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Is That in the Script? asks Jim Catapano regarding Joseph P. Krawczyk’s Living the Play
Joseph P. Krawczyk’s Living the Play: A Dangerous Time for Women Is Timely, Clever, and Compelling
It is November 5, 2024. Crystal (Chelsea Clark), a New York Theatre actor, and her partner Jeremy (Nathan Cusson), a psychotherapist, are coming back to their apartment after voting for Kamala Harris on Election Day. Crystal awaits the outcome with tremendous trepidation while Jeremy just “que-sera-seras” and suggests they hope for the best. Crystal is also gearing up for her lead role in a make-or-break Off-Broadway production, a two-hander about a woman whose pregnancy and subsequent difficulties in getting proper reproductive care lead to tragedy. Jeremy’s apparent nonchalance (masking an anxious personality, as we soon learn) exasperates the passionate Crystal. She implores her reluctant partner to run lines with her. Jeremy, whose own acting career was brief and long ago, reads the lines initially in a disinterested monotone. But he has a didactic memory, and begins to get very familiar with a show that he’s not even in. The rehearsal of the tense dialogue between the couple in the play begins to mix with Crystal and Jeremy’s actual discourse and their real-life relationship difficulties, leading to the ominous mantra, “is that in the script?” (or, are we really saying these things to each other?). Soon neither they—or us—is certain where Crystal and Jeremy end and their characters begin.
The play-within-a-play technique, set against the backdrop of the real-life circumstances its audience finds itself in the United States of 2025, makes Living the Play a unique and powerful experience. We who are observing the couple know how the election of 2024 is going to end; how it’s going to affect Crystal; and how it threatens her rights as a woman. A revelation drives home that her character’s plight in the play could well be a foreshadowing of her own future, and Jeremy—whose “life is not at risk,” as she reminds him—seems incapable of the support and understanding she needs from a partner. Crystal had turned off the news for the remainder of November 5 after casting her vote, and it’s left to Jeremy to inform her of the outcome. She grabs a pillow and screams into it, and It’s a sad and chilling moment of recognition for those of us who wanted things to go another way. Jeremy continues to play the “it won’t be that bad” tune, ignorant of the fact that he is dismissing Crystal’s fear, and the clear and present danger that every woman is now in.
With this dark cloud over the future and their relationship, Crystal carries on with the play with Jeremy’s grudging assistance, the dialogue continuing to blur with their reality. When she brings out the real loaded gun she owns, mistaking it for the prop gun from the play, it drives home how close they are to living out the tragic circumstances of the show she’s so absorbed in.
The outcome of the election has consequences for the production itself too, as the understudy for Crystal’s scene partner, a transgender person, leaves for Canada. Jeremy is now the understudy for a role he doesn’t want, just one more defection away from being the lead. He desperately tries to get out of it and yet begins to paradoxically get more involved, his photographic memory causing an unexpected engagement with the material. He even questions the playwright’s choices, which draws further ire from his partner. We can feel the walls closing in as not only is Crystal’s career and relationship in danger, but so is her very future as a woman in America, as her rights to bodily autonomy and reproductive care begin to slip away, and the one person she wants to depend on can only shrug helplessly.
Clark and Cusson are astonishing in their roles—believable, relatable, and skillful in their juggling of their own characters’ voices with those of the characters of the play they are rehearsing. By showing how the suppression of rights impacts one person whom we’ve grown to care about, Krawczyk has driven the urgency of the situation home. His words are expertly brought to life by Clark and Cusson, under the deft guidance of Director Eddie Lew and Assistant Director Carrie Stribling. Just as Crystal is taking on injustice and fighting for her future through creativity, so is the team behind Living the Play showing us how art is one of our greatest weapons to wield against the tyranny of the times.
Living the Play: A Dangerous Time for Women is dedicated to Amber Thurman, Taysha Sobieski, Josseli Barnica, and Candi Miller, who lost their lives due to the denial of timely reproductive care.
The play runs at the American Theatre of Actors through May 18, 2025.
Jim Catapano views the ATA’s New Life for Prince Hal
Shakespeare’s Henry V is revived with a Sparkling New Production at the American Theatre of Actors
“We Happy Few, We Band of Brothers,” Henry V famously proclaims—and Sam Hardy, the actor who currently brings him to life, could well be addressing his castmates and crew of this accomplished production, now playing at the ATA as presented by Jonathan G. Power.
Henry V is the final piece in a tetralogy by Shakespeare that was basically the 16th century stage version of the Marvel Cinematic Universe. It was preceded by Richard II, Henry IV, Part 1, and Henry IV, Part 2. Henry V would have been a familiar character to theatre fanatics of the Renaissance, having appeared in Henry IV Parts 1 and 2 in youthful form as the wayward, tavern-loving Prince Hal.
