Music Among the Tumbleweeds: Jim Catapano reviews James Jennings’ New Dancing in the Meadow.
James Jennings’ New Dancing in the Meadow Brings Feel Good Vibes to the ATA
James Jennings, legendary Founder of the American Theatre of Actors, brings another rich character study to the Beckmann Theatre, along with “a little night music”. The setting of Dancing in the Meadow, his latest production, is the home of songwriter Hank Anderson (Rick Jordan) and his wife June (Ginger Kipps), during a New York snowstorm. Hank, now past retirement age but still wonderfully motivated to pursue his art, is working on new material. June, however, is not impressed with the snippets she hears Hank singing, and with his apparent inability to see any of his works in progress to completion.
“If I hear any more of that sh—t, I’m gonna get one of the kids over here to toss your a-ss out into the snowdrift,” snarks June. “Now just cut this crap.” (June’s language is delightfully colorful throughout the play.) Hank was once involved with the Whispering Tumbleweeds, a country band fronted by his old friend Marvin Swing (Ken Coughlin), and boasts of the song he got on their sixth album. But that was 40 years ago, and the two haven’t crossed paths since. June is troubled by what she sees as Hank’s delusions, and would rather he focus on shoveling the snow. But Hank feels sure that a reunion with Marvin is imminent.
“Hey, I got to get ready,” says Hank, “you never know when he might show up.”
Their daughter Lucy (Chiara Aiello), an aspiring singer who just played The Bitter End, arrives to hear her dad’s old stories and her mom’s scoffing. But then, Marvin does indeed appear on their doorstep, resplendent in leather jacket and guitar-emblazoned scarf. He tunes Hank’s 12-string guitar and announces he is indeed here to make music, but wants it to involve more than one Anderson…
Dancing in the Meadow is a lovely piece that shows how the power of music can reunite old friends and connect generations. The interactions among the characters are genuine, moving, and fueled by Jennings’ trademark sparkling dialogue and wisdom about what makes people tick. The veteran cast sparkles in the first act of the production, and then return to the stage for a delightful surprise: Harmony in the Meadow, a concert with Aiello and Coughlin dueting as their characters. Coughlin’s excellent work on the 12-string and rich singing are accompanied by Aiello’s utterly gorgeous vocals, and we are treated to a set of some of the most beloved songs of the 1960s and beyond. Gems such as Joni Mitchell’s “Both Sides Now,” Simon and Garfunkel’s “The Boxer,” and the Righteous Brothers “You’ve Lost That Loving Feeling” are given marvelous readings by the duo, who I’d certainly love to see again in a concert setting. “Send in the Clowns” from the aforementioned A Little Night Music provides one of the most poignant moments, and “(I’ve Had) Time of My Life” from Dirty Dancing is the most uplifting. The half-play, half concert is one of the more joyous experiences you’ll have at the theatre this season, and another feather in the cap of James Jennings and the ATA.
Directed by James Jennings, Dancing in The Meadow runs at the American Theatre of Actors.
“Are We Friends, and Were We Ever?” asks Jim Catapano at YEARS TO DATE’s New York Premiere
Allen Barton’s Masterpiece Years to the Day Takes a Hard Look at Modern Relationships
“How the hell do you live your life unless you know who you are?”
Jeff (Jeff LeBeau) and Dan (Peter Zizzo) met each other and their later partners at the very beginning of college and have been “best friends” ever since…and yet they haven’t seen each other in person in six years. They finally meet over coffee, and it’s the precise anniversary of their last get-together in the flesh. They are in their mid-fifties, a time when a certain “rigidity” can set in for a person in terms of habits and point of view, accompanied by a “this is who I am, deal with it” attitude.
“You are the king of rudeness,” snarks Jeff as they settle in.
“You are the king of puerile, nanny-state intervention!” Dan claps back, but this “old buddy banter” is foreshadowing of the severe disconnection that is soon revealed. They discuss the “latest movie,” which Dan despises but Jeff saw twice; they debate about whether they’re middle-aged or old, and if “50 is the new 40” and how does that effect who they date.
But there’s a discomfort ever-present as the two try to slip into their old roles. The fiery Dan and the comparatively reserved Jeff come across like strangers that just happen to have known some of the same people and shared some experiences. We start to wonder immediately how these two came to be close, as their opposing energies and outlooks are brought to the table. Stunning revelations about each other’s lives come pouring out—important, life-changing, traumatic events that any close friend should have already known about. It’s clear that the notion of them having a deep connection is nonsense; their “friendship” is just a habit, and not one that they’ve cultivated in a healthy way. Jeff and Dan are on opposite sides of the political fence, but it’s never been a problem because Jeff used to downplay his beliefs; his refusal to take up the placating Avatar of old leads to a verbal explosion that nearly drives him out of the get-together. (The political climate is smartly kept vague and thus evergreen; we learn of an unnamed president that has somehow managed a third term, to Jeff’s delight and Dan’s horror.) Now that neither Jeff or Dan are “playing characters”, they find that the “actors” who brought them to life have little basis for a relationship. And yet somehow, their shared history and a genuine caring despite of all the differences just might be strong enough to lower the temperature and leave open the possibility of another meeting in the near future…maybe.
