Out the Cauldron and onto the Stage: “Shangri-La-La” Brings Big-Vegas Mythos and White-Tiger Hyperbole to MITF 2026
The New York independent theatre landscape is bracing for a monumental summer renaissance. John Chatterton, a foundational trailblazer of the off-off-Broadway movement, has officially announced the grand return of the Midtown International Theatre Festival (MITF) from June 15 through July 26, 2026. This relaunch marks the return of a true “Festival Giant” after a nearly decade-long hiatus.
To spearhead this historic undertaking, Chatterton has partnered with Jay Michaels Global Communications (JMGC) to manage promotion, brand strategy, and press visibility. Operating out of the historic three-theatre complex at the American Theatre of Actors (ATA)—which is concurrently celebrating its landmark 50th anniversary—MITF 2026 is positioning itself as a massive, multi-stage hub of creative innovation.
Among an eclectic array of world-premiere works and high-concept programming, festival producers have tapped an outrageous, sparkling new piece to anchor the festival’s final weekend: Shangri-La-La: The Siegfried & Roy Revenge Musical. Created by composer and co-writer Mike Meier, this 60-minute festival adaptation strips away the manufactured corporate polish of Las Vegas to expose the wild, dangerous, and rhinestoned machinery behind the world’s most famous illusionists.
The Ultimate Legal Revenge Script
The genetic makeup of Shangri-La-La is rooted in an extraordinary real-world paradox. Creator Mike Meier didn’t pull this satirical narrative out of thin air; the musical was born directly from his first-hand legal experience representing real clients in high-stakes litigation against the powerful, multi-million-dollar Siegfried & Roy entertainment brand.
Turning a tense legal drama into a glittering theatrical revenge fantasy, Meier has crafted a show that is deeply funny, unapologetically outrageous, and just dangerous enough to make the sequins sweat.
Guided by the wisecracking ghost of legendary New York gangster Bugsy Siegel—the man who opened the Flamingo and practically engineered the origin myth of modern Sin City—the musical chronicles Siegfried & Roy’s meteoric rise from humble, penniless German immigrants to ultimate Las Vegas icons. Bugsy serves as the perfect, cynical master of ceremonies, viewing Vegas not as a paradise, but as a brilliant racket, reminding the audience that behind every illusion lies a corporate back room.
Translating the Megaresort to the Intimate Black Box
How do you fit Steve Wynn’s entire, hyper-glitzy corporate dream machine—complete with 3,044 hotel rooms, a roaring volcano, man-eating white tigers, and a labyrinth of legal contracts—onto an intimate off-off-Broadway stage? According to Meier, the secret is leaning completely into theatrical hyperbole.
Instead of trying to replicate the impossible scale of The Mirage, the production uses the intimate staging at the ATA to dismantle the illusion right in front of the audience’s eyes. In a brilliant, satirical homage to Macbeth, casino mogul Steve Wynn, his cutthroat contract attorney, and their manager Mephisto literally huddle around a bubbling cauldron to cook up a magic marketing brew in the showstopping number, “OUT THE CAULDRON.”
“That is the show in miniature: the glamour, the contract, the money, the smoke, the mirrors—all bubbling in the same pot,” Meier explains. “The comedy lives between the humble immigrant dream and the fifty-million-dollar illusion machine that swallows it.”
Reengineering the Focus for the Festival Format
In its full, two-hour incarnation, Shangri-La-La is anchored by Joshua, a young German assistant whose starry-eyed belief in the American Dream shatters when he gets close enough to see the cruelty, animal exploitation, and legal heavy-handedness hiding behind the sequins.
However, for this special one-hour MITF festival adaptation, Meier executed a deliberate, surgical edit. By cutting the later courtroom battles and dark human drama, this version focuses its spotlight directly on the show’s high-octane comedic engine: the precise historical moment when Las Vegas reinvented itself.