This “sequel” depicts Hal/Henry (also known as “Harry”) rising to the throne with a new maturity. At the English court Henry is convinced after a discussion about land laws with the Archbishop of Canterbury (David Allard) that he has a claim to the Throne of France. Thus, he prepares to do battle with the French near Agincourt. His regiment is comparatively small, but the king is armed with a of heart and spirit that he is determined to share with his soldiers.
Shakespeare veteran Hardy is perfect in the title role; his commanding voice, powerful stage presence and impressive physicality adding an extra electricity to the Bard’s 1599(ish) play. He brings great poignancy to a sequence where Henry disguises himself to walk among his soldiers, in order to get to know them and bring them hope and encouragement.
One of the most popular of Shakespeare’s historicals, Henry V is engaging and witty throughout, with many humorous interludes and an incredibly quotable text. The actors handle the complex languages, lengthy soliloquies, and Bill’s famous wordplay with astonishing skill and a clear love for the source material; they also excel at the tricky, operatic fight sequences, which are expertly choreographed for this production. The English soldiers are in tan T-Shirts, the French in blue; and the overall dress is contemporary. Even with the large cast many of the actors play multiple roles, switching demeanors and characterizations with deftness.
Dustin Pazar is engaging as The Chorus (“Narrator”) as well as The Duke of Exeter, Noy Marom is Princess Catherine of France; in one of the play’s most amusing scenes she asks her maid Alice (Annie Unger) for a lesson in how to say a selection of English words, with Alice responding with rather suspect pronunciation. Marom also plays the conspiratorial Sir Thomas Grey, and Unger doubles as “the Boy,” page to comedic trio Pistol (Joe Patrick Marshall), Nym (Kieran Wylie), and Bardolph (Paul Maurizio). (These four characters also appear in multiple Shakespeare works.) The prolific Jane Culley (over 50 off and off-Broadway credits) is the Queen of France and also Pistol’s wife, Mistress Quickly. Producer Power appears as Henry’s counterpart on the chessboard, the King of France. Adam Lyons is very amusing as the French Herald, who periodically appears on the balcony to taunt the English warriors.
Dukes and Earls of course abound. Christian Miranda appears as both the Duke of Orleans and the Earl of Salisbury; Reese Villiger is the loyal Earl of Westmoreland;
For audiences unfamiliar, I’d equate the relationships among the characters to the conflicts, and camaraderie in another more recent hero’s journey, The Lord of The Rings franchise (subtracting magic rings and dragons, but adding the tennis balls that the Dauphin of France sends to his rival Henry as a gag gift). Cruz is an entertaining presence as the aggressive, always screaming Dauphin.
Directed with panache by ATA founder and artistic director James Jennings, Henry V makes great use of the multi-leveled, atmospheric John Cullum Theatre. Moving video backdrops portraying castles, battlefields and graveyards add a nice sense of place and time. As usual for this highly regarded entry into Shakespeare’s canon, this edition Henry V earns it’s 3-hour runtime, captivating throughout on its way to a rousing denouement.
Henry V runs at the ATA through April 19, 2025.
SHELLEN LUBIN to helm CAROL LEE CAMPBELL’s musical play, “Chicks In Heaven”
Director/Writer/Performer and Coach, SHELLEN LUBIN to direct Carol Lee Campbell’s new play with music, “Chicks In Heaven” CAROL LEE CAMPBELL’s musical play about family and faith will have an industry presentation, in May at Open Jar Studios, 1601 Broadway, New York City.
A fractured coven of four women discovers that their strength lies not in their spells but in each other.
Contact info@jaymichaelsarts.com for further info
Chicks In Heaven enjoyed a wildly popular production at the Creative Cauldron in Virginia last year emboldening the decision to come to New York.
CHICKS IN HEAVEN takes us on a transformative journey, centered around a 30-year reunion in southwestern Virginia of friends who once shared a sacred bond fueled by feminist ideals. In their youth, these women experimented with magic as a means to challenge societal norms and fight against the oppressive forces of the patriarchy. Can the same magical activism that forged their early sisterhood bring them together now at a time when the fight is needed most?
Chicks In Heaven Book and Lyrics by CAROL LEE CAMPBELL
Shellen Lubin graduated from and then taught at Bennington College with a triple major in Drama, Music and Dance. During her time there, she appeared in Miloš Forman‘s first film in America, ‘Taking Off’ which featured two songs she wrote (“It’s Sunday” and “Feeling Sort Of Nice.”)
In her many years in the New York theatre and cabaret scene, she has directed work by Susan Merson, Pamela Weiler Grayson, Elliot Meyers, and ten Bistro Awards shows. Her plays and songs have been performed at the Public Theatre, Manhattan Class Company, Here Arts Center, Henry Street Settlement, 92nd Street Y, and more. She is in the Playwright Directors Workshop and the Directors Unit at The Actors Studio, where she has developed and presented work by numerous playwrights, including Lanie Robertson, Stuart Warmflash, and Anel Carmona.
