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Jim Catapano has [Camp] Growing Pains thanks to Esme Roberts Hilarious Coming-of-Age Comedy Little Bitches Lights Up the Fresh Fruit Festival
Little Bitches is a lively, authentic play about maturing teens that starts at 60mph, opening with a call-and-response chant of “Little Red Wagon” led by Gabriel Ryan-Kern and Sarah Brown that gets the audience pumped. It stays at full speed from there, as we see Jenna (Hailey Gates) and Natasha (Gigi Kazanjian) meet as little kids in 2016.
“If you were a boy I would love to marry you,” says a charmed Jenna.
“Actually my mommy says that you can marry girls too,” Natasha replies. “My aunt is part of this religion called ‘lesbianity’ where she just gets to marry girls all day!” But we soon learn that while Jenna grows up to be on board with that, to her heartbreak Natasha may not actually be joining that “religion” after all.
Following that foreshadowing we fast-forward to the girls at age 15 at a California summer camp, surrounded by many peers of wildly different personalities and persuasions, under the guidance of Counselor Kiwi (Veronica Piurek). Natasha’s bestie Sophie (Lucy Kirkland) arrives from Spain, and intrigued “ally” Billy (Samantha Fath) is thrilled to meet a “real immigrant” but then is disappointed to learn that Sophie was only vacationing there. Jenna, meanwhile, is surprised to be only finding out now about Natasha’s supposed BFF, while Natasha wishes for a date with Tyler (Leo Ruckenstein) from the boy’s camp. Significantly Jenna is not interested in anyone from that camp, and is upset that Natasha seems so different from the previous summer.
“I think it’s normal for people to change in school,” says bunkmate Kate (Charlotte Gilbreth).
“I guess but I don’t want them to change,” says Jenna.
“Change is inevitable,” Kate says, and thus we have the theme of Little Bitches, handled lightheartedly but genuinely from a writer who knows, and a talented cast who delivers.
Roberts was 17 when she crafted Little Bitches, and therefore close enough to her own experience of the era she is depicting for it to still be fresh fruit (pun, as always, intended).
Our adventures with the camp company lead to a very bizarre yoga class led by Humuh (Dominik Valcin), where bunkmate Rian (Chiara Di Giorgio) gets hurt in a game of leapfrog with Racie (Ruby Carlon), but is thrilled to be accompanied by her crush Jack R (Devan Martin). As the girls distill alcohol from hand sanitizer, Jenna struggles with her feelings for Natasha and her jealousy of Sophie, who suspiciously disappears, leading the group to hold a hilarious séance. This is followed later by some equally uproarious (and impressive) musical numbers, including one from the now “in love” Rian and Jack R (“Don’t judge me, I’m sick right now”) says Rian.
The angst, the budding romances and the teenage anxiety over sexuality and orientation are generally played for laughs, but without sacrificing the reality of the character’s experience. Roberts has mentioned the show PEN 15 as an influence, and that is delightfully evident here. The characters fly near the top, but their feet are still close enough to the ground to feel genuine and relatable. It’s a lead-off home run from Roberts and makes one excited to see what the up-and-coming author does next.
Little Bitches is a Production of the Next Door Theatre Company, produced and directed at The Wild Project in Spring 2026 by Samantha Lako and Victoria Smith.
THE RETURN OF THE FESTIVAL GIANT: Midtown International Theatre Festival Announces Triumphant NYC Comeback with a powerhouse 2026 Season
NEW YORK, NY — The lights are coming back up on one of independent theatre’s most vital institutions. After a nearly decade-long hiatus, the Midtown International Theatre Festival (MITF) officially announces its historic return to the New York stage in June/July 2026. In a landmark collaboration, MITF Founder and Executive Producer John Chatterton has partnered with indie theatre luminary Jay Michaels to relaunch the festival at the prestigious American Theatre of Actors (ATA). The revival coincides with the ATA’s 50th Anniversary, turning the entire three-theatre complex into a sprawling hub of creative innovation from June 15 through July 26, 2026.