To fill a 3,044-room megaresort like The Mirage, the city had to abandon the smoky, mob-adjacent allure of topless showgirls and pivot toward family-friendly excess. Siegfried & Roy became the perfect catalysts for this corporate repackaging—proving to the world that family entertainment could still be seductive, bizarre, and wildly profitable, so long as it was wearing a cape and standing next to an endangered apex predator.
The Audience as an Active Writing Collaborator
For Meier, who began writing and composing the score two-and-a-half years ago, the vibrant, high-traffic atmosphere of the ATA complex is an essential part of the musical’s development. This short festival run acts as a crucial crucible, allowing the creative team to test comedic timing and musical pacing against live crowds.
“A comedy musical needs a vibrant, electric atmosphere to thrive truly,” says Meier. “The audience tells the truth. They tell you with laughter, silence, timing, restlessness, and surprise. For me, these performances are not just presentations. They are part of the writing process. The audience becomes our collaborator to give the show its final form.”
The MITF run serves as the launchpad for an aggressive summer tour for the abbreviated production. Shangri-La-La will play a total of six performances across the Northeast—including two slots at the Harrisburg Fringe Festival and two at the Philadelphia Fringe Festival—before Meier scales the piece back up into its definitive, two-hour theatrical format.
Official MITF Production Summary
- Production Title: Darkness to Light: Shangri-La-La: The Siegfried & Roy Revenge Musical
- Composer & Co-Writer: Mike Meier
- Narrator Character: The Ghost of Bugsy Siegel
- Venue: American Theatre of Actors (ATA), 314 W 54th St, NYC
- Runtime: 60 Minutes (Strict Limited Engagement)
Performance Schedule
- Saturday, July 25 @ 8:00 PM
- Sunday, July 26 @ 2:00 PM
Jim Catapano explores an Unearthed Comedy Classic
John Maddison Morton’s 1853 Farce A Desperate Game brings Old-School Wit to the ATA
Mid-19th Century Playwright John Maddison Morton was a prolific creator—he is best known for the chaotic comedy Box and Cox, and its musical version, humorously retitled Cox and Box. But his work has not been known to see revival on a regular basis. Thank goodness we have the American Theatre of Actors to rescue voices like his and bring them new life almost two centuries later.
A Desperate Game was first performed at the Theatre Royal Adelphi on April 9, 1853. It’s a brief, breezy one act, almost functioning as a prototype for the televised situation comedies of the following century. It concerns a certain Mrs. Somerton (Stephanie Sottile), a now-wealthy widow who finds herself in a love triangle with two suitors, Captain Ratcliffe (Ted Doyle) and Percy Postlewaite (Paul Maurizio). In this re-imagining Ratcliffe appears almost zorro-like at Mrs. Somerton’s home, disguised in a black mask with matching hat and outfit. The intruder is confronted by servant David (Alex Silverman), here speaking in a comic, almost Don-Knotts like voice, adding to the sitcom feel of the production.
“I must get rid of this fellow,” says Ratcliffe, in one of many humorous asides to the audience.
“Now listen here DAVID, there’s nothing that offends me more, DAVID, then familiarity in a servant…DAVID!” the captain seethes, adding more contempt to his voice with each “David.” David mistakes Ratcliffe for “that simpleton” Percy (as Ratcliffe puts it), whose arrival was expected, and Ratcliffe takes advantage of the confusion to enter Mrs. Somerton’s home to await her return from a lavish party. When the real Percy arrives, he is quickly locked in a room by Ratcliffe, who hides when Mrs. Somerton appears with devoted servant Patrick (Charles Kennedy IV)—taking the place of housekeeper “Peggy” of the original play. When Ratcliffe and Somerton finally meet, it becomes clear that his motive for wooing her is mainly to do with her new-found wealth. The two verbally spar as the flummoxed Percy hilariously bangs on the door and comments helplessly on proceedings, apparently unheard by the others as Ratcliffe makes a “proposal” (of sorts), with both pistol and receipt in tow.