Written and directed by Barton and produced by Mia Christou, Years to The Day first premiered in 2013 to great acclaim and now makes its New York debut in a time when its themes are ever more relevant. Emmy winners LeBeau and Zizzo disappear deftly into their characters, delivering Barton’s musical, witty, rapid-fire dialogue with tremendous skill yet always appearing spontaneous in their interaction. Their body language, tense and awkward, is like another character in the play; seeing these two “buddies” barely look at each other for most of the meeting is chilling. Their unconvincing promise to “call Brenda” after a sad event for the unseen character stuns the audience; we all have a Brenda in our lives we’ve neglected. Seeing Jeff and Dan’s supposed closeness exposed as simply the product of having been in the same place at the same time is devastating as it certainly reflects reality for many in the modern world. In a time of social media false personas, fishing for “likes,” and a phone addiction that allows us to retreat at the first sign of boredom or discomfort, it becomes too easy to not even bother to cultivate a deep connection.
Hilarious, heartbreaking, and thought-provoking, Years to the Day is a must-see and a triumph for Barton, LeBeau, Zizzo and Christou.
“One thing exists at a time,” observes Dan throughout the play; it’s a simple yet astonishing declaration that will stay with you once you realize what it truly means, and the ark of Years to the Day reveals it powerfully.
Years to The Day is performed at the American Theatre of Actors through February 28, 2026.
International Industry Titans Announce NYC Power-Seminar
STOP “ACTING” AND START FIGHTING: International Industry Titans Announce NYC Power-Seminar
Tired of the “starving artist” trope? Ready to actually get on a set with a call sheet that has your name on it?
On Sunday, March 22, the game changes. For one afternoon only, Studios 353 in the heart of Manhattan becomes the “ring” for the most intensive, no-BS actor’s workshop of 2026. This isn’t your typical stuffy drama class; this is a high-octane career injection designed for the next generation of actors who are ready to dominate the global market.
The Lineup: A Global Power Duo: Two industry heavy hitters are joining forces to give Tri-State actors the ultimate competitive edge.
THE AGENT: Jessica Polsky Alotto (Senior Agent, Dryblue Agency). Overseeing North American operations for one of the world’s premiere international agencies, Jessica’s clients are currently on your screens in Dune, Wednesday, Black Mirror, Mission Impossible, and The Gentlemen. She knows exactly what lands a self-tape in the “Yes” pile in London, Paris, and LA.
THE TRAINER: Robert Russell (Master Acting Coach & Industry Titan). With 30 years in the trenches as a Casting Director and Producer, Robert doesn’t “coach”—he trains. Known for his “tough-love” style, he conditions actors like fighters to find the raw, logical truth in every scene.
The Schedule: 4.5 Hours to Change Your Life
1:00 PM – 3:00 PM | The Global Rap Session: Jessica Polsky Alotto breaks down the “Cold Hard Truth” of 2026 casting. Learn how to land international representation, what’s actually happening in major casting offices right now, and how to get on the radar of an elite global roster.
3:00 PM – 3:15 PM | Recovery Break: Shake it off and prep for the ring.
3:15 PM – 5:30 PM | The Acting Dissertation: Robert Russell takes the floor to push you out of your comfort zone. Learn to strip away the “acting” and find the “heart” of the scene so creative teams have no choice but to cast you.“He’s the North Star guiding you through the leviathan that is Hollywood… the man is truly a part of history.” — Albert Reid, Student
Why This Matters for College-Age Actors:
The industry is shifting. Self-tapes are the new currency, and the market is global. If you are waiting for a “break,” you’re already behind. This seminar is about taking your career into your own hands with Discipline, Drive, and Determination.
The Essentials:
WHEN: Sunday, March 22, 2026
WHERE: Studios 353 (353 West 48th St, 2nd Floor, NYC)
DOORS: 12:45 PM (Don’t be late—unassigned seating!)
TICKETS: Starting at $108.55 via Eventbrite.
Don’t miss the chance to have your materials considered by an international agent and your craft sharpened by a master.
GET YOUR TICKETS HERE
Media & Support Contact: Jessica Polsky Coaching Studio jessicapolskycoachingstudio@gmail.com
Jessica PolskyThe Global Trailblazer
From Broadway stages to European primetime celebrity, Jessica Polsky Alotto has climbed every rung of the industry ladder. After a 20-year career as a major TV star in Italy, she moved behind the scenes as a Producer, Director, and Casting Professional. Now, as the Senior Agent for Dryblue Agency (DBA), she oversees North American operations for a premiere global roster of over 700 actors. With HQ in London and offices worldwide, Jessica is the ultimate bridge between New York talent and the international stage, specializing in turning local actors into global icons.