OFFICIAL SHOW LISTINGS: 2026 SEASON (dates and tickets TBA)
Americaring By Kate Gill Directed by Frank Licato. The conflict of the play is set off by an injustice of the healthcare system. A family is left motherless with a father who turns to alcohol. The teen daughter and her brothers must find a way to survive on their own. Then the girl falls in love with a wealthy boy in her high school. But there is a secret barrier they face.
Beethoven’s Wrong Note By Jay Stephenson starring James Harkness (Broadway: Ain’t Too Proud; Beautiful; The Color Purple, Chicago). as Ludwig van Beethoven. This 2024 Perry Award winning original musical finds Beethoven caught in a Faustian deal with Mozart’s librettist over a potboiler script. The drama quickly pours outside the confines of the rehearsal stage in what could have been “The Greatest Opera Yet Written!”
Cool at Camp By Dani Tapper, Peter Weidman, Steven Blutig, Robin Raskin, and Emily Stumer Cool at Camp is an adult, meshuga musical comedy packed with humor, a slightly raunchy edge, and the kind of nostalgia that brings the audience right back to their teenage summers at camp.
Crabs in a Barrel By Reginald T. Jackson A dramatic tour de force centered on three people who find themselves in an existential “Hell.” Jackson, a PEN America Writers’ Fund grant recipient, presents a modern-day love triangle where secrets and unspeakable crimes are slowly revealed. Jackson just completed a world premiere of another play at the Fresh Fruit Festival.
How to Swallow a Volcano By Anne McDermott Directed by Padraic Lillis, this solo show explores love, therapy, and the art of making bad choices with enthusiasm. Anne navigates sessions with an unflappable therapist and the mess of real life, exploring what happens when being “nice” becomes a liability.
Leaving Kiev: Coming Full Circle By Mila Levine An autobiographical one-woman show featuring original music, poetry, and dance. It tells the story of a resilient Jewish girl from Ukraine immigrating to the United States. Addressing themes of antisemitism and immigration, the show marks a “full circle” moment for Levine, whose work first debuted here in 2015.
Monarch: The Mexican-American Musical By Alfonso Molina and Mayu Molina Lehmann A powerful new work exploring the lives of undocumented immigrants. The story follows Luis as he takes refuge in a church, pursued by an ICE officer in a narrative style reminiscent of Les Misérables. After a successful premiere at the Los Angeles Theater Center and a Helen Hayes Award recommendation, the production makes its Off-Broadway debut.
Mother Boswick: The Best Show You Never Knew You Needed By David Magidson Meet a 121-year-old advice-giving widow from the tiny hamlet of Squinch Hollow. Magidson, a former Ringling Bros. clown, brings his international experience to this character-driven comedy where Mother Boswick dispenses questionable wisdom and unique astrological advice.
Omeed’s Tapestries By Barry M. Putt, Jr. Directed by Robert Liebowitz, this play tells the story of an Iranian shopkeeper and his partner planning to flee their homeland to live openly. Inspired by over three dozen first-person accounts, the play navigates the danger they face when their secret is discovered. The Drama Book Shop will host a special event for this production in June.
One In A Million Cabaret By Kevin Davis Featuring a live band led by Davis, an internationally acclaimed musician, on saxophone, a group of friends humorously discovers the fragility of life, love, and faith when they win the lottery! The production arrives with five BroadwayWorld nominations, including Best Director.
Pandemia: Act of Gods by Jason S. Abrams follows the colliding lives of two households: a straight couple navigating the chaotic pressures of parenting a young child in a cramped apartment, and a pair of ex-boyfriends forced to navigate the awkward transition from former lovers to sequestered roommates. As the world outside grinds to a halt, these four New Yorkers are forced to confront their pasts, their futures, and each other during the COVID-19 pandemic.
Picking Up Stones By Sandra Laub An 80-minute one-woman theatrical piece that confronts the Israeli-Palestinian conflict through the personal lens of an American Jewish woman processing the aftermath of October 7, 2023. Written and performed by Laub and produced by Jerry Fischer, the play uses stones as a central metaphor for memory and historical weight. Winner of the 2024 Providence Fringe Artists For Artists Award. “…a must see show” Edinburgh Fringe Festival.
