
The “Likable” Monster
At the heart of their current production is perhaps theater’s most famous “unapologetically terrible person.” Alter describes Richard III not as a somber tragedy, but as a “wild ride” through unhinged political schemes.
“Richard is one of the earliest examples of a trope that continues to be popular in modern media: a charismatic, manipulative, unsettlingly likable villain whom the audience can’t help but root for.”
What sets this production apart is the actor bringing that charisma to life. Zachary C. Clark, who previously played Richard in Atlas’s production of Henry VI, Part III, returns to the role. According to Alter, the audience’s existing relationship with Clark’s portrayal adds a layer of complicity—we have watched this character grow from a soldier into a king, and now we must watch him descend into madness.
Finishing the Epic
This production serves as a grand finale for the company. Having just completed the Henry VI trilogy, Richard III is the natural conclusion to the “Wars of the Roses” cycle. It also marks a milestone for actress Charlotte Blacklock, who has portrayed Queen Margaret across all four plays.
“Now that she’s done such a truly extraordinary job of portraying each distinct stage of Margaret’s journey, we certainly couldn’t leave that story unfinished,” Alter explains.
Period Costumes and Steel Blades
Atlas Shakespeare Company is leaning into the very things that some might fear: the full script, period-accurate costumes, and live sword fights. To Alter, these aren’t “stodgy” choices—they are tools for escapism.
By working with fight choreographer Leighton Schlanger, the company has crafted an “epic battle sequence” designed to thrill. “Period costumes go a long way towards creating that world,” Alter says. “We’re offering audiences an opportunity to take a break from their daily lives and explore a whole different world.”
The Marvel Connection
When asked why so many elite actors from the Marvel Cinematic Universe or horror genres start in Shakespeare, Alter points to the “larger-than-life” demands of the text.
“Shakespeare teaches actors how to engage with unfamiliar worlds and how to embody larger-than-life characters without sacrificing psychological authenticity,” she says. “That’s a valuable foundation for anyone who wants to transition into genres where you have to persuade the audience to suspend disbelief.”
Looking Ahead
The goal for Atlas is nothing less than the full Shakespearean canon. By extending the run of Richard III, they hope to reach local schools and businesses, proving that these plays aren’t just for academics—they are for everyone who loves a good story.
https://www.atlasshakespearecompany.com/tickets
Jim Catapano witnesses Grief, Rage and the Ruins of a Revolution: Dennis Leroy Kangalee’s Masterpiece My Dying City: Vol II Looks at Profound Grief both Cultural and Personal
Life Partners Paul (Che Ayende) and Nya (Melissa Roth) were once also partners in activism; their progressive radio show The Social Justice Suicide Hour is a relic of the early 2000s, which now feels like a century ago. It is the one-year anniversary of their son Edmund’s passing by suicide, and My Dying City: Vol II—the name of the radio show, with its tragic now-double meaning, is the subtitle—takes place on the day of the memorial. It’s a day set in the reality of here and now, as the country marches toward a fascism that they find themselves too grief-stricken and too exhausted to fight.
Paul and Nya both mourn, but not in the same way; their inability to agree on how to properly grieve and honor their son is driving them apart. Their respective relationships with Edmund were complicated and often turbulent; his tragic decision and the utter absence of closure is burning them up inside, and is complicated further by the arrival of Hedia (Shannon Mastel), Edmund’s love interest from college, whom the couple had never seen or heard about. Hedia’s experience and description of an Edmund they hardly knew plunges Paul and Nya deeper into bitterness. “He didn’t show it,” grumbles Paul when Hedia states that Edmund was proud of them; and he and Nya chuckle and scoff when she describes her passion as “helping people,” demonstrating how much they’ve changed since the days of the radio show.
The tension of this sequence is expertly realized, only to be matched by the arrival of Paul and Nya’s friend Barry (Ward Nixon), and Barry’s colleague Moose (Brandon Geer), who as a toddler had lost his father to a hate crime in the aftermath of 9/11. Barry had entered their lives as a radio show caller and joined the couple on the road to revolution, which has now, in 2026, led to a brick wall—one that, in Barry’s view, was inevitable. “We don’t learn from our history,” he laments. “We can barely tie our shoelaces. You’re talking about a country that’s barely glued together by the blood it shed…held together by a string of lies, instigations to repeat the same nonsense every day.”
One of the most intriguing aspects of My Dying City Vol. II is that everyone in the room is on the same side of the political divide. This is not left versus right—it’s left verses left; to see these activists fighting among themselves is to recognize how much those conflicts contribute to the destruction of the very progressive ends they had joined forces to bring about. They disagree about how to fight; they debate whether there’s still reason to fight at all.