“…You allowed me to be robbed?” shouts Mrs. Somerton at Percy when she finally becomes aware of his captive presence and lets him out.
“You allowed yourself to be robbed,” Percy retorts back.
“And you did nothing.”
“I beg your pardon,” Percy replies calmly, “I looked on in silent astonishment.”
Well-realized by Sottile, Mrs. Somerton is a very independent woman who does not suffer fools gladly, be they potential love interests or not. The desperate game of the title begins, referring to the clumsy, oft-hilarious battle of Ratcliffe and Percy as they try to win her. The tropes of mistaken identity, foolhardy schemes and absurdist comedy abound, leading to an “all’s well” resolution that again points to the wacky comedies of 100 years later. The delightfully clever humor and wordplay that Morton was expert at are in full force here, and performed with relish by the cast.
Directed stylishly by John DeBenedetto, A Desperate Game is a splendid entry in the classical season of the American Theatre of Actors as it celebrates its 50th year. It runs at the Beckmann Theatre at the ATA through May 31, 2026.
REWRITING HISTORY WITH A ROCK BEAT: JAY STEPHENSON’S STEAMPUNK MUSICAL ‘BEETHOVEN’S WRONG NOTE’ HEADLINES THE MITF COMÈBACK
NEW YORK, NY — The independent theater capital of the world is on the precipice of an unprecedented renaissance. Founder and Executive Producer John Chatterton, an iconic trailblazer in the Off-Off-Broadway movement, has officially announced the grand return of the Midtown International Theatre Festival (MITF). Following a decade-long hiatus, the festival returns from June 15 through July 26, 2026, transforming Manhattan into a massive crucible of creative innovation with ambitious plans to mount the largest independent theater festival in history.
Festival producers have officially named Beethoven’s Wrong Note, the sensational winner of the 2024 Perry Award for Outstanding Production of an Original Musical, as a premier headlining event of the comeback season. Written by acclaimed playwright and composer Jay Stephenson, this high-octane production will anchor the festival’s high-profile summer residency at the historic American Theatre of Actors (ATA) complex in Hell’s Kitchen.
The musical will run for four exclusive performances over the holiday weekend: Thursday, July 2 at 6:00 PM; Friday, July 3 at 10:00 PM; Saturday, July 4 at 6:45 PM; and Sunday, July 5 at 11:30 AM.
The Story: A Faustian Steampunk Rehearsal
Beethoven’s Wrong Note transports audiences to the Theatre an der Wien on the fated morning of February 11, 1804. In a Herculean effort to win the heart of his elusive “Immortal Beloved,” a severely hearing-impaired Ludwig van Beethoven enters into a dangerous, Faustian pact with the famed, eccentric Viennese impresario Emanuel Schikaneder (immortally known as Mozart’s librettist for The Magic Flute).
What follows is a high-stakes, chaotic dress rehearsal for a forgotten opera titled Vestal Flame. As the two creative geniuses repeatedly bump heads, the friction spirals far beyond the constraints of the physical stage in a mad, passionate quest to produce the greatest opera ever written.
Blending rock music, classical orchestration, sweeping drama, and intensive dance, the show operates as a bold, “Steampunk” historical fiction that completely shatters traditional, stuffy depictions of the classical master.
In the Rehearsal Room: An Interview with Jay Stephenson
To unpack the unique musical architecture and historical deviations of the script, Stephenson shared his creative vision for the production.
On Constructing the Show Around a Lost Masterpiece:
“It is widely believed Beethoven only wrote one opera, Fidelio,” Stephenson explains. “Upon discovering he had composed ten minutes of another, I made it my mission to make Vestal Flame the centerpiece of a larger production. We’ve even transcribed his music for rock instruments; you will be amazed at how well his genius suits the genre. Beethoven’s Wrong Note depicts two creative giants bumping heads during a dress rehearsal. Their operatic collaboration was lost and forgotten to the world and although the work itself may be historically insignificant, their shared passion for the art form makes it extraordinary.”