Shangri-La-La By Mike Meier and Peter Giambalvo A comedy musical about Siegfried & Roy that captures the moment Las Vegas reinvented itself as a family-friendly destination. The story follows a young German assistant named Joshua who sees behind the sequins and manufactured myths of the legendary magicians.
Stick to the Script! By Amy Losi Directed by Laurie Rae Waugh (both members of the American Theatre of Actors repertory), this is a comedic look at the chaos of independent theater. An amateur troupe has one week left to rehearse a new play, but they are hampered by dropped lines, a TikTok-distracted stage manager, and a sarcastic director with a short fuse.The one-act version won “The Spirit of the Hartford Fringe Festival Award.”
The Anxiety of Laughing by Andrew Justvig is a heartfelt tale of resilience and love that follows Joey, a stand-up comedian with cerebral palsy, and his fiancée, Leah, a talented ballerina. As they support each other in pursuing their dreams, a tragic car accident shatters their lives, leaving Leah paralyzed from the waist down and testing the depths of their commitment.
The Crossword Play (or Ezmeranda’s Gift) By Donna Hoke Directed by Janel Walton and featuring Xavior Love as a professional crossword constructor who creates a custom puzzle for his ex-boyfriend’s new girlfriend live on stage. As he fills the grid in real-time, he unravels a deeply personal story of love and redemption. Nominated for a record 10 BroadwayWorld Anchorage Awards including Best New Play and Best Play, winning Best Director for Janel Walton
The Hallway written by Bill Keenan and directed by Jesse William Green. Trapped in a hotel hallway at 3:17 a.m., two strangers in bathrobes discover that the hardest door to knock on is always the one you most need to.
The Harm by Dennis Leroy Kangalee The Harm is a stripped-down, four-character play set in a college classroom, where a provocative lecture on media, race, and power unravels into a crisis of perception and accusation. The play investigates how language shapes reality in the present moment—how words, intention, and interpretation diverge, and how “harm” is constructed, claimed, and adjudicated.
Whatever By Scott Brooks Directed by Ashley Olive Teague, A billionaire’s private pilot is paid to NOT fly him anywhere in this suspenseful play about power, information and what it means to be human in this digital age.
THE 2026 ROSTER ALSO INCLUDES:
A Woman in Reverse (Andrea Mezvinsky); Across a Crowded Room (F.J. Hartland); Functions (Anton Spivack); Husbands (Matthew Ethan Davis); I Am (Brooklyn) (Vince Bandille); Kierkegaard’s Gun (Andy Treusch); Where I Come From (Jerry Metzker); Princess Peighs Sword Fighting Tea Party (Zach Alexander and Melissa Leigh); Samovar (Roger Hendricks Simon)
Jim Catapano has a view of the ‘80s from the Edge of Your Seat at Sean Szak Prasso’s Obscene Desire at the ATA
Following on from his first original play last year, the acclaimed Angel in the Heat, writer/director Prasso has delivered another intense character study, featuring many actors from that production but this time taking us back to 1986 Long Island. Obscene Desire centerson Emma Reed (Annie Unger), on the night before she leaves for college. Her BFF Scarlett (Samantha Seiff) wants to go on a girls’ night before the big move, though Emma had promised to see her possessive boyfriend Greg (Dustin Pazar) that night. The brooding Greg has returned to the drinking problem that has caused many past issues, and Emma is on the cusp of leaving him. Emma and Scarlett’s adventure leads them past the home of Emma’s teacher Henry Johnson (Travis Bergmann), who they see through the window striking his wife Jennifer (Jean-Marie Stodolski). Despite Scarlett’s protests Emma is called to take an action that puts her in danger, as she soon finds that the woman she thinks she is rescuing is not what she seems. Meanwhile the tortured Greg meets with his pot-loving buddy Adam (Jonathan Beebe), who urges him to move on from both Emma and the booze. He puts a gun on the table and asks Greg to go to the shooting range with him. The pot begins to boil as the three sets of characters get ever closer to climactically converging.
