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The MITF is back and ATA has got them!
The Midtown International Theatre Festival Returns to New York After Decade-Long Hiatus and the Landmark American Theatre of Actors will host the event.
AN HISTORIC EVENT AT AN HISTORIC LOCATION
The Midtown International Theatre Festival (MITF), a respected and influential platform for independent theatre, is set to make its triumphant return to New York City after an absence of nearly a decade. Founder and Executive Producer John Chatterton, a pivotal figure in the Off-Off-Broadway movement, is partnering with Jay Michaels, one of indie theatre’s most visible personalities, to bring the groundbreaking theatrical event back in June/July of 2026.
The new festival will encompass the entire ATA complex of three theatres starting June 15 through July 26, 2026
MITF is accepting applications for productions to be included in the festival until December 31, 2025. Please contact Jay Michaels at info@jaymichaelsarts.com for further details and an application form.
An Ambitious Return at a Historic Venue
The revived festival will be hosted by the prestigious American Theatre of Actors (ATA), marking an auspicious collaboration as the ATA celebrates its 50th anniversary.
“We’re thrilled this event could happen at our theatre—and especially during our 50th anniversary,” says Jessica Jennings, Executive Director of the American Theatre of Actors. The ATA was founded in 1976 by her father, James Jennings, who remains its President and Artistic Director.
The new incarnation of the MITF is planned to be the largest independent theatre festival in history. Already, more than two dozen projects and events have signed on, with plans underway to expand offerings to include:
- A dedicated Cabaret Section.
- A comprehensive One-Act Series.
- A full-fledged Film Festival.
A Legacy of Innovation
Founded in 2000 by John Chatterton, the original MITF was established following the suggestion for a “Midtown Fringe” to complement the downtown scene. It ran for 18 successful seasons before its hiatus in 2018.
The festival quickly became a highly visible and respected launchpad for independent theatre artists. Notably, the MITF pioneered a festival model of theater rental and shared box office revenue that continues to influence theatre festivals worldwide today.
About the American Theatre of Actors (ATA)
The American Theatre of Actors, founded in 1976, is a vibrant repertory theatre company dedicated to fostering new talent. It consists of 50 actors, 15 playwrights, and 8 directors, providing a creative atmosphere for artists to develop their work without the pressures of commercial theatre.
ATA focuses on presenting new dramas and comedies dealing with the social and ethical problems of contemporary society. Over its history, ATA has:
- Presented over 1,000 new works.
- Employed over 11,000 actors, including notable alumni such as Dennis Quaid, Bruce Willis, Danny Aiello, Dan Lauria, Chazz Palminteri, Kevin O’Connor, William Fichtner, Edie Falco, and Kathryn Hahn.
The return of the MITF, in partnership with the ATA, promises to inject a significant burst of energy and opportunity into the New York independent theatre landscape.
Contact: Jay Michaels Global Communications 646-338-5472 // info@jaymichaelsarts.com
Jim Catapano, Danny, and Roberta, take a Plunge into the Deep End
John Patrick Shanley’s Stunning Two-Hander is Revived at the ATA
The renowned one-act playDanny and the Deep Blue Sea, which originallypremiered off-Broadway in 1983, is given a magnificent retelling at the American Theatre of Actors in its 50th season. Penned by prolific playwright and Oscar winner John Patrick Shanley (Moonstruck), it is an intense and compelling study of loneliness and human frailty, and the desperate desire to be seen and understood, forgiven and loved.
As observed in a holiday season where the “meet-cute” scenario is one of its hallmarks (pun intended), Danny stands out as a “meet-ugly”, and feels all the more real as a result.
Tashia Gates (producer) is Roberta, a divorced mom who encounters Danny (James Liddell) in a dilapidated, empty Bronx dive bar. Danny’s black eye and bruised hands indicate a recent altercation, creating an unsettling mood from the outset and the implication that he might erupt at any moment. He asks for one of Roberta’s pretzels and wants to leave it at that, but Roberta decides that she needs company and goes to sit with him, prompting Danny to act like a bear who’s been poked with a stick. Danny is bad news and makes no attempt to hide that, but Roberta is a woman in pain, trapped in her own life but yearning for some kind of human connection and normality that will release her from reality, at least for a handful of heartbeats.
“I can’t stay like I am,” she says to the only person she’s ever found who just might listen. “I can’t stay in this effing head anymore, I’ll go crazy.”
Danny is in a prison of his own. Feral and fearful and unable to connect to anyone except with his fists, he is in danger of losing his blue-collar job where his coworkers have labeled him “the beast.”