Robert RussellThe Industry Titan
Robert Russell doesn’t just coach; he conditions. With 30 years at the highest levels of the industry,Robert has dominated the rooms that matter—serving as a high-level Casting Director and Producer for major TV networks, feature films, and iconic music videos. Born into an entertainment dynasty (including cousins Robin Antin, creator of The Pussycat Dolls, and Steve Antin, director of Burlesque), show business is his DNA. Today, he is sought after worldwide by A-list stars for his legendary “tough-love” training style, preparing actors to step into the audition ring like fighters ready to win.
| Contact: Jay Michaels Global Communications646-338-5472 // info@jaymichaelsarts.com |
It’s Mean to Be the King: Jim Catapano at RICHARD III (Atlas Shakespeare)
The Atlas Shakespeare Company Presents a Triumphant Retelling of Richard III
Following acclaimed productions of Henry VI Parts 1 and 2 and Henry VI Part III, the Atlas Shakespeare Company now completes the Bard’s first tetralogy with a riveting Richard III.
Following the long civil conflict in which the Yorks defeated the Lancasters, King Edward IV (Ethan Baker) sits atop the throne, depressed and ailing. His power-hungry brother Richard (Zachary C. Clark), the Duke of Gloucester, sees (and eventually seizes) an opportunity. Thus, he begins to systematically eliminate everyone who stands in his way, while wooing the widowed Lady Anne (Christa Souza) to his side. He imprisons his elder brother George (Yeshua Ellis), Duke of Clarence, in the infamous Tower, where he later also famously banishes his young nephews, Richard the Duke of York (also Souza) and Prince Edward (Charlotte Blacklock), to prevent any competition to the throne. The less-than-legitimate new King Richard’s reign of terror is finally threatened by Henry Tudor (Bradley Viktor), Earl of Richmond, who raises an army against the Machiavellian murderer.
The play completes the War of the Roses saga with a compelling story of betrayal and sociopathic serial killing that ends in a bloodbath. Along the way we watch the titular character go from scheming to murder to full-on madness, with lots of backstabbing along the way, most of it literal. We learn that a cask of wine is a great place for a murder victim. And what show would be complete without a game of “catch the severed head”?
As the conniving cad of the title, Clark delivers a tour-de-force performance: charming, devious, funny and sly. He skillfully uses the audience as his “co-conspirators”, delivering asides and glances that make us feel part of the story.
“(Richard III) is very insecure in a lot of ways,” said director Adriana Alter in a talkback following a recent performance. “And very motivated by the need for external validation which he’s trying to get from the audience. We essentially become his imaginary friends. He’s trying to impress with how clever he is.” Clark is excellent at portraying Richard’s rollercoaster ride from the heights of power to the depths of slipping sanity. “He’s going to have to come face to face with the fact that he hates himself,” said Alter. “His coping mechanisms for keeping up, that pretense starts to melt away.”
Clark is joined by a sterling cast including Tonia E. Anderson as Cecily the Dutchess of York; Joscelyne Wilmouth as Queen Elizabeth; Nick Stevens as her brother Anthony (Lord Rivers); Matthew Tiemstra as Henry, the Duke of Buckingham; Quinlan Welch as Thomas Grey; Nicholas Grevera as William (Baron Hastings); Timm Coleman as Thomas Stanley; Chris Clark as Sir Richard Ratcliffe; and Gabe Girson as lawyer Sir William Catesby. (Baker, Blacklock, Sousa, Ellis, Viktor, and Welch each play two roles to round out the kingdom.)
The costumes—designed by Madeline Rostmeyer and coordinated by Nancy Nichols—are glorious in their elegance, and the sterling cast delivers Shakespeare’s iconic dialogue with a delighting deftness that captivates with every turn of phrase. Atlas’ mission statement is to present Shakespeare’s work as it was intended, and they do so here with a production that is true to the text and to the era it was initially performed, but still completely accessible to a 21st Century theatregoer.
Director Alter has presented a fantastic edition of the oft-performed classic, neatly trimmed and dynamically realized with all story beats intact. It is immensely engaging—from Richard’s first sinister speech, to the appearance of the ghosts of all his victims, to the incendiary final battle. That last sequence is astonishing, an edge-in-your-seat experience delivered with dance-like precision by the cast under the expert guidance of fight choreographer Leighton Schlanger.
This explosive conclusion to the saga is a positive triumph for Alter and Producer and Founder Alexander Nero. It’s a must-see for this “Winter of Discontent” or for any season.
Trade your kingdom for a horse and go see Richard III at the Wild Project through March 1, 2026. Learn more at atlasshakespearecompany.com/.
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.
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