PHOTOS BY DAN LANE WILLIAMS/DLWPhotographyNYC
The twists, turns and revelations that follow make Obscene Desire a gripping one-act; none of them will be spoiled here, but what can be said is that Prasso has done a masterful job of making the characters grow more 3-dimensional before our eyes. The dark past is revealed and motivations become clear, as the characters go from sinister to sympathetic, well played by actors who are clearly quite comfortable working with each other in such an intense situation. The 80s vibe—the music, the hair and outfits, and the pivotal lack of cell phones, coupled with the normal-at-the surface suburban atmosphere (homemade cookies, gardening, baseball and cruising through town) give an old-school horror movie vibe, which shifts to psychological drama as we learn the tragic backstory that brought them all to this fateful night.
It all comes together to make Obscene Desire a very satisfying theatre experience, with a writer/director and his cast at the top of their game and telling a thrilling nail-biter of a story. One looks forward to seeing much more from this talented team.
Obscene Desire runs at the Beckmann Theatre at the American Theatre of Actors through May 10, 2026.
“My Kingdom for a Tour De Force” cries Jim Catapano about A Dizney-fied Retelling of Richard III Delights at the American Theatre of Actors
There’s something weird in the Kingdom of Disneare! King William has been overthrown by some very familiar-looking evildoers, and the scheming Richard (Joshuah Patriarco) sees an opportunity to seize the throne. Sounds like Richard III, and it is, but in a dazzling new form. Richard III: A Twisted Fairytale brings classic Disney characters to the famed historical, making for an incredibly entertaining theatre experience. Devised by the Epiphany Shakespeare Company, the team who brought us last year’s compelling Hamlet/Batman hybrid Hamlet: The Clown Prince, the production is an ingenious mash-up that works better than anyone could have anticipated. It can be enjoyed on many levels and by all demographics, as evidenced by the enthusiasm of the children in the audience (many of whom were in costume). Shakespeare’s original text is mostly intact, but accompanied by the fairy tale aspects of traditional Disney and the colorful over-the-top characters that go with it. The story is introduced and narrated by Sir Jiminy (Andrew Austin), the “Conscience of the Kingdom”. Patriarco’s Richard starts out traditional and transforms into “Malevolent” (Maleficent); hero Clarence (Rommell Sermons) becomes Prince “Phil”; Queen Elizabeth (Mikelle Terson) is the Evil Queen; Lady Anne (Samantha Mileski), who talks to the chirping animals of the forest, becomes Sleeping Beauty, with some beautifully sung songs from Mileski along the way; and Thomas Annunziatta is Buckingham, who resembles a certain Royal Vizier, complete with snarky parrot on his shoulder. The costuming by Mileski (who also oversaw makeup and special effects), are letter-perfect, with every famed Disney character instantly recognizable, down to the tentacles of “Ursul The Sea Dog” James Hammill. Edward Gibbons-Brown does a hilarious turn both as King Edward and a certain honey-loving golden bear; and we also get the Dutchess of Deville (Shannon Rivoli), complete with Dalmatian fur coat and toy puppy. (With all the larger-than-life Disney characters, the famous scene of Richard being haunted by his victims is a particular sight to behold in this iteration.)
For the final performance of the initial run, Antares Puentevella took on the role of Peter Pan (the one “Prince in the Tower” instead of two), in his professional NYC stage debut. Puentevella is the son of ATA Executive Director Jessica Jennings and grandson of legendary ATA founder James Jennings and Jane Culley, and he sparkled in the role of the boy who won’t grow up. His sword battle with “Lord” Hook (Zorich Lequidre—AKA Captain Zorich), realized in the rafters of the John Cullum Theatre, was an absolute highlight, further lifted by Puentevella’s exuberance and Lequidre’s classic campy villainy.
Other pop culture references provide very funny Easter eggs, including lines from The Godfather and Richard’s fitting (and even poignant) a cappella rendition of “Behind Blue Eyes”.