Undeterred, Roberta goes all in and tells this stranger of a dark, horrifying secret from her past, making Danny the only person who knows it and forcing a bond between them. Danny also suspects that his most recent actions may have led to tragedy, and the two debate the severity of their crimes and the depth of their pain until things get edge-of-your-seat frightening. As Danny grows more violent Roberta grows more defiant, winning the psychological and physical battle and convincing Danny to come home with her. She wants to play at “domestic bliss”, if only for one night; she even coaches her new partner in the art of being nice. But when Danny decides he wants the dream to become reality, they awake to a new nightmare that now imprisons them both.
Gates is astonishing as the broken Roberta, so trapped in her own mind that she wonders if prison would be a nice change of pace. She is looking for punishment, and then maybe forgiveness, though she suspects the latter impossible. Liddell is at turns terrifying and heartbreaking, a ticking time bomb who solves every issue with fighting, but crumples into a scared child as his unanticipated new lover takes him on a rollercoaster of emotions. These two damaged souls coming together in mutual desperation is portrayed compassionately and genuinely; and though most of us haven’t had Danny and Roberta’s experiences, Gates and Liddell make them relatable and even lovable.
Presented on a sparse stage and clocking in at a tight 80 minutes, this new incarnation of Danny and the Deep Blue Sea is a remarkable piece of work and a triumph for producer Gates and Liddell, who beautifully portray their characters in three dimensions. It is directed impeccably by Tessa Welsch, who makes brilliant use of the sparse surroundings to portray the dark, empty lives of the protagonists. And serving as executive producer along with Nick Milodragovich, this is Dr. Cynthia Hsiung’s first foray into theater, adding to an accomplished career in Film and TV. This iteration of Danny is a jewel in the crown for all involved.
Danny and the Deep Blue Sea is performed at the Sargent Theater at the American Theatre of Actors through December 7. It is dedicated to the memory of Maxine R. Gibbs.
Stage Whisper Celebrates Five Years as LeadingIndependent Arts Podcast
Stage Whisper, the celebrated podcast dedicated to independent artists of stage and screen, is proudly marking its fifth anniversary. What began as a “little show that could” has now firmly established itself as the #1 podcast in its category, achieving significant milestones and laying the groundwork for exciting future growth.
Over the past five years, Stage Whisper has become an essential platform for the independent arts community. The podcast has produced more than 1,300 interviews and episodes, with over 600 of those released in 2025 alone. Its commitment to showcasing diverse talent has resulted in over 100,000 content downloads and featured over 100 different festivals.
Reflecting its dedication to the local theatre scene, Stage Whisper staff attended over 1,000 productions in the New York City Area.
The podcast’s influence extends across digital platforms, having recently surpassed 10,000 followers across all social media platforms, generating more than 200,000 monthly interactions.
Stage Whisper is distinguished by its core mission to remain an unbiased and independent voice, open to all shows and stories without reliance on corporate sponsors, reviews, or social media trends. This commitment to artistic freedom has earned high praise from the industry’s top professionals:
- Award-winning playwright Marlin Thomas called his interview “a great experience.”
- Author and artist Betti Franceschi exclaimed, “I LOVED our talk!”
- Broadway performer Laura Shoop (Flying Over Sunset, She Loves Me) even dubbed the show “the NPR of Theatre Podcasts.”
Looking Ahead: 2026 and Beyond
Co-hosts Andrew Cortes and Hope Bird have announced ambitious plans for 2026 and beyond, designed to further increase visibility for independent artists:
- Video Interviews launching via Channel Indie (ACW-TV).
- Special Panels and Discussions.
- Enhanced marketing efforts for increased visibility for guests.
- Exclusive Live Events.
A Call to the Community: Listener-Sustained Fundraising Drive
In the spirit of being a listener-sustained program, and recognizing the precarious financial nature of the arts, Stage Whisper is launching a critical holiday fundraising campaign. The goal is to raise $5,000 before the end of 2025 to ensure the podcast can continue its mission without compromising its independent ethos.
“We are reaching out to all of our listeners, guests, and collaborators,” the co-hosts stated. “We understand that money and art are precarious, but we are asking anyone who values our work to make a $5 donation in honor of our fifth year. Your support, at any level, is crucial to keeping Stage Whisper free for both artists and audiences globally.”
Stage Whisper aims to not only help the independent arts community survive difficult times but to foster its growth and help it thrive in 2026, which they anticipate will be an exciting year for the arts.
