Written by Zara Solange

New York City’s American Theatre of Actors (ATA) is set to host a compelling “Laurie Rae Waugh Double Feature” this July, presenting two distinct yet equally impactful new plays: Sarah Vindigni’s “¡Poof!” and Amy Losi’s “Love’s a Thin Diet.” Both productions, guided by the experienced hand of director Laurie Rae Waugh, promise to ignite conversations and challenge perceptions on the Beckmann Stage from July 9th to 20th.

The ATA, a venerable institution founded in 1976 by James Jennings, has long been a nurturing ground for emerging playwrights, directors, and actors, fostering a creative environment free from commercial pressures. Its mission to explore “the social and ethical problems of contemporary society” resonates deeply with the themes tackled in this double bill.

“¡Poof!”: A Shocking Scenario and a Call for Connection

Sarah Vindigni, the playwright behind “¡Poof!”, introduces herself as a purveyor of the thought-provoking. Her inspiration for this audacious work? None other than the king of comedic absurdity, Mel Brooks. “Mel Brooks inspired me to think outside the box and that nothing is too ridiculous,” Vindigni shares, a sentiment that clearly permeates the premise of her play.

“¡Poof!” plunges audiences into a chillingly plausible scenario: Union Activists taking over Metro Energy in NYC, threatening to shut down the grid unless their demands are met. The play raises a vital question: “Will they succeed and could this happen globally?” Vindigni’s creative process, she states simply, involves “taking lots of notes,” suggesting a careful observation of societal anxieties and a dedication to crafting a narrative that resonates.

Beyond the dramatic tension, “¡Poof!” carries a profound message. When asked about the “scary thoughts” her play provokes and its real-world potential, Vindigni offers a hopeful vision: “I think the world can learn to share resources so that no one is in need, and everyone can live like a human being.” This suggests that beneath the thrilling premise lies a call for greater equity and human connection. As for what’s next for this insightful playwright, she reveals a shift towards “A romantic comedy,” a delightful contrast to the high-stakes world of “¡Poof!”.

“Love’s a Thin Diet”: Navigating the Murky Waters of Power and Consent

Amy Losi, a prolific actor, director, and playwright with ninety plays under her belt as an actor and nineteen festival acceptances for her own works, brings “Love’s a Thin Diet” to the stage. This play delves into the deeply sensitive and timely issue of power dynamics in relationships, particularly when a professor exerts influence over a student, even if that student is their ex-husband. The central question: “What is the line between seduction and consent…?”

Losi’s inspiration for this poignant play stems from a personal experience. “A college professor invited me to his private office. Like the women in the play, he offered me wine and asked personal questions. He asked me to return but I never did,” she recounts. This play, she emphasizes, is a powerful statement “for all the women who did return, and more importantly, for those who are about to.”

Losi’s creative process is driven by a desire to explore the female experience, focusing on “women at various stages of their lives and center around overcoming the past or pursuing their dreams.” She also notes her interest in showcasing “older people connecting or falling in love,” and drawing from “aspects of my own life.”

The play bravely tackles the complex interplay between seduction and consent. Losi’s stance is unwavering: “It is never permissible to control or take advantage of others — and in particular, for a professor or male in a position of dominance to seduce or harass women. Seduction is not equivalent with consent.” This clear articulation underscores the play’s vital contribution to ongoing conversations about ethical boundaries and individual autonomy.

A Shared Vision Under Laurie Rae Waugh’s Direction

Despite their distinct subject matters, both “¡Poof!” and “Love’s a Thin Diet” are intrinsically linked by the vision of their director, Laurie Rae Waugh. As Sarah Vindigni rightly points out, “The Director, Laurie Rae Waugh,” is the unifying force. Amy Losi further elaborates on this connection, stating that “The characters in both plays want to reverse injustice and are committed to achieving that.”

Laurie Rae Waugh, a seasoned theatre artist in New York since 1980, has garnered numerous accolades for her directorial work, including the Jean Dalrymple Award for Best Dramatic Director for various productions. Known for her “realistic and unapologetic takes on family and relationship dramas,” Waugh’s directorial style often involves giving actors the “freedom to explore their characters as we break down the script,” allowing for truth and vulnerability to emerge. Her ability to navigate diverse narratives and draw out powerful performances makes her an ideal choice to helm this thought-provoking double feature.

What’s Next for These Dynamic Playwrights

The future is bright for both Sarah Vindigni and Amy Losi. Vindigni looks forward to crafting a romantic comedy. Meanwhile, Amy Losi’s plate is overflowing with exciting projects: “Love’s a Thin Diet” is set for publication in October by Next Stage Press. In August, her newest play, a comedy about four older women, will be featured in the Gene Frankel Theatre Play Festival. September brings her full-length play, “To Feed the Roses,” to the Dream Up Festival at Theatre for the New City. And to cap off the year, a comedy by Losi will be part of the NY Theater Winterfest in December. Remarkably, Losi will also be acting in all these plays, all of which are being directed by Laurie Rae Waugh, showcasing a truly prolific and collaborative artistic partnership.

The “Laurie Rae Waugh Double Feature” promises an evening of compelling theatre, inviting audiences to confront timely social issues, ponder challenging ethical dilemmas, and perhaps even imagine a world where resources are shared and injustice is overcome. It’s a testament to the enduring power of new plays and the vibrant creative spirit fostered by institutions like the American Theatre of Actors.