Stylishly written and directed by Patriarco, and overseen by the production team of John Rivoli (SpongeBob SquarePants), Jake Minter, Terry Prideaux and Liam Riordan, this is an incredibly clever and creative production, with lots of enjoyment for Shakespearean fans. Plus terrific Disney flourishes and comedic moments for kids of all ages. It all comes together to make Richard III: A Twisted Fairytale a must-see when it returns to the stage.
A Tangled Web Gives Way to Connection and Love: Jim Catapano reviews Reginald T. Jackson’s Hilarious and Heartfelt When We Practice to Deceive Shines at the Fresh Fruit Festival
With When We Practice to Deceive, performed at The Wild Project in Spring 2026, renowned playwright Reginald T. Jackson lets the trans community know that he sees, hears, and supports them. The delightful production is mostly lighthearted; as Jackson has observed, many theatrical dishes on pivotal subjects are best served with humor. Thus the characters are instantly familiar, sympathetic, and believable.
Veterinarian Kevin Cooper (Maddoux) is catching up in NYC with his Louisiana-residing mom Martha (Yvette Dingwall). He is late because he had just been in surgery to remove a dog’s spleen. “This is what you do with that expensive medical degree you have?” chides Martha, who wants to know when he’s going to find a nice partner. He in fact, has, in Lady Jasmine (Sunna Bee), and nervously plans to have them meet. He confides in Beth (Jasmyn Green), his friend at the hospital, over how to broach the subject that Lady Jasmine is a transgender woman to his kind-but-conservative mom. But Martha finds that out on her own, when sharing a restaurant restroom with Lady Jasmine before realizing that she’s her son’s new partner. The exchanges to follow are tense and realistic but with a light touch that keeps the audience engaged and sympathetic to all the characters. Martha claims to not drink (“you can’t serve both the lord and the bottle”) but then orders and chugs a Manhattan after the revelation. Bee pulls at the heartstrings as Lady Jasmine, wanting to be seen and accepted for who she is after being tragically disowned by her own parents. Cooper’s relatable Kevin is stressed to the high heavens, terrified that he will have to choose between Lady Jasmine and his own mother. But the wise and loving Martha comes around, embracing Lady Jasmine and (over) enthusiastically planning the wedding after the couple gets engaged right in front of her. “Don’t be so surprised, I’m capable of growth!” she announces to laughter and relief.
A charming and believable performance from Dingwall gives the story a warmth and realism; this is aided by a hilarious and effervescent Chetan Rao as Lady Jasmine’s BFF Diamond Dupree. Amiere A . Bell is Charlie the bartender, who oversees the events and provides a calming presence, as does Green’s charismatic Beth.
The entire cast brings a heart and depth to their characters that realize Jackson’s intent, and bring tremendous life to his witty and thoughtful dialogue. The road to the wedding is incredibly fun, but balanced with a sad moment when Lady Jasmine is once again confronted by her intolerant, dead-naming parents. It is a scene that is heartbreaking but necessary, as a reminder that violence against the trans community, both emotional and physical, is a tragic epidemic (as Jackson has observed).
Deftly directed by Kubbi, When We Practice to Deceive is, a Jackson puts it “a love letter to the trans community.” It’s an essential work that comes at a pivotal moment, and a triumph for Jackson and the cast and crew.
ALL THE WORLD IS THIS STAGE: Jay Michaels and New York Shakespeare Launch “The Global Bard Initiative”
NEW YORK, NY — In a world increasingly driven by digital synthesis, two titans of the theatrical community are returning to the raw power of the human voice. Jay Michaels Global Communications (JMGC) and New York Shakespeare are proud to announce the launch of The Global Bard Initiative, a worldwide search for seasoned professional, untapped talent, and the next generation of classical performers.
“This isn’t just a contest,” says Rodney Hakim, founder of New York Shakespeare, “it’s a movement to democratize the works of William Shakespeare. By stripping away the barriers of geography and language, the Initiative seeks to prove that the Bard’s 400-year-old insights remain the heartbeat of the modern global stage.”