Donations can be made through the following platforms:
- Patreon: patreon.com/stagewhisperpod
- Venmo: @stagewhisperpod
- PayPal: https://www.paypal.com/ncp/payment/YVX5DQSAJWZXS
Stage Whisper extends its warmest wishes for a Happy Thanksgiving, Happy Holidays, and a Happy, Healthy, and Prosperous New Year to its entire community.
Media Contact: Jay Michaels / info@jaymichaelsarts.com / 646-338-5472
A Delightful Double Feature at the Delightful American Theatre of Actors, reviewed by the Delightful Jim Catapano
A Delightful Double Feature at the American Theatre of Actors
Tango in the Rockies and The Rubber Band Company Bow at the Beckmann
The 50th year of the American Theatre of Actors continues to go from strength to strength, as evidenced by the coupling of two compelling new works to kick off November. Tango in The Rockies is written and directed by ATA Artistic Director James Jennings, while The Rubber Band Company is written and directed by Meny Beriro.
Following the strains of Marty Robbins’ classic ballad “El Paso,” Tango begins as a two-hander, as mature couple Albert (Tom Crouch) and Millie (Ginger Kipps) seek refuge in a cabin from an as-yet unseen adversary that has been following them in a car after Albert’s initial evasion of them. “They want us to sign some papers,” is all Albert knows, revealing that they had come to the house and “tried to force me to do it there”. Millie’s imagination regarding their identity runs from bill collectors, to CIA, and even ICE “They’re certainly trying to get something from us,” says Albert, “and I don’t know what the hell that can be.” When Millie realizes that the cabin is the one they used for a family trip years ago, some emotional memories come to the surface—skiing with the kids, cooking them eggs, and Albert’s time as a baseball player.
“Time slipped by so fast,” she says sadly, noting that their time with family is now near non-existent.
“And now here we are, trapped in a cabin,” Albert sighs. “Victims of the current times.”
“Victims of our age,” Millie adds.
“Maybe victims of some AI program that we’ve had nothing to do with,” Albert speculates ominously, grounding their dilemma in the here and now.
Crouch and Kipps display fantastic chemistry as they go from reminiscing wistfully to raging against the forces outside their makeshift sanctuary. Their depiction of a decades-long relationship facing perhaps its greatest crisis is stunningly genuine. The sound design is well utilized to create the sense of impending doom, until Millie bravely goes outside and returns with Charles (Josh Bartosch), an amiable real estate agent who reveals what he needs from the couple. The denouement of the tense situation is well played and functions as a deep exhale followed by a laugh of relief. The three actors deftly deliver Jenning’s witty dialogue, and it’s all held together by his expert direction.
The Rubber Band Company is heralded by the sound of the Spinners’ hit “The Rubberband Man”, setting a very different mood in a very different setting, but continuing the darkly humorous vibe. It’s the office of the company revealed in the title, and it opens on veteran rubber band salesman Bill (Ken Coughlin) shooting samples of their product across the room. He’s having no luck getting them in the cup he hs placed to catch them, which he dismisses as “too small.” He later decides to blame the rubber bands instead: “They don’t stretch like they used to.”
The losing streak is interrupted by Ann (Stephanie Andujar), a young go-getter who is trying to make her way up the ladder and feels she has the perfect idea to propel her.
“I knew when I walked in here that rubber bands was the reason God put me on this earth,” Ann announces with a very amusing earnestness.
The uneasiness of the reluctant colleagues makes for some very funny dialogue; equally humorous is the varied types of rubber bands the company boasts about. There are the 540s, that are supposed to glow in the dark (but don’t, according to a customer Bill speaks to on the phone). “They just ruined some family’s whole camping trip,” Bill tells Ann, explaining that he sent them a free box of the renowned “1280s” as an apology.
“That was a bit extravagant on your part!” says Ann.
She suggests that Bill pick up the dozens of rubber bands on the floor as their boss Connors (Derek Donnellan) is coming to give an important presentation on a “whole new concept” that she expects will be a game-changer. The agitated (and apparently unwell) Bill dismisses the notion: “He wouldn’t know a 1280 from a 1690! The only knew concept he’s going to introduce to this company—is Chapter 11.”
The tension is further escalated when Tom Luke DiCostanzo arrives as Gary, the slimy lead salesman trying to get his Westchester territory back from Ann (despite having famously remarked “f—ck Westchester” in a previous rant). His kid has asked for free rubber bands for his whole class, but to Gary’s sadness a “new policy change” makes this impossible.
The slick and money-minded Connors finally arrives to give his presentation. After announcing the new line of “industrial-strength super-sized outdoor rubber band—the 2559,” he adds that he wants to give the brand an identity by selling rubber bands in only one color—but it’s not the one that Ann envisioned, to her hilarious chagrin.