On Casting Broadway Heavyweight James Harkness:
“James Harkness is a true triple threat. His dynamic personality, along with his elite dance skills and his exceptional voice, make him an absolute gift to the Broadway scene. When I saw him starring in Ain’t Too Proud: The Temptations Story, I knew instantly he was the only person on earth who could embody this version of Beethoven. He is a magnificent performer who has found the exact right vehicle to showcase his talent.”
On the Artistic Philosophy of the Musical:
“In an age dominated by jukebox musicals, parodies, and endless film adaptations, Beethoven’s Wrong Note is intended as a gentle, fierce reminder of what the American musical was originally meant to be: a vibrant, dangerous, and completely original journey of emotional truths.”
A Cast and Creative Team of Elite Pedigree
The production features a jaw-dropping lineup of theatrical heavyweights that elevates the show far beyond standard indie festival fare:
- James Harkness (Ludwig van Beethoven): A celebrated Broadway veteran, Harkness commands the title role fresh off headlining runs in Ain’t Too Proud (as Paul Williams), Beautiful: The Carole King Musical, and the original company of The Color Purple. His casting is particularly historic; Harkness’s portrayal intentionally reflects contemporary historical accounts and cutting-edge DNA research surrounding Beethoven’s complex multi-ethnic ancestry, recontextualizing the maestro for a modern audience.
- Jay Stephenson (Playwright/Composer): A proud member of the Dramatists Guild, Stephenson is a former New York Times-acclaimed performer turned writer whose sharp, genre-bending sensibilities have made him a vital voice in modern musical curation.
- James Higgins (Musical Director): A 2018 New York Innovative Theatre (NYIT) Award nominee, Higgins brings a massive global pedigree to the pit, having famously conducted and performed across all seven continents.
A Triumphant Platform for Independent Vision
The return of the Midtown International Theatre Festival marks a seismic victory for independent performance art in New York City. To manage the massive logistical and promotional footprint of this historical comeback, John Chatterton has partnered with Jay Michaels Global Communications (JMGC) to coordinate global PR, marketing strategy, and media outreach.
By staging Beethoven’s Wrong Note across the holiday weekend inside the three-theater ATA complex—currently celebrating its own monumental 50th Anniversary—the festival provides the ultimate professional launchpad for large-scale, high-concept indie musicals to showcase their commercial viability near the theater district.
The expanded MITF 2026 framework is actively accepting submissions and rolling applications across multiple artistic categories, including full straight plays, boundary-pushing musicals, solo performance art, cabaret showcases, theater for young audiences, and 10-minute short plays for the popular MITF Short Play Lab.
Production Summary
- What: Beethoven’s Wrong Note – The Perry Award-winning Steampunk Musical by Jay Stephenson
- Starring: Broadway Legend James Harkness
- Musical Direction: James Higgins
- Festival: The Midtown International Theatre Festival (MITF)
- When: Thursday, July 2 @ 6:00 PM; Friday, July 3 @ 10:00 PM; Saturday, July 4 @ 6:45 PM; and Sunday, July 5 @ 11:30 AM
- Where: The Main Stage at the American Theatre of Actors (ATA), 314 W 54th St, New York, NY
- ALL PERFORMANCE AVAILABLE TO THE PRESS — TICKETS FOR ALL SHOWINGS ON SALE NOW — CLICK HERE
A Jim Catapano Review: The Iphigeniamachine Rages Against the Neverending Atrocities of the Patriarchy
Girl Interrupted, a World Deconstructed
“Where’s the girl to save us all?”
The walls that surround us are covered with torn book pages. A stuffed animal sits in the center of the stage. To the side is a screen with the title of the play, but it is soon to be filled with the images of war. As described by the production, we are in a “technofeudal, post-apocalyptic ice age.”
