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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.
Jim Catapano goes to the Other Side of Sondheim with Barry Joseph’s New Book
Around 2016, an 86-year-old Stephen Sondheim participated in his first Escape Room in Midtown New York City. The lifelong lover and prolific creator of games of all kinds was in his element. The director of the actors who were working there that day say that he even crawled through the tunnel that was an optional part of the game, emerging to see a puzzle that he himself had designed in 1968 with Anthony Perkins.
Sondheim was said to have grinned with glee. The puzzle was a built-in regular feature of the Escape Room; the surprise appearance of Sondheim himself was an unanticipated, delightful coincidence. (Sondheim continued to participate in Escape Room Adventures with famous friends like Mia Farrow and Bernadette Peters.)
Writer, Sondheim expert, and cofounder of the Games for Change Festival Barry Joseph recounted this in a Drama Book Show podcast recorded at the Drama Book Shop, as part of a talk and Q&A discussing his new book, Matching Minds with Sondheim. Joseph appeared before a rapt audience alongside acclaimed playwright and songwriter Michael Mitnick (whose works include Fly by Night, the Drama Desk-nominated Best Musical, Playwrights Horizons). Mitnick is also a Sondheim authority, whose insights contributed greatly to the book.
“This project started in April 2022, a few months after Sondheim passed away,” noted Joseph. “…I had just read three books (on Sondheim)…and I learned this idea that he once said he wanted to go into video game design. And that got me to start exploring.” Joseph spent two years doing research, “…contacting research institutions and finding out if they had anything related to his games and puzzles; talking to people who played games with Sondheim; who party-managed some of the events that he was at; and people who had co-designed some with him.”
As this was just a few months after Sondheim passed away, it was a time when the legend was on everyone’s minds as they both mourned the loss and celebrated his life and their connection to him.
“It meant saying ‘hi, you don’t know me, but would you be willing to open up your memory box and trust me with this piece?” said Joseph. “You can imagine many of these people had been spending months talking about, ‘this is what it was like to work with Stephen Sondheim’…but no one was asking what I was asking: ‘What was it like to play with Stephen Sondheim? And so for many of them, it was an opportunity to explore an aspect of their relationship that they never had a chance to do publicly—and maybe not even privately—for years.”
Joseph explained that once they got going, the recollections of Sondheim’s colleagues became joyfully vivid. “Not only would their memories flood back, but the memories would overwhelm them in a way where they were so excited and passionate to share them, and so that created not only an honor for me, but also a responsibility to own those stories until I could shape them together for the book.”
The search for examples of Sondheim’s game and puzzle design work became a hunt for treasure in itself. “Someone who was in the cast of A Little Night Music had saved her winning sheet from a treasure hunt that Sondheim designed—from 1973; people who had party-managed his last treasure hunt at City Center still had all the print materials and could make them all available.”
And as Joseph noted, though the book is now complete and available, the research continues today. He revealed that Mitkin had brought him a new piece of literal treasure right before the event—from Sondheim’s 1998 musical Putting it Together. “The stage manager had prepared as the opening night gift, a collection of logic puzzles,” explained Joseph. “It traces the narrative and production of the show, but all in puzzle form.” Thus, Sondheim’s two greatest passions are now seen to dovetail beautifully. And in a sense, both musical theatre and game playing have the same intent—to create among people, as Joseph put it, those “moments of connection” that are so integral to the human experience.
Case in point: The game Among Us, which became a sensation as it brought people together on Zoom during the 2020 pandemic, was based on Sondheim’s own murder mystery design. In Rian Johnson’s film Glass Onion (2022), Sondheim is seen playing Among Us with (fittingly) Murder She Wrote’s legendary Angela Lansbury. (Fun fact: Sondheim’s username is “FleetST,” while Lansbury’s is “MSheSolved” (Funner Fact: Lansbury was in a 1980’s production of Sondheim’s Sweeney Todd as well. It all comes together. Add to this Sondheim’s time as a cryptic crossword master for New York Magazine in the late 60s; the story of the two board games he developed in the ‘50s that were presumed lost, and the collection of jigsaw puzzles found after a half-century, and the journey just gets more compelling.