The situation escalates to a series of fight sequences, initially comedic and of course involving some of the company’s famed product. These are fantastically executed by the cast under the excellent direction of Fight Director Juan Carlo Castillo. Then it takes an unexpected very dark turn that will you leave you gasping, and yet is the perfect ending to the piece and a strong indictment of power-grabbing and greed. You’ll neber look at a rubber band the same way again.
It all makes for enjoyable evening (or afternoon) of theatre and is another triumph for the ATA in its golden anniversary year.
Tango in the Rockies and The Rubber Band Company run together at the American Theatre of Actors through Nov 16, 2025.
A Jim Catapano Review: Don Nigro’s In the Wilderness of Demons Blends Ukranian Legend with Life’s Great Questions
Myth and Reality Meet in the Darkness
On a very dark and very stormy night, a folklore enthusiast (Tatyana Kot) appears at the Ukrainian cottage of a mysterious woman (Iryna Malygina). The isolated home deep in the woods is shared only by faceless dolls, represented by 4 dancers who lurk silently, witnesses to the unfolding events. Thus begins a journey In the Wilderness of Demons, a compelling tale by the acclaimed Don Nigro—one steeped in Ukrainian legend, mixed with dark wit, suspense, a touch of horror, and a deep dive into the existential.
“What a night to be creeping around out there,” the woman scolds. “It’s pouring down ice cubes…there is a raven frozen to the pump!” (An image that immediately sets the tone.)
When the folklorist explains she got lost in the woods, the woman turns philosophical. “Getting lost on the way is all part of God’s plan,” she responds. “He wants us to get lost, to sell us outdated roadmaps and compasses that don’t work.” She admits that she thought the folklorist might have been one of the dead, “who come out of their graves this time of year…they try to get back in their houses.”
The eccentric, assertive cottage dweller pivots between doting on the soaked and shivering folklorist and appearing to intentionally frighten and unsettle her. She dries her feet, gives her slippers owned by her late grandmother, serves her tea, and makes up a bed for her—only to turn around and tease her by suggesting she’ll be sharing it with a dead rat.
“I’m joking,” she says. “He’s probably just sleeping—or pretending to sleep.”
Malygina (who also produced) is outstanding at bringing the witch-like character to life, creating a mystery and unease that is palpably felt by the audience. She is also intensely philosophical and astute, as when the folklorist mentions her realization that “all men are a—holes.”
“Men think we’re vampires,” notes Malygina’s character. “The thing they want most is to drive a stake into us…but it’s the men who prey upon us. I had my fourth husband buried face down to make sure he didn’t come back after he died.”
Along the way we get an education in the Ukranian folklore our protagonist is so intrigued by, as we learn of the Rusalka, the legendary water nymphs who would lure men to their deaths under the sea, and the demonic Chorts.
“Do you really think that they exist?” asks the folklorist.
“Define exist,” says the woman. “Does a dream exist? It always seems real when it’s happening in your head…but then you wake up…or, you wake up into another dream.”
The set design by Lesya Verba is a perfect complement to the unfolding thriller, allowing the faceless dolls to wander about menacingly, always watching (and judging? As the woman suspects). “It’s their job to make guests feel uncomfortable so they leave.”
As the audience identification character, Kot is fantastic, imbuing the wary folklorist with an intense existential dread, as she begins to suspect that she has been in this strange place before.
The soundscape adds further atmosphere with thunder, whistling winds, and ticking old-fashioned clocks. The woman explains that her father liked to collect broken clocks—in her opinion, as a way to control time.
The disturbing atmosphere is pierced mid-play by an exhilarating dance sequence, where our protagonists join the no-longer faceless dolls, all transformed into Rusalka-like spirits. Following this cathartic interlude (which makes the folklorist wonder what’s in the tea), the story ends (or begins?) with a shocking revelation—and an invitation…
In the Wilderness of Demons is a magical, frightening, funny, and exhilarating experience that celebrates both Ukrainian culture and legend, and women’s empowerment.
The production is expertly shepherded by director Eduard Tolokonnikov, with expert choreography by Kot. The doll dancers are Shoko Tamai, Marija Obradovic, Evelina Pristovsek and Iren Kamyshev.
In the Wilderness of Demons is a production by MOVA Theater Company. It runs at The John Cullum Theatre at the American Theater of Actors through 11/02/25. Learn more at movatheater.com/.