Arguing leads to shouting as an alcohol-fueled rage threatens to consume them. It’s a reminder of a terrible truth; the oppressors can just keep doing what they’re doing, because the rebellion will likely eat itself. The juxtaposition of the inability of the characters to agree on if and how to stay politically engaged parallels Paul and Nya’s conflict on how to “correctly” mourn and move on, making the show a remarkable blend of the personal and the political.
When it is revealed that Edmund was born on Oct 9, 2001, a startling revelation about other events that day leads to a horrifying climax that is devastating to watch but is somewhat inevitable in the aftermath of what we’ve witnessed. It leaves us with a palpable despair that parallels the real-world dread many of us feel outside the confines of the stage in the early days of 2026.
Kangalee’s dialogue is a masterclass in writing that is astonishingly realized by the collective cast, each of whom get an “aria” moment to shine. The words are powerful and poetic. The personal pain and despair of each character is so specific to their own journeys that they are completely unable to connect with each other, thus dissolving any remaining glimmer of hope for the future, both in the country and in their individual lives.
Paul and Nya’s apartment (courtesy of Scenic Designer Nina Pineda) is like another character; the coffee table is strewn with and surrounded by progressive books, magazines and newspapers. A shrine to Edmund, which Nya has decorated with dead flowers, watches over the couple’s record collection. A well-stocked bar that the characters keep returning to as the tension escalates sits near a wall of posters of the once mighty The Social Justice Suicide Hour. The lighting by Nicole E. Lang is masterful, the window depicting day, twilight, and night as events build to a fevered climax. The music also perfectly complements proceedings; the songs of Lauryn Hill, Neil Young & Crazy Horse, and Dead Prez are heard, and the covers of their respective albums visible on stage. Snippets of the Social Justice Suicide Hour are played, a bittersweet reminder of a time when the protagonists were hopeful and determined to change the world. Kangalee supports his script with his own stunning direction, bringing it all together to make My Dying City: Vol II a remarkable theatrical experience and a must-see production for our troubled times.
My Dying City: Vol II is produced by the Kangalee Arts Ensemble. It runs at the American Theater of Actors through Jan 25, 2026.
The Bard in the Boroughs: Rodney Hakim and the Digital Renaissance of “New York Shakespeare”
In a city where the theater is often synonymous with the bright lights of Broadway, Rodney Hakim is carving out a vital, digital niche for the classics. As the owner, writer, and host of New York Shakespeare, Hakim has transformed his lifelong expertise into a premier multimedia platform. Through his popular IGTV series and a sprawling social media presence, he has created a central nervous system for the Shakespearean community in the New York metro area and beyond.
A Renaissance Man for the Modern Era
Rodney Hakim is not just a commentator; he is a veteran of the very boards he discusses. His background is a tapestry of performance and production, spanning:
- Acting & Comedy: A freelance actor and stand-up comic, Hakim’s experience ranges from stage plays and musicals to independent films, voice-overs, and TV industrials.
- Directing & Producing: His creative vision has graced venues like the Queens Theater in the Park and various Off-Off-Broadway stages. Notably, he founded and directed a monthly Shakespeare reading group in partnership with Barnes & Noble, bringing the Bard to the public in accessible, communal spaces.
- Education & Writing: As an acting coach and freelance writer for theater review sites, Hakim bridges the gap between the “how-to” of performance and the critical analysis of the art form. He is currently developing new concepts for screenplays and books.
“New York Shakespeare” on IGTV: The Digital Front Row
At the heart of Hakim’s work is the New York Shakespeare brand. Designed to be a “central resource for all things Shakespeare in New York,” the program serves as a bridge between the stage and the audience, documenting current productions and providing deep-dive intellectual access.
Upcoming Special Event: “Speak the Speech” Winners
Highlighting the program’s commitment to excellence in classical performance, Hakim’s next episode features a powerhouse lineup. The broadcast will showcase the winning Shakespeareans of Channel Indie’s inaugural “SPEAK THE SPEECH” competition.
This exclusive session brings together a unique blend of rising stars and established masters, including:
- Joe Staton
- Sean Gregory Tansey
- Sam Hardy
- Michael Hagins (Classical theater luminary)
This episode promises an insightful look into the mechanics of Shakespearean delivery and the future of classical performance in the digital age.
A Global Community with Local Roots
While the focus is firmly on the “happenings taking place in and around New York City,” the reach of New York Shakespeare is global. By leveraging Instagram, Facebook, YouTube, LinkedIn, and WordPress, Hakim has built a digital archive of the city’s classical heartbeat.