Her professional theater directing career continues with Chicks in Heaven — in tandem with a successful voice teaching and coaching practice.
Carol Lee Campbell is an award-winning writer, musician and professor.
Here is Carol chatting with Andrew Cortes, the host of STAGE WHISPER PODCAST
She is the creator of Crone Stones, a widely popular divination oracle that includes thirty-three porcelain stones and an accompanying book, Return to Wellness: The New Book of Crone Stones. Chicks In Heaven, her first play with music, premiered in April 2024 at The Creative Cauldron in Virginia. A book launch of her newest fiction, Rebel Rose debuted in May 2024 by Rebel Satori Press. Carol teaches Women and Gender Studies and Greek Mythology at several Virginia community colleges and travels regionally as a performance artist and a lecturer.
Jim Catapano had a Joyful Afternoon of LGBTQ Voices with the Fresh Fruit Festival
The Nine Finalists of the 2025 Fresh Fruit Festival Celebrate Compassion and Connection
On its website, NYC’s Fresh Fruit Festival encourages creators to “Let Your Dream Be Bigger Than Your Fears.” And in early spring 2025, 24 playwrights did just that, bringing their 10-minute pieces to Play Development Week as presented by All Out Arts, which culminated in the performances of the nine finalists on March 30 at Theater for the New City.
If the plays had a connecting theme among them, then “connection” is actually it. Funny and true-to-life awkward encounters and awkward conversations abounded—most leading to honesty, intimacy, understanding, and bonding,
The audience’s choice for first place was Scott Sickles’ A Carefully Planned Spontaneity, the first piece showcased in the finals. A hilarious but also very sweet (and sexy) piece, it featured two older male actors, Wallace and Charlie, practicing for an extensively choreographed love scene. They nervously down many shots, and one dons an “intimacy protector” – an athletic supporter over his pants. (A couch cushion is also strategically placed.) After much hysterical stalling they go for it, filming the scene on a phone. They realize they are much more comfortable with each other than anticipated, and look forward to further, as they put it, “collaboration”. CK Allen and Chad Anthony Miller starred. And shined, with Direction by Jon Okabayash, and Intimacy Direction by Pradanya Subramanyan.
Second place went to Dana Leslie Goldstein’s Comfort and Joy, where an interfaith female couple humorously debated the pluses and minuses of Christmas and Hannukah, which had fallen on the same day that year and brought with it the usual familial complications. It featured great chemistry between actors Julia Crowley and Sarah Guilbault, and was directed by Eva Burgess.
The judges’ choice was Portugal, by Virgo, a witty but intense piece about a couple struggling to make plans while acknowledging their already incredibly hectic travel schedule, and coming to a troubling conclusion about their relationship. The actors spoke at an impressive breakneck pace that cleverly parallelled their characters’ way-too-busy lives.
Most of the plays were intimate two-handers, with just two pieces adding a third character: The Squirrel Watchers, by Katie Kirk; and Hot, by Noah T. Parnes. Squirrel Watchers was a poignant slice-of-young-life piece set in a park, featuring three very different women: the recently dumped Alex, the recently ghosted Brook, and the never-been-kissed Chloe—the only one who’s really there for the squirrels. Hot brought us a very different and very funny story set in a sauna, featuring an older gay man walking in on two young ones, and wondering why the only thing “hot” in evidence is the temperature.
The Unexpected Fetish by John Plausse is a timely, very amusing piece where a newlywed is shocked by his husband’s appalling source of pleasure: Tucker Carlson, a man who even Fox News had lost its desire for. Timothy Bryant’s On Delivery provided one of the funniest and most moving pieces of the festival. A retired West Hollywood couple in their mid-60s were seen awaiting a robot with their food delivery, only to find a newborn baby girl inside the package. One of them (aghast and extremely hungry) wants to send the infant girl back, but his husband has already fallen in love with the delivery they got—naming her, appropriately, Destiny.
The POEM, by Risa Lewak, is a relatable heartstring-puller about the unrequited love of a woman for her best friend, which goes all the way back to their school days, and is finally revealed in romantic verse.
In the tearjerking closing piece, The Cocktail Bench by John Harney, we have an unexpected encounter between an elderly gay man and his female neighbor, a college professor who has been taking the lithographs he had put in the trash. The man reveals they belonged to his partner, now in the hospital with dementia. Heartbreakingly, he has decided he doesn’t want any memories of the loved one who no longer has memories of him.
The nine pieces provided a magnificent afternoon of entertainment, and a welcome showcase for today’s LGBTQ playwrights, in a time when it’s crucial to champion and bolster their creative voices.
The Artistic Director of The Fresh Fruit Festival is Frank Calo. Learn more at FreshFruitFestival.com.