Review by Jim Catapano: Tom Nemec’s A Cat in a Box Is a Moving Journey from Trauma to Healing
From The Storm to The Breeze
Comedian and actor Tom Nemec has a story to tell. It’s a deeply personal one, but judging by the response at The Tank theatre as he told it in his one-person show, one that resonates far and wide.
One of the first things Nemec does upon taking the stage is to invoke his childhood self, calling for his mom. “This is the way I entered my childhood home my entire life,” he explains. “Screaming ‘Mom!’ often before I even got through the front door.” He shows a picture of the home, in Lyndhurst New Jersey (“Gateway to the Meadowlands,” he quips before adding, “I hated that house.”)
Over the course of an hour, A Cat in a Box reveals what happened in that house as Nemec and his three siblings grew up in the 1970s; and as these events unfold to us, Nemec bares his soul and shares his life. It was a childhood of dysfunction and isolation, of alcoholism and emotional and physical abuse.
Nemec warns early on not to expect any funny or sentimental anecdotes. “When most people hear the word ‘family’ they think love, stability, support,” he notes. “But that’s not the definition. That’s an ideal…My family was just a group living together as a unit.”
He hated the family photo that hung on the wall as much as the building that housed it, as it was a lie. “That was not us,” he observes. “But I continued to pretend it was for a long time.”
Nemec’s recollections are raw, and no punches are pulled. He speaks of nights that would end with Nemec’s severely inebriated father banging on the door, demanding to get in. “I’d just wish he’d wander off to someone else’s house and never bother us again,” Nemec admits. He is nostalgic for the Christmas holidays because “no matter how bad things were at home, everyone was in a slightly better mood (and besides I kind of believed in Santa Claus”). Though he concedes that any gifts were “more like an obligation wrapped in a bow.” He reveals sadly that his father’s addiction overshadowed his mother’s behavior, which was often accompanied by violence.
The audience was captivated by Nemec’s every word. One could almost picture themselves in that Lyndhurst home, so vivid is Nemec’s recollection and expert storytelling. The most moving part of his tale is his journey to adulthood and his path to reconciling with the past and conquering his own demons. He last entered that house in the year 2000, and is now not only an accomplished actor and comedian, but a teacher, helping young children make their first steps into life in a healthy, nurturing environment.
A brief Q&A after the performance revealed that many in attendance saw a lot of their own childhood in Nemec’s. For a moment, we were united in our collective experience, and in our resolve to heal; and to paraphrase Nemec’s powerful closing statement, “to see the breeze as our friend.”
A Cat in a Box is directed by Jim Mendrinos is performed at The Tank through November 8, 2025. For more information, visit https://thetanknyc.org/calendar-1/a-cat-in-a-box
Absurdity, Activism, and the Authentic Self: Julie Lorson’s Vision for Five Lesbians Eating Quiche
The Modern Classics Theatre Company of Long Island (MCT), the 501(c)(3) non-profit organization in residence at the BACCA Arts Center, is distinguished by its commitment to staging challenging, innovative, and socially relevant theatre.1 With a core mission to produce works “seldom seen on Long Island” and championing non-traditional casting, MCT ensures its repertoire actively engages with contemporary issues.2 Leading this effort is Director Julie Lorson, whose selection and staging of the comedy Five Lesbians Eating Quiche exemplifies the company’s purposeful artistry.
Article by guest writer, Anya Kai
The Production: Five Lesbians Eating Quiche (November 2025)
The production, running from November 8 to November 23, 2025, is a staging of the 2012 New York International Fringe Festival Winner, written by Evan Linder & Andrew Hobgood.3 Set in 1956, the play centers on the Susan B. Anthony Society for the Sisters of Gertrude Stein, whose annual quiche breakfast is interrupted by the chilling reality of nuclear war.4
The Dual Message
Director Julie Lorson’s insightful Director’s Note reveals the play’s depth, moving beyond mere farce:
“Beneath the laughter lies a powerful story about five women who long for freedom in a world that tells them who they should be… In this play, our war widows gather to celebrate community, sisterhood, and courage.”
Lorson observes a troubling resonance with the present: “It is disheartening to see echoes of that same repression returning under the current administration. Rights once fought for are being questioned again.” She frames the production as an act of resistance, calling on the audience to “laugh loudly. Cheer boldly. And as you do, remember the bravery of those who came before us.”