Perhaps most impressively, these resources—including live interviews and online discussion groups—are offered free of charge. This mission of accessibility ensures that “supporting your local Shakespeare” is an invitation open to everyone, regardless of their proximity to a physical theater.
Connect with New York Shakespeare
Whether you are a seasoned actor looking for coaching, a scholar seeking fresh discussion, or a fan wanting to know what’s playing in the park this weekend, Rodney Hakim’s platform is the definitive guide.
- Website: www.nyshakespeare.com
- Email: info@nyshakespeare.com
- Watch: Follow @NewYorkShakespeare on Instagram to catch the latest IGTV broadcasts and live interviews.
The American Theatre of Actors invites you to join us for A REPERTORY OF TWO PLAYS from ground-breaking playwright, Anne L. Thompson-Scretching
The American Theatre of Actors invites you to join us for A REPERTORY OF TWO PLAYS from ground-breaking playwright, Anne L. Thompson-Scretching: A LONG WAY FROM HOME & RESURRECTION (American Theatre of Actors, 314 W. 54th Street, New York City)
A LONG WAY FROM HOME featuring Ms. D, Gina McKinney, Rommell Sermons, Joy Foster, Kevin Leonard, Laquan Hailey, and Phil Oetiker, A Long Way From Home is the second play in Ms. Thompson-Scretching’s “Blood Trilogy.”
Set in the 1960’s, and follows Shanna Taylor’s family, who has migrated from Macon, Georgia to Brooklyn, New York. They rent an old walk-up in an area called Brownsville.
Escaping from Jim Crow and the Klan in the south, the family realizes segregation and civil unrest is in the North too.
Luella, the daughter, is so disenchanted, she gets involved with the “Black Power Movement.” Jacob, her husband, is away from home carousing for women in the streets. His son, Willie, is duty bound to follow in his father’s footsteps.
Shanna is focused on keeping the family together while saving for her dream home and maintaining her Southern values. Jacob’s older brother, Chester, is a New York big shot. He’s employed as a broker at Falco & Son, who shows Shanna a worthless house that’s been redlined by the bank. Chester steals her money and blames it on her husband. Joe Falco is Chester’s boss, who has him blockbusting the neighborhood.
APAP Members, use code ‘APAP’ for a free seat. Use link or Book in APP under “PHYSICAL THEATRE” Contacts: Jessica Jennings at Conference: 917-773-2933 or Jay Michaels at 646-338-5472 / info@jaymichaelsarts.com
RESURRECTION Featuring Ms. D, Gina McKinney, Rommell Sermons, Joy Foster, Kevin Leonard, Laquan Hailey, and Phil Oetiker, A Long Way From Home is the second play in Ms. Thompson-Scretching’s “Blood Trilogy.” Set in the 1960’s, and follows Shanna Taylor’s family, who has migrated from Macon, Georgia to Brooklyn, New York. They rent an old walk-up in an area called Brownsville.
Escaping from Jim Crow and the Klan in the south, the family realizes segregation and civil unrest is in the North too.
Luella, the daughter, is so disenchanted, she gets involved with the “Black Power Movement.” Jacob, her husband, is away from home carousing for women in the streets. His son, Willie, is duty bound to follow in his father’s footsteps.
Shanna is focused on keeping the family together while saving for her dream home and maintaining her Southern values. Jacob’s older brother, Chester, is a New York big shot. He’s employed as a broker at Falco & Son, who shows Shanna a worthless house that’s been redlined by the bank. Chester steals her money and blames it on her husband. Joe Falco is Chester’s boss, who has him blockbusting the neighborhood.
APAP Members, use code ‘APAP’ for a free seat. Use link or Book in APP under “PHYSICAL THEATRE” Contacts: Jessica Jennings at Conference: 917-773-2933 or Jay Michaels at 646-338-5472 / info@jaymichaelsarts.com
American Theatre of Actors, Inc.
American Theatre of Actors, Inc. (ATA) was founded in 1976 by James Jennings to promote the development of new playwrights, directors and actors, and to provide them a creative atmosphere in which to work. The plays are dramas, comedies, and hybrids, dealing with the social and ethical problems of contemporary society.
12,000 actors have worked at ATA including Dennis Quaid, Bruce Willis, Dan Lauria, Chazz Palminteri, Danny Aielo, David Morse, Edie Falco and Kathryn Hahn. Our productions are sometimes grouped as ‘festivals,’ such as a Playwrights Festival or a Directors Festival. In 2016 we began an initiative to feature women in theatre as directors and playwrights, today this is our WIT! (Women in Theatre) program.
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