“When I started looking up where (the games) fell in his life, they actually had a chronology,” said Joseph. “As I started structuring the order of those chapters, they actually had an organic feel to them…you have a sense that you’re moving through the eras of Sondheim’s life.” Joseph exclaimed that the majority of the book is indeed a biography of Sondheim, but told through looking at his games.” “I study games, that means I’m a ludologist; this is a ludological biography.”
The rest of the book spotlights the creations themselves—“the games and puzzles of Stephen Sondheim that you can do yourself, and—more interesting to me as a ludologist—the design values. What are the things that we can learn from Stephen Sondheim’s game designs and puzzle designs?”
Matching Minds with Sondheim does even more than the title suggests. It actually allows the reader to live inside the mind of the icon and live through the eras marked by the games he was passionate about at the time. It takes them on an adventure through puzzles and parlor games, crosswords and anagrams, murder mysteries and escape rooms, giving them a fascinating glimpse into the thought process that leads to joyful creation.
Joseph noted that there is a structure to the book—and tantalizingly, that there are two puzzles hidden in the book related to that structure. Good luck solving!
To learn more and get your game on, go to matchingmindswithsondheim.com
Star Power and Seasoned Talent: The Cast Bringing Richard Vetere’s “ZAGŁADA” to the ATA Stage
Richard Vetere’s new psychological crime thriller, ZAGŁADA, is set for its New York City premiere at the American Theatre of Actors (ATA), supported by a powerhouse team of Broadway veterans, acclaimed character actors, and an experienced director. The production, running from October 16 to November 2, features the formidable talent of Tony Award winner Len Cariou, leading an electrifying cast to confront a chilling piece of history.
The play, which centers on the arrest of an elderly Maspeth resident—a former kapo in a Nazi concentration camp—demands a cast with the gravitas and skill to navigate the story’s dense layers of historical trauma, moral ambiguity, and high-stakes confrontation.
The Headliner: Len Cariou as Jerzy Kozlowski
Leading the cast is the internationally recognized, Tony Award-winning, and Emmy-nominated Broadway icon, Len Cariou.
Cariou is perhaps best known for his legendary, Tony-winning performance as the title character in Stephen Sondheim’s Sweeney Todd: The Demon Barber of Fleet Street. His extensive, 65-year career spans regional stages, Broadway, off-Broadway, film, and television, earning him membership in the Theatre Hall of Fame. A master of the classical repertoire, he has twice assayed the title role in King Lear.
While his stage career is monumental—recently honored with the 2024 John Willis Award for Lifetime Achievement in the Theatre—Cariou is also a beloved figure on television. For 14 seasons, he played the patriarch ‘Pop’ Reagan on CBS’s hit show Blue Bloods. His recent work includes the award-winning off-Broadway role of Morrie Shwartz in Tuesdays With Morrie.
In ZAGŁADA, Cariou takes on the central and challenging role of Jerzy Kozlowski, the 90-year-old former kapo arrested for shooting a journalist. His casting ensures the character, though morally dark, will be portrayed with a depth and humanity that forces the audience to grapple with the play’s central questions of justice and self-preservation.
The Electrifying Supporting Cast
The veteran performers joining Cariou are charged with portraying the three New Yorkers who must confront Kozlowski and his past: Danielle Hooper (the journalist), NYPD Officer Frank Napoli, and Homeland Security Officer Sonia Sokolow.
Jes Washington
A New York actress, writer, and singer, Jes Washington brings a compelling resume of stage and screen work. A Lifetime Member of the Actors Studio, her dedication to in-depth character work is clear. Her stage credits include off-Broadway productions such as Coping Mechanism and White Woman, Black Boy, and her acclaimed international one-woman show Who Will Sing for Lena. Washington is also known for her television appearances on HBO’s The Gilded Age and CBS’s The Equalizer. Her involvement in workshops directed by figures like Estelle Parsons and Steve Broadnax III further speaks to her commitment to developing challenging new work.