Spotlight on the Director: Julie Lorson 🌟
Julie Lorson is a true “jack of all trades” in the Long Island theatre community. Beyond her directorial role, she is a producer, stage manager, and actor, and serves on the board of directors for both Modern Classics Theatre and Bellport Playcrafters.5
The Selection Process: Serendipity and Social Relevance
Lorson’s initial interest in the play was rooted in the need for a production that fit MCT’s criteria (5+ cast, one setting) and her personal inclination toward comedy. The choice of Five Lesbians Eating Quiche was serendipitous:
“I went on Concord Theatricals, put in the criteria and because it’s sorted by alphabetical order 5 Lesbians came up first. Obviously, intrigued by the title, I found the PDF of the script online and I FELL IN LOVE!“
This initial spark of intrigue quickly evolved into a realization of the play’s profound thematic fit within MCT’s mission.
The Obstacle: An Innovative Casting Challenge
A significant directorial choice that shaped this production was Lorson’s solution to working with a large ensemble while preserving the core dynamic of the five main characters:
- Non-Traditional Casting: Rather than a simple ‘A’ vs. ‘B’ cast structure, Lorson intentionally created “8 different casts” by mixing the performers.
- The Goal: This innovative approach was designed to make “each show… a unique experience and give the actors a challenge,” while also preventing competition and forcing the entire company to “work together to create a great show which feels in the spirit of the show.”
This intricate scheduling and creative mixing demonstrate Lorson’s commitment to prioritizing the actors’ collaborative development and the unique immediacy of live performance.
MCT’s Mandate: Theatre That Matters
Lorson is proud to align this production with MCT’s history of impactful storytelling, citing recent works that tackle pressing social topics:
| Theatrical Production | Social Theme Explored |
| POTUS | Political and gender dynamics |
| A View From The Bridge | Immigration and moral dilemmas |
| The Laramie Project | LGBTQ+ rights and hate crime |
| The Shadow Box, Curious Incident, Of Mice & Men | Powerful human, mental health, and social struggle stories |
MCT’s continued dedication to “diversity, equity, and inclusion” under Lorson’s influence cements its position as a vital, purposeful theatre company on Long Island.
What’s Next
Following the closing of Five Lesbians Eating Quiche, Julie Lorson will immediately dive into her own annual tradition:
- Acting Festival: She will be performing in the MCT’s annual one minute play festival, appearing in 13 out of the 46 plays submitted this year, showcasing her versatile talent across many short-form pieces.
Marlin Thomas’s REPARATIONS Set for Limited New York Run After International Win
Acclaimed Playwright Confronts the “Impossible Moral Debt” of American History at Teatro LATEA
Anya Kai, reporting
New York native and celebrated playwright Marlin Thomas is set to present a limited run of his latest, award-winning work, REPARATIONS, at Teatro LATEA (107 Suffolk St., New York, NY 10002). The production, which recently earned the top honor at the International Theater Script Competition 2024, promises an unflinching and sophisticated exploration of the debt owed for American chattel slavery and its lingering consequences.
A Confrontation at the Door
REPARATIONS centers on William McCrory, a wealthy white man whose comfortable life is shattered by an unexpected visitor—a Black man who shares both his name and his birthday. This mysterious stranger arrives carrying documents that connect the two men through a painful history rooted in slavery.
As the stranger’s intentions unfold, the play dramatically excavates painful histories, both public and private. It forces the protagonist—and the audience—to grapple with an impossible moral debt. The work has been lauded by the competition jury for its commitment to thoughtful discourse on a polarizing subject, balancing challenging political ideas with compelling, character-driven drama.
The production asks, but deliberately leaves unanswered, a host of urgent and contentious questions that resonate deeply in contemporary society, including:
- What does the present owe the past?
- Can historical injuries ever truly be repaired?
- What individual responsibility exists for distant sins?
- Should individuals be held accountable for the actions of their social and racial group?
Playwright’s Journey: From Skepticism to Drama
Marlin Thomas, an academic and writer whose background spans the humanities and the sciences (including literature, philosophy, and computer science), wrote REPARATIONS to satisfy his own curiosity about the issue.
“I was viscerally opposed to reparations,” Thomas explains, “so I was curious to find out how someone could be in favor of them.”
His research led him to gradually shift his perspective, realizing that the arguments presented on both sides of the issue had “as many flaws as merits.” Thomas sought to dramatize this intellectual and emotional movement, expressing his belief that “reasonable people can disagree about an issue as emotional and personal as that of reparations.”
When asked about his message, Thomas states, “History is on nobody’s side. No argument stands without engaging with its counter argument.” The timing of the play’s production, he notes, is not a direct response to current government action, but rather a function of his “slow writing pace and the length of time it took to gain recognition.”