Iphigenia (playwright Mackenzie Robin Krestul) emerges out of the darkness, joined by a chorus (Quinn Andrews, Kaitlyn Rose RaBocse, Sam Hardy). They giggle joyfully together and play with children’s letter blocks on the floor. The serene scene gives way to the arrival of the warrior Agamemnon (Travis Bergmann), Iphiginia’s father, who is seen asking ChatGPT for advice—plunging us unsettingly into the darkness of the here and now. “King Artemis is holding up all our ships because she is angry I killed her deer,” he explains to the machine. “The soldiers are pissed and we all want to get back to fighting. What do I do?”
“Sure, I can help with that!” responds the chillingly cheery AI. “…If you want your ships to sail, you must sacrifice your daughter on the altar.”
Thus begins a stunning production that takes the text of the Euripedes’ original tragedy Iphigenia in Aulis and deconstructs it through a powerful postmodern lens, shining a black light at the heart of the problem that has plagued the world ever since humans crawled out of the muck and learned to walk and talk, and eventually to wage war.
“Imagine embarking on a journey through a tapestry of ships sailing across the sea,” continues the joyful but soulless computer simulation. “Think about the vibrant and bustling community you’ll burn to the ground! A circle of blood…the cries of women, young girls, children sobbing, eyes bloodshot, choking on the crimson dust that clogs the air.”
Before long we witness Agamemnon literally pleasuring himself to the war footage that is shown on the TV, in a lengthy sequence that is wordless but speaks volumes about man’s fetish for war and history of bloodshed and oppression.
“One burning desire driving this machine of war,” chants the chorus.
“Why do bad things always happen to men?” Agamemnon whines following his self-exploration.
“It’s worth noting that men are the primary protectors of our entire world!” chimes ChatGPt gleefully, reminding him that his daughter must both symbolically and literally die for the greater glory.
Cadence Lamb provides remarkable support as the “motherwife” Clytemnestra. “No one fights fiercer than a mother for her children,” she proclaims, reminding Iphigenia of the 27 hours she spent in labor, and of her daughter’s own “biological imperative.”
“You have to fulfill your duty as a woman,” she insists, echoing the creepy cheeriness of the AI. “Like me, and my mom, her mom, her mom…” she goes on and on and on, as if reaching back to the beginnings of our society’s hegemonic discourse. Her advice to the soon-to-be-wed Iphigenia to “hold still until it’s over,” speaks chilling volumes about a woman’s role in the world as far as the patriarchy is concerned.
The production, directed impeccably by Harrison Campbell, is masterful, with a startling 4th wall break late in the show that puts the audience at the edge of their seats. This electric sequence is anchored by an incredible performance from Hardy, embodying the latest threat to civilization, which we heard earlier in the play giving Agamemnon horrific advice. The deconstruction of the original Euripedes story is then mirrored by an actual destruction of the impressive set. Kudos to Emily McManus for her terrific puppeteering of the “deer” we meet mid-play, who is so expressive that they feel like another living character (and wonderfully designed by Annie McGowan).
“Were you snatched from your mother too?” asks Iphigenia of the elegant creature. “There’s a handprint on your flank, but your eyes are blank. Are mine?”
Iphigenia recognizes that she’s speaking to a puppet. “I’m one too!” she announces. “I play the girl on the gallows. She’s been hiding since the dawn of time. From the corner of the sky, she sees…everything.” Iphigenia encourages the deer to escape the fate that has been handed to both of them. “You can leave…abandon your role. Travel the path through the dark and the heat where a light stands waiting. All you have to do…is drop the sticks.” And the puppet pulls free of the puppeteer.
Writer Krestul has pulled no punches whatsoever in holding up a mirror to the uncomfortable truth of who we are as a society and how little we’ve evolved. In addition to her sharp, biting, poetic, and extremely powerful crafting of the story and its dialogue, she also gives a stunning performance in the role of our tragic hero. Her voice and artistry are exactly what we need right now.
The Iphigeniamachine was performed at The American Theatre of Actors in May 2026.
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.
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