Jim Catapano views the creative view from “Over the Shoulder”
The Creative View from Over the Shoulder
Mark Solomon Shares His Expertise on Telling Stories and the Art of Skillful Editing
“The way I see the world is through stories,” says Mark Solomon. “It’s the water I swim in.”
Renowned Film editor Solomon has over 30 years’ experience in engaging audiences. And he did exactly that for an enthralled crowd at a Talkback, Signing, and Live Podcast at the Drama Book Shop in Midtown Manhattan, regaling us with tales of the craft as detailed in his new book, Over the Shoulder: A Freelancer’s Guide to Telling Stories and Editing Films. (The following are highlights from both the Talk and the Q&A portions of the event, facilitated by The Drama Book Show! Podcast hosts Mark Eugene-Garcia and David Rigano)
Solomon first became enchanted by the art of storytelling through cinema at 18 years old, when he saw the classic film Harold and Maude, the May-December romance story that he found “beautiful and life-affirming”. “When I left the theater that night I felt like I was floating on air,” he says. “So exhilarated and uplifted. I decided right then—this is my path.”
But after several semesters at Syracuse University where he was pursuing a bachelor’s degree in film and theatre, it was time for his final project, and Solomon found himself “choked with fear.” “I had a passion for films and filmmaking, but I had no idea what to make a film about…what story did I want to tell? I was desperate, and I berated myself for not knowing.”
It’s a struggle that all passionate creators can relate to. The intense pressure, anxiety, and dread in the time leading up to graduation resulted in what Solomon calls a “toxic psychosis that I was lucky to survive.”
Solomon found his way back following a Eureka! moment prompted by his experience of Japanese theater, where the actors do not begin until they are certain the audience is giving the stage their full attention and focus. “Through the course of the evening the actors take control of the breathing rhythm,” he notes, “and guide the audience through the climax of the play.”
Something about this concept stayed with him and spurred him on, and he was able to return to his academic and artistic journey. “My brain slowly recovered…I remember walking around my suburban neighborhood with a single plea migrating through my body: Give Me Life.” He didn’t know yet what his story was going to be, but he knew for certain he wanted another chance to find it.
While studying more about the rough state of the world and exploring ways to make it better, Solomon grew as a person, which fueled his artistic aspirations. The activist that he says left the greatest impression on him was Daniel Berrigan, the Jesuit Priest famous for speaking out against the Vietnam War and openly opposing huge institutions like the US government and military. Solomon was inspired by his “shining moral clarity and the courage to live by his convictions…I found his talk galvanizing.”
Kerrigan encouraged Solomon to volunteer at the local nonprofit peace council, and Solomon learned a critical lesson. “A single voice has power.” And this has been the impetus for his storytelling journey ever since.
“Learn what story matters,” he says. “Tell that story in the most compelling way, to make people feel something emotional…learn how to reach people.”
This call-to-action leads Solomon and his editing team, on every creative endeavor, to create the version of a narrative that will create the strongest impact on the audience. “I ask (of a scene), what’s in and what’s out? Of the pieces that are available, what do you choose to keep with you and what do you leave behind?” For Solomon, it comes down to discernment, fueled by the knowledge that people look for patterns; the human mind sees two things and decides for itself how they’re related to each other, and the craft of successful storytelling depends on recognizing that truth. Solomon cites “The Kuleshov Effect,” a film editing technique that uses a sequence of visuals to infer meaning and evoke an emotional response. Returning to Japanese storytelling, another influential technique is Jo-ha-kyū, which instructs that all actions or efforts should begin slowly, accelerate, and then end suddenly or quickly. (Solomon notes an example of Jo-ha-kyū in his own Chicken Run, specifically the memorable “pie machine” sequence.)
Building masterfully on his extensive experiences and influences, Solomon has gone on to be the person behind the prodigious editing of such animated films as the aforementioned Chicken Run; Sgt. Stubby: An American Hero; The Tale of Despereaux; and Frankenweenie, which was nominated for an Eddie Award in 2013. He was also part of the team behind the legendary movies Shrek and Space Jam.
Solomon gives his insight on how to persevere and succeed in an industry where there is so much content and competition, at a time when art is presented by hundreds of thousands of creators on multiple platforms.
“Declare victory and move on,” advises Solomon when a project doesn’t achieve the level of success one had hoped for. “Call it a success, and learn what you can from it.” The good news about our times is that there is always a chance for art to be re-envisioned, re-launched, or re-released.
As very much someone who wants to give back and share his insight and experiences with aspiring artists, Solomon has taught his craft to students at film schools and universities. Over the Shoulder is a way of passing that knowledge to an even wider audience.
“I’d started teaching at a film school in Boston and in London…and every term, there would be one student who would sort of be really sparked by what I was talking about,” he explains. “I knew that they would follow and pursue a career as an editor, and I wanted to give them something to help. When you finish film school it’s hard to see how to navigate the world outside…So I thought that I would try to share what I learned.”