The most significant obstacle in producing the show, according to Thomas, was finding a director who could “acknowledge the complexity of the characters” and approach the script with an open mind. He found this collaborator in DeMone Seraphin, who “broadly appreciates the humanity reflected in the characters.”
The Man Behind the Play
Born in the Bronx and raised in the Queensbridge Houses, Thomas was educated at Queens College (CUNY), Johns Hopkins University, and New York University. His academic work is extensive, with his piece on Alan Turing: The Enigma being named Computing Reviews’ best review of 2015.
As a creative writer, Thomas is also known for his full-length play FreudMahler (published in English and Italian) and The Middleman, a finalist for Best Play in the 2020 New York Theater Festival.
Regarding his unique perspective, Thomas introduces himself as: “An academic who has taught in departments of English and computer science. A writer who is political but non-partisan. An atheist trying to have enough faith to become an agnostic.”
Looking Ahead: The Humanity of Queensbridge
Following the run of REPARATIONS, Thomas will turn his focus to a deeply personal project: a new full-length play titled “Queensbridge.”
Queensbridge Houses, the country’s largest public-housing project, is often celebrated as the birthplace of rap but is also long associated with poverty and violence. Thomas intends to give the community a nuanced treatment, one that recognizes the “humanity and quiet heroism” of its residents. The play will dramatize the experiences of a decades-long resident who recounts his life, detailing the trauma endured by those he lived with, his own complicity in it, and his path toward partial redemption.
Performance Schedule
REPARATIONS will have a limited run at Teatro LATEA on the following dates:
- Thursday, November 20 at 9:00 PM
- Saturday, November 22 at 12:00 PM
- Sunday, November 23 at 8:30 PM
TICKETS for the limited engagement are available now.
History is NOW: Jim Catapano views ZAGŁADA
Richard Vetere Brings t His Gripping Zaglada and the Great Len Cariou to the ATA Stage
“How do you judge human behavior when human life is judged to be worthless?”
Zaglada is a polish word meaning “annihilation, or extermination.” The astonishingplay that takes this nameexplores the moral dilemma faced by human beings in the horrific, life-and-death situation that this describes. What would you do to save yourself, or the person you love most? And how far would you go to render justice, even decades later? Should a person in the last days of their life face punishment for the crimes of a near century ago—crimes that to some eyes, they were forced to commit?
The Marvelous Len Cariou, a 65-year veteran of the stage and a Tony winner renowned for his performance as Sweeney Todd, isJerzy Kozlowski. He is a 93-year-old Polish Queens resident who has been arrested for shooting at Danielle Hooper (Jes Washington), a woman of color and a journalist. Danielle has discovered that Kozlowski was a kapo in a Buchenwald concentration camp in World War II, a prisoner who became an enforcer in the camp in exchange for his own life…and more. The arresting officer Frank Napoli (Salvatore Inzerillo) finds himself in an unexpected conflict with Sonia Sakalow (Maja Wampuszyc), a Homeland Security Officer who is hellbent on finally bringing Kozlowski to justice.
Powerfully directed by Wampuszyc, Zaglada is a fiction based on a very real reality—a history that is in danger of being forgotten, which creates the very real possibility that it will be repeated.
Napoli takes pity on the dying Kozlowski, giving him his pills and making sure he’s comfortable. He appears to be on the side of “moving on” from history.
“We spend most of our time worrying about things, dealing with things that happened when we weren’t even here,” he says to Hooper.
“Like Kozlowski?” she asks.
“Like Christopher Columbus, like Confederate statues, like reparations for slaves,” he replies, adding that his family wasn’t even in the country when the events transpired.
“That is the usual argument,” she notes. “But it is history, isn’t it?”
“Yours, maybe,” he dismisses, “not mine.”
Hooper, who is writing a book getting a PHD in International Human Rights, sees a parallel between the atrocities of the War and the persecution of African Americans, and seeks to make the world see it as well.
“The economy of this country was built on slavery,” reminds Hooper. “Now whether they were here or not, your people certainly benefited by the time they got here. Slavery was also a crime against humanity if you ask me, and there’s no statutory limit on that.”
Wampuszyc also sees no statute of limitations on Kozlowski’s actions in the latter days of WWII. She looks upon the old man with contempt and hatred that feels unusually personal, and is determined to see him be extradited and tried. Napoli is not on board; he sees Kozlowski as having been coerced into his actions.
“An elderly man, forced to work for the SS in a war that nobody thinks about anymore, needs to be punished?” Napoli protests.
“I am well aware that he did not volunteer to be a kapo at Buchenwald,” Wampuszyc retorts, dismissing that aspect as irrelevant. “…He is guilty, those are the facts.”