THE CHALLENGE: HUMAN VS. ARTIFICIAL
In a bold stand for artistic integrity, the Sponsor has issued a strict “Human-Only” mandate. While technology is used to broadcast the event, the performances themselves must remain pure.
“We are looking for soul, not software,” says Industry notable, Jay Michaels. “At a time when AI can mimic almost anything, we are seeking the irreplaceable spark of a live performer.”
HOW TO ENTER: FROM SCREEN TO STAGE
The Global Bard Initiative is open to independent artists and theatrical institutions worldwide. The journey from digital submission to a New York spotlight follows a rigorous three-phase path:
- Phase I (The Digital Call): Actors may submit up to five (5) Shakespearean soliloquies via video (MP4 or YouTube link).
- Phase II (The NYC Call-Backs): Selected finalists will perform live at a New York City venue in August 2026 (possible telecast opportunities for international artists).
- Phase III (The Global Finals): The best of the best will compete in a grand finale in September 2026, which will be simulcast to a worldwide audience and recorded for Channel Indie TV.
Submission Requirements at a Glance
Exclusively William Shakespeare (Solo Monologues) in any language (Non-English performances must include subtitles) of a Maximum of 5 minutes per video.
No fees to enter
Deadline: July 1, 2026
SEND ENTRIES TO info@jaymichaelsarts.com
GLOBAL REACH & MEDIA IMPACT: The Global Bard Initiative is designed to provide massive exposure for participating artists.
Finalists will have their performances reviewed by accredited professionals and featured on global streaming platforms. By participating, artists join a prestigious roster of talent showcased by JMGC and New York Shakespeare, gaining a non-exclusive, worldwide platform for their craft.
READY TO TAKE THE STAGE?
Digital submissions and biographies should be directed to: INFO@JAYMICHAELSARTS.COM.
About Jay Michaels Global Communications & New York Shakespeare:
Dedicated to the promotion of independent artists and the preservation of classical theater, these organizations collaborate to bring high-caliber performance art to diverse audiences across the globe.
Diamond Mesh Incorporated Unveils the 2026 “ManiFestival” Lineup
A Provocative New Summer Theatre Experience Set to Ignite the NYC Circuit
NEW YORK, NY — This summer, the New York City theater landscape gains a provocative new heartbeat. Diamond Mesh Incorporated — Theatrical Productions is proud to announce the inaugural Diamond Mesh ManiFestival, running from July 16th to August 9th, 2026, at the iconic Paradise Factory Theatre.
The ManiFestival asks the questions we often fear to voice. The answers lie within a curated slate of explosive mainstage productions, signature series events, and high-octane “one night only” showings that challenge the boundaries of legacy, addiction, and the quest for the “Next Great American Play.”
MAINSTAGE PRODUCTIONS
Running Thursday – Saturday (Evenings) and Sunday (Matinees)
The Silly William Gambit | By Matt Bader
Thu-Sat @ 6:15 PM | Sun @ 5:45 PM
Eccentric chess prodigy Silly William finds himself on a train bound for hell (or Philadelphia, depending on who you ask). When a mysterious entity—known for the lethal 4-move Checkmate Attack—challenges him, William must play seven matches in real-time on stage to win his freedom and unravel his fractured past.
Piss.JPG (Working Title) | By Justin Jager & Michael Gardiner
Thu-Sat @ 8:00 PM | Sun @ 7:30 PM Heralded as “The Next Great American Drama,” this production is a Gen Z Waiting for Godot for a digital age. Cryptic, bold, and unapologetic, the creators have stated there will be “no further questions at this time.”
Club 27: A One Woman Confessional Cabaret By Maeve Z. O’Connor
Thu-Sat @ 9:45 PM | Sun @ 3:00 PM Join a nameless, fabulous host in a liminal rock & roll nightmare. Grappling with fame, legacy, and an enigmatic pianist, she explores the high cost of artistic immortality. When sex, drugs, and rock & roll convene, how do you make it out famous and alive?
SIGNATURE SERIES
Deep