He recalls that when he first started out as an apprentice, he pledged to his editors and instructors to one day mentor newcomers himself as well. “I promised when it’s my turn, I’ll pass all that I’ve learned to the next generation. So this book is a part of keeping that promise.”
Learn more about Mark at MarkSolomon.net. Over the Shoulder is available at 7pinespublishing.com. Learn more about the Drama Book Store at https://dramabookshop.com/
MONARCH A Mexican-American Musical Exploring the lives of undocumented immigrants in the United States, will be presented at Harvard University.
MONARCH, an impactful new musical exploring the lives of undocumented immigrants in the United States, first premiered at the Los Angeles Theater Center in 2022, receiving great acclaim including praise from the Los Angeles Times, before taking Washington by storm — garnering a BroadwayWorld Award and a Helen Hayes Award nomination and finally coming to New York for a sold-out/standing ovation industry presentation. The synergy of these showings opened the door for an Off-Broadway production currently negotaited for Fall 2025/Spring 2026.
With a deeply moving book and lyrics by Mayu Molina Lehmann coupled with a soaring and stunning score by award-winning composer, Alfonso Molina. The musical follows Luis, as he confronts the shadows of his undocumented existence. In true “Les Miserables” style, he is relentlessly pursued by ICE Officer Castelo. As the stakes reach new heights, Luis takes refuge in a local church and draws inspiration from the Monarch butterfly. Much like the Monarch, Luis is determined to embark on a fate-defining journey.
HUMAS — the Harvard University Mexican Association of Students — will host an event featuring the original cast presenting a selection of some of the more powerful moments of the production.
THE CREATORS: Alfonso Molina (music, book, and lyrics), garnered the Advocacy Award from the Boston Metro Opera for his work, ‘Illegal Alien.’ He also composed the soundtrack for the film ‘Border Crossing,’ which earned the Audience Award at the 2006 Sundance Film Festival. Collaborating with him is Mayu Molina Lehmann (book and lyrics), a celebrated playwright and author known for her poignant storytelling. The Maryland Theater Guide commends their joint creation, ‘Monarch,’ stating that it not only contributes to the advocacy for a more just immigration system but also achieves art’s noble purpose by raising awareness and empathy
REVIEW by JIM CATAPANO: A Fractured Family Searches for Connection
A House Divided Visits a Family in the Aftermath of the Events of 2016 and 2020
Thanksgiving Day, 2021. COVID lingers. The Trump Era is (temporarily) interrupted. The working-class Gebauer family of south Philadelphia reunites for their first in-person gathering in years, after their personal and political differences had driven them apart. Thus begins A House Divided: A Blue Collar Comedy on National Themes, a timely, powerful and very entertaining work by Joshua Crone.
Jim (Mark Thomas McKenna) is a long-haul trucker and Trump supporter, separated from his liberal wife, schoolteacher Rosalie (Alyssa Simon), who is hosting for the holiday. “Granny” Alice (Jenny Martel) is initially not in attendance, and is only appearing via FaceTime, as Jim has refused to vaccinate and she doesn’t want to risk exposure. Adam McDowell is the Gebauer’s son Jimmy, a pastor, who has brought his devout girlfriend Grace (Kinah Britton), a woman of color, to the gathering. The couple has two related major life announcements to tell the family, but Jimmy is aware that they may not go over well, particularly with the “old-fashioned” (to put it mildly) Alice. Sammy (Hayley Pace) is the Gebauer’s other child, arriving with a Covid mask on—and a major life announcement of his own, which is unlikely to be welcomed by either Alice or Jim. All is revealed at the unseen dinner, and the family returns to the living room to deal with the aftermath, the chasm between them even wider than before.
Where the characters agree and disagree is handled very interestingly and realistically. Jimmy is the only character who tries to consistently put acceptance and understanding above all else, but struggles to maintain the role of peacekeeper. Jim is somewhat sympathetic to the Black Lives Matter movement, agreeing that police brutality and prejudice is a real thing, but he rolls his eyes at Rosalie’s having put a BLM flag in the window—suspecting it’s only there because Grace was coming. Rosalie later admits he’s right, but Grace is not impressed, and actually distances herself from the movement. Sammy and Alice agree on masks, but decidedly differ on Sammy’s revelation.
Hayley Pace gives a nuanced, sensitive performance as Sammy, who reveals to the family that he will seek gender-affirming surgery—despite being assigned female at birth, he’s a boy and always has been. The reactions of the other characters vary dramatically; Jim is aghast, verbally dismissive, and refuses to use Sammy’s pronouns (as foreshadowed earlier in the play when he can’t even remember to use his wife’s own preferred version of her name). The old-school religious Grace also condemns the notion, driving a wedge between her and Jimmy, who fully supports his sibling. Progressive Rosalie is also completely on Sammy’s side, but also very awkward and occasionally unhelpful—and Sammy calls her on that. The frustrated Rosalie later admits that as an ally she’s trying to do the right thing, but feels she keeps doing it the wrong way. Meanwhile the spark is still there between her and Jim, and they go from flirting to fighting in the blink of an eye—again, a very realistic take on the complexities of human relationships.