“I’m not sure that I would survive in a camp,” acknowledged Napoli. “But I know one thing…I would do all I could to survive.”
“You don’t know what you would do, nobody does,” says Wampuszyc. “Not until you are there, and it is real.”
The legendary Cariou is a wonder to behold; the experiences of a near-century are all in his eyes. You can literally see him putting himself back in 1945 as he gazes into the middle distance in agony. His fellow actors are also remarkable in their intensity, each suffering from their own form of PTSD that manifests in their passionate resolve and in the haunted, pained expressions on their weary faces. As circumstances unfold there are revelations that paint a vivid picture of why these particular people have found themselves battling in a small police station in 2018; every moment is riveting as more and more comes to the surface to create deeper shades of gray.
Zaglada is a masterpiece that is a must-see from both a creative standpoint and due to its undeniable relevancy in a time when humanity is at a moral crossroads and is already beginning to repeat the atrocities of the past.
Zaglada is performed at the American Theater of Actors through November 2.
At the American Theatre of Actors: “In the Wilderness of Demons,” a Ukrainian Folk Thriller by acclaimed American playwright Don Nigro.
Premiering at the American Theatre of Actors: In the Wilderness of Demons, a Ukrainian Folk Thriller by acclaimed American playwright Don Nigro. 314 W 54th St, New York City, October 23 – November 2, 2025 (Wednesday–Saturday 7 PM · Sunday 3 PM) TICKETS
In the Wilderness of Demons, a world-premiere play by DON NIGRO (among the most frequently published & produced playwrights in the world), opens October 23 at the American Theatre of Actors’ Cullum Theatre for a limited run through November 2.
Intertwining Ukrainian folklore, mysticism, and movement, a witch and a folklorist meet in a remote village — where myth collides with reality. Giving fresh eyes and thoughts to ancient legends, this production is designed to be a new paradigm in stage drama.
THE STORY: Deep in the woods, a Ukrainian cottage filled with handwoven, faceless dolls, a witch lives between worlds. When a young folklorist arrives to record her tales, their encounter unleashes secrets buried beneath water and memory. Drawing on ancient ritual, wild dance, and dark humor, In the Wilderness of Demons merges elements of thriller, folklore, and surreal comedy to create something both eerie and mesmerizing.
A CROSS-CULTURAL COLLABORATION: The production features an international all-female cast, each artist sharing a personal connection to Ukraine. Some born there, others have Ukrainian roots or have lived and worked there. For the ensemble, this project is both deeply personal and profoundly timely.
“Ukraine belongs not only in the news, but also on the stage,” the company states. “In this moment of war and resilience, Ukrainian art is not just storytelling — it’s survival.”
PERFORMANCE DETAILS
Venue: American Theatre of Actors’ Cullum Theatre, 314 W 54th St, New York City
Dates: October 23 – November 2, 2025
Showtimes: Wednesday–Saturday 7pm and Sunday 3pm
Tickets: https://movatheater.com/
Creatives & Cast:
Written by Don Nigro
Directed by Eduard Tolokonnikov
Produced by MOVA Productions NYC
Starring: Tatyana Kot and Iryna Malygina
Visit the WEBSITE for further details.
ABOUT THE PLAYWRIGHT: Don Nigro is one of America’s most produced living playwrights. His works — including Ravenscroft, Seascape with Sharks and Dancer, and The Actor’s Nightmare — have been performed in over 40 countries. Known for his gothic humor and psychological depth, Nigro’s writing combines mythic imagination with dark lyricism. “Don Nigro writes like Edgar Allan Poe dreamed of writing for the stage.” — Andrew Cortes, Stage Whisper
ABOUT THE PERFORMERS
Tatyana Kot is a NY-based theatre and dance artist, movement choreographer, and multi-festival award winner. Her credits include Don Nigro’s The Chaplin Plays and John Patrick Shanley’s Candlelight.
Iryna Malygina, actor and producer, has appeared in over 40 Ukrainian TV roles and multiple New York theatre productions. She brings a blend of cinematic intensity and stage craft to her work.
ABOUT THE DIRECTOR: Eduard Tolokonnikov is a New York–based director known for emotionally immersive productions that merge intimate actor work with bold visual storytelling. His notable NYC credits include Baudelaire’s Passion (Off-Broadway, 2023) and Five Evenings (Off-Off-Broadway, 2025).
For more information, press materials, or interview requests, please contact Jay Michaels at info@jaymichaelsarts.com or at 646-338-5472.
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