Salvatore Inzerillo
Salvatore Inzerillo is a respected New York-based actor, director, and artistic director, with deep roots in the city’s theatre scene. A member of both LAByrinth Theater Company and The Actors Studio, Inzerillo has worked extensively at The Public Theater and developed over a hundred new plays with leading American playwrights. His stage credits include originating roles in early works by Stephen Adly Guirgis, all directed by Philip Seymour Hoffman, such as In Arabia We’d All Be Kings and Jesus Hopped the ‘A’ Train. He also appeared in The Iceman Cometh with Nathan Lane and Brian Dennehy at BAM. On screen, he is recognizable from roles in Boardwalk Empire, The Deuce, and various Law & Order franchises. Inzerillo’s history with gritty, character-driven material makes him an ideal fit for this psychological thriller.
The Creative Vision: Director Maja Wampuszyc
Guiding the production is director Maja Wampuszyc, who has a close working relationship with playwright Richard Vetere, having directed the development process of ZAGŁADA at the PDW at The Actors Studio.
Wampuszyc is an accomplished actress herself, known for her appearances on Broadway in Irena’s Vow, as well as off-Broadway and regional productions. Her film and TV credits include The Immigrant (with Marion Cotillard), Mona Lisa Smile, The Knick, and Madam Secretary. As a director, her work is recognized for its bold approach, having previously helmed productions in Krakow, Poland, and throughout the U.S. Her deep familiarity with the script and Vetere’s writing ensures an interpretation that is both true to the playwright’s intent and dramatically compelling.
The Creative Home: The American Theatre of Actors (ATA)
The production is staged at the American Theatre of Actors, a venue founded in 1976 by James Jennings. The ATA continues its mission of spotlighting socially and historically resonant works, having produced over 1,000 original plays and served as an artistic home for figures like Dennis Quaid, Edie Falco, and Chazz Palminteri early in their careers. The ATA’s legacy provides the perfect institutional support for a drama that grapples with weighty historical and moral questions.
John Stillwaggon & Carolyn Dellinger celebrate the works of BERNARD J. TAYLOR with a special private showing of TENNESSEE WILLIAMS: PORTRAIT OF A GAY ICON
John Stillwaggon & Carolyn Dellinger celebrate the works of BERNARD J. TAYLOR with a special private showing of TENNESSEE WILLIAMS: PORTRAIT OF A GAY ICON plus other presentations. This event is dedicated to the EMERGENCY FUND OF SAVE THE CHILDREN (All donations go to Save the Children) and the 50th anniversary of the AMERICAN THEATRE OF ACTORS, the host venue of the original New York production. Doors open at Noon; Program begins at 12:30 p.m. on Monday, November 3, 2025 at the Jerry Orbach Theatre, 210 West 50th Street on Broadway, New York City.
This event is produced by JAY MICHAELS GLOBAL COMMUNICATIONS, LLC (Contact Jay Michaels at info@jaymichaelsarts.com for further info or to RSVP)
Tennessee Williams: Portrait of a Gay Icon an exploration of playwright Tennessee Williams’ “private” life.
After acclaimed national performances, Bernard J. Taylor’s play made its NYC debut to sold-out showings at the historic American Theatre of Actors before garnering the same kudos in the United Kingdom.
Join us for one last showing tributing playwright Taylor and raising funds for the Emergency Fund of the
Save the Children Foundation.
PLOT: Williams is chatting with “old friends” in his home and becomes increasingly inebriated during the course of the visit. The author launches into myriad diatribes about life, love — or the lack and abuse of it, his viciously cruel father, his sister — who received the brunt of that cruelty, and his work in the theatre — or more likely — his work with actors.
Mr. Stillwaggon and Ms. Delinger appear courtesy of The Theatre Authority
Playwright Bernard J. Taylor had more than 100 worldwide productions of his plays and musicals in more than a dozen countries. His early works were chronicled in the Encyclopedia of Film and Stage Music. In 2013, he was made an Honorary Fellow by the Victoria College of Music and Drama for “services to music and the performing arts.” Recent years have been the most prolific. Six productions of his stage works in San Antonio won eleven awards at the 2015, 2016 and 2017 ATAC awards (San Antonio’s version of New York’s Tony Awards).
Arts Independent 