Crone’s writing crucially does not take sides—events play out and the audience is allowed to take it all in without being manipulated into any character’s corner. The effect is a blend of All in The Family and the notorious “Seven Fishes” episode of The Bear. Which is to say there is a lot of humor mixed in with the dysfunctional strife, making the story more true-to-life than it would have been if it were nothing but melodramatic angst and shouting. Early on there is a comedic sequence involving the charred turkey, which brings in a fireman (Will Maizel) after a funny phone mix-up with the operator (Tiffany Ray). There’s even two invisible (but adorable) energetic cats, Smokey and Bandit, unseen but very much heard.
The characters escape from the conflict by reminiscing about the good times back in the day, trying to recapture the bond among them. They take turns noodling meditatively at the electric piano at the front of the stage. Jim tunes out the fighting literally, by singing loudly as he works on fixing the fireplace, trying to reclaim his former role in the family. These interludes culminate in an unexpected, hilarious Broadway-style song (by Michael and Joshua Crone) from the entire cast that provides a catharsis, and gently pokes fun at the inherent weirdness of the musical trope of everyone knowing the same song and suddenly bursting into it.
The actors gel remarkably, giving the impression of relationships with a long, complex history. At the end of the play we see them all as human beings, and despite their very serious differences the connections and love are still there among them. A heartwarming sequence involving popcorn and family-favorite movie Convoy drives this home (and “warm fuzzies” abound). A House Divided successfully shows us the angst, heartache, and growing pains of the 2020s, but reminds us that warmth and sweetness can still follow.
A House Divided is directed by Thoeger Hansen and is a production of Night Cook Studio. It runs at The NuBox at John DeSotelle studio through March 30, 2025.
Jim Catapano warns us of Tragedies of the Past, Warnings for the Future
Anne L. Thompson-Scretching’s A Lesson in Blood Returns to the ATA at a Pivotal
Moment in Time
The saying “Those who cannot remember the past are condemned to repeat it,” as
attributed to philosopher George Santayana, is oft quoted for a reason.
A Lesson in Blood, from the powerful pen of the prolific Anne L. Thompson-Scretching,
premiered at the ATA in 2011 and won best play at the Jean Dalrymple Awards. It’s the
first play in the Blood Trilogy, which also comprises A Long Way from Home and Home
Is Sweet Sorrow. In 2025, this work is more important than ever in its exploration of
racism and the exposing of those who cling to the absurd notion of white supremacy. It
is observed that people of color are “allowed” to go about their lives so as long as they
“stay in their place,” and the Klan is always lurking in the shadows, waiting to pounce at
the slightest hint of rebellion—real or imagined. Authority figures justify their prejudice
through their twisting of the words of the Bible, insisting it is the will of God that white
people are superior, and that people of different races must never mix.
This puts Osceola Red Feather (Rommell Sermons) in a dangerous situation. A
Cherokee Indian man of color, he is living in the Jim Crow-era Georgia of the 1940s with
his “Aunt Lucy” Dix (Joy Foster) and his brother Calvin (Kevin Leonard). Osceola had
been secretly seeing Aggie Peters (Serena Profaci), the white daughter of repellent
Klansman Nathan (David Ezell). Aggie returns to the south, and to Osceola, after seven
years, with devastating revelations that will have consequences for him and everyone
else—including Johnny Ray Dobbs (Ronan Schwarz), the town’s sheriff who also
desires Aggie.
When we first see Johnny Ray, he appears amiable enough, visiting with Aunt Lucy and
partaking in her chicken dinner. It’s explained that he and Osceola were friends in
childhood who still go fishing together. But as circumstances unfold, the darkness within
him becomes all-too evident. When Osceola’s current partner Clara Henderson
(Natasha Sahs) learns of Aggie’s relationship with him, she threatens to expose the
situation, putting everyone in danger and setting events in motion towards violence and
tragedy. There is a grisly murder, and its circumstances and perpetrator are a mystery,
but the supremacists in power are quick—and perhaps even thrilled—to put the blame
on a person of color.
As the town reels from this horror, Johnny Ray abuses his authority by getting Osceola
dismissed from his job with Noah Cohen (Alan Hasnas), a Jewish lawyer. Cohen
reluctantly complies but remains an ally to Osceola, and tries to overcome his fears to
combat the racism around him, haunted by memories of his own family’s deaths in the
Holocaust. Aunt Lucy and Calvin stand by Osceola, even as tensions rise among them
and they look to answers in the traditions of mysticism they grew up with. Lucy is aware
that Osceola and Calvin are the last of the line and will do anything to protect
them—from prejudice, and from themselves.
A Lesson in Blood is beautifully directed by Tippi, who has steered many of Thompson-
Stretching’s productions. Expert lighting and sound design by Joe Coppola and Liam
Rordan respectively complement a fantastic set, that of Lucy’s old house, which takes
us right back to the Georgian summer of 1946. The writing pulls no punches in exposing
the racism of the era—a racism that we know very well was never fully extinguished.
The scene of Nathan asking Lucy for water, but insisting she pour it in his hand because
he won’t drink from her glass, is nearly as chilling as the moments of violence and
spoken hatred that surround it.
The cast is unified in its expert realization of the text; one fully believes in the history
among the characters and the desperation and injustice of the moment they find
themselves in. In a time when prejudice and ignorance threaten to overwhelm once
again, A Lesson in Blood is a crucial work that is not to be missed.
A Lesson in Blood is performed at the American Theatre of Actors through March 30,
2025.
Jim Catapano views the creative view from “Over the Shoulder”
Mark Solomon Shares His Expertise on Telling Stories and the Art of Skillful Editing
“The way I see the world is through stories,” says Mark Solomon. “It’s the water I swim in.”
Renowned Film editor Solomon has over 30 years’ experience in engaging audiences. And he did exactly that for an enthralled crowd at a Talkback, Signing, and Live Podcast at the Drama Book Shop in Midtown Manhattan, regaling us with tales of the craft as detailed in his new book, Over the Shoulder: A Freelancer’s Guide to Telling Stories and Editing Films. (The following are highlights from both the Talk and the Q&A portions of the event, facilitated by The Drama Book Show! Podcast hosts Mark Eugene-Garcia and David Rigano)
Solomon first became enchanted by the art of storytelling through cinema at 18 years old, when he saw the classic film Harold and Maude, the May-December romance story that he found “beautiful and life-affirming”. “When I left the theater that night I felt like I was floating on air,” he says. “So exhilarated and uplifted. I decided right then—this is my path.”
But after several semesters at Syracuse University where he was pursuing a bachelor’s degree in film and theatre, it was time for his final project, and Solomon found himself “choked with fear.” “I had a passion for films and filmmaking, but I had no idea what to make a film about…what story did I want to tell? I was desperate, and I berated myself for not knowing.”
It’s a struggle that all passionate creators can relate to. The intense pressure, anxiety, and dread in the time leading up to graduation resulted in what Solomon calls a “toxic psychosis that I was lucky to survive.”
Solomon found his way back following a Eureka! moment prompted by his experience of Japanese theater, where the actors do not begin until they are certain the audience is giving the stage their full attention and focus. “Through the course of the evening the actors take control of the breathing rhythm,” he notes, “and guide the audience through the climax of the play.”
Something about this concept stayed with him and spurred him on, and he was able to return to his academic and artistic journey. “My brain slowly recovered…I remember walking around my suburban neighborhood with a single plea migrating through my body: Give Me Life.” He didn’t know yet what his story was going to be, but he knew for certain he wanted another chance to find it.
While studying more about the rough state of the world and exploring ways to make it better, Solomon grew as a person, which fueled his artistic aspirations. The activist that he says left the greatest impression on him was Daniel Berrigan, the Jesuit Priest famous for speaking out against the Vietnam War and openly opposing huge institutions like the US government and military. Solomon was inspired by his “shining moral clarity and the courage to live by his convictions…I found his talk galvanizing.”
Kerrigan encouraged Solomon to volunteer at the local nonprofit peace council, and Solomon learned a critical lesson. “A single voice has power.” And this has been the impetus for his storytelling journey ever since.
“Learn what story matters,” he says. “Tell that story in the most compelling way, to make people feel something emotional…learn how to reach people.”
This call-to-action leads Solomon and his editing team, on every creative endeavor, to create the version of a narrative that will create the strongest impact on the audience. “I ask (of a scene), what’s in and what’s out? Of the pieces that are available, what do you choose to keep with you and what do you leave behind?” For Solomon, it comes down to discernment, fueled by the knowledge that people look for patterns; the human mind sees two things and decides for itself how they’re related to each other, and the craft of successful storytelling depends on recognizing that truth. Solomon cites “The Kuleshov Effect,” a film editing technique that uses a sequence of visuals to infer meaning and evoke an emotional response. Returning to Japanese storytelling, another influential technique is Jo-ha-kyū, which instructs that all actions or efforts should begin slowly, accelerate, and then end suddenly or quickly. (Solomon notes an example of Jo-ha-kyū in his own Chicken Run, specifically the memorable “pie machine” sequence.)
Building masterfully on his extensive experiences and influences, Solomon has gone on to be the person behind the prodigious editing of such animated films as the aforementioned Chicken Run; Sgt. Stubby: An American Hero; The Tale of Despereaux; and Frankenweenie, which was nominated for an Eddie Award in 2013. He was also part of the team behind the legendary movies Shrek and Space Jam.
Solomon gives his insight on how to persevere and succeed in an industry where there is so much content and competition, at a time when art is presented by hundreds of thousands of creators on multiple platforms.
“Declare victory and move on,” advises Solomon when a project doesn’t achieve the level of success one had hoped for. “Call it a success, and learn what you can from it.” The good news about our times is that there is always a chance for art to be re-envisioned, re-launched, or re-released.
As very much someone who wants to give back and share his insight and experiences with aspiring artists, Solomon has taught his craft to students at film schools and universities. Over the Shoulder is a way of passing that knowledge to an even wider audience.
“I’d started teaching at a film school in Boston and in London…and every term, there would be one student who would sort of be really sparked by what I was talking about,” he explains. “I knew that they would follow and pursue a career as an editor, and I wanted to give them something to help. When you finish film school it’s hard to see how to navigate the world outside…So I thought that I would try to share what I learned.”
He recalls that when he first started out as an apprentice, he pledged to his editors and instructors to one day mentor newcomers himself as well. “I promised when it’s my turn, I’ll pass all that I’ve learned to the next generation. So this book is a part of keeping that promise.”
Learn more about Mark at MarkSolomon.net. Over the Shoulder is available at 7pinespublishing.com.
Jim Catapano reviews the creation & connection in AMT’s Upside Down
A Rousing New Musical at AMT Imagines Life and Love in a Very Different Timeline
It’s another day in our matriarchal society. The legendary New York Jets are working towards their seventh Super Bowl win. Teachers are the heroes, and command the salary they deserve. A gay woman (Ashanti J’aria) is the president of the United States, and her partner (Kira Sarai Helper) is a general in the women-led military. Over 90 percent of the population identifies as gay, while marginalized straight people are fighting to exist and be heard. (The TV series “Straight Eye for the Gay Guy” is one attempt at mainstream recognition). The heterosexual community dreams to be accepted for who they are and to not be judged on who they love. But over on FUX news, “conservative” pundit Lou Smalls (Josh Powell) casts aspersion on the “breeders” (the straight community) while his purple shirt-wearing shadower Pastor Jake (Jake Foster) nods along, claiming that the Bible forbids “a man to lay down with a woman”.
Enter theatre book writer Jake Tanner (Mike Ferlita) and musician and lyricist Robert Lyons (Matthew Liu). The two gay creators are desperate for a Broadway hit, and joining forces with producer Robin Bird (Kelli Maguire) and agent Maggie Burns (Gina Milo), are commissioned to tackle a long-held taboo. They are to create the first heterosexual musical—and the theme will be (gasp!) straights in the military. Can you imagine, men and women on stage—together?! Welcome to Upside Down.
Jake and Robert’s journey to accomplish their momentous task starts with them going undercover at a straight bar. Robert is comically and ostentatiously dressed as straight icon Elvis, while Jake meets straight Tennessee torch singer Tammy (Brogan Nelson, who sings a spirited “Tennessee Rag” and “Midtown Boy”). Jake asks for Tammy to be his beard while he poses as hetero, and in turn Tammy asks him to help her get rid of her rich stalker, creepy mama’s boy Eugene (Patrick Brady, who sings the hilarious “Without Mom.”)
Struggling to write music about straight relationships, Robert composes a love song to his Alexa device (“My Female Ideal”). “You only speak when spoken to!” he croons to it. Meanwhile the “engaged” Jake and Tammy encounter bigotry when they go to a bakery and are rejected—the place won’t make wedding cakes for straight couples. As Jake learns more about the plight of the heterosexual community, and spends more time with the magnetic Tammy, he begins to feel things he didn’t expect. And as the musical gets closer to opening night, the powers-that-be get wind of the “offensive” content, and threaten to shut it down…
Upside Down is a positive triumph from Al Tapper (Book) and Tony Sportiello (Lyrics). It combines old-school Broadway flair with modern wit and sensibility, and is a joyful adventure from the first note to the coda. It holds a mirror to our society at a crucial time, and makes us stop and think about the absurdity of exclusion, while being endlessly ebullient and entertaining throughout. The ensemble’s singing and dancing is chef’s kiss, and all in the company get turns to show their stuff. Shining moments abound from Lauren Gemelli (Rachel/Mandy), Stephanie Maloney (Waitress), Stanley Martin (Ross/Roger), and Bernie Baldassaro (Midtown Boy). The group numbers are nothing short of astonishing (including an incredible tap-dancing sequence), and the tunes are collectively catchy and memorable. You’ll want to come right back for another evening in the Upside Down—and probably wish you could live there.
Upside Down is directed and choreographed by Taavon Gamble, with musical direction by David Wolfson. It runs at the AMT Theater through April 5, 2025.
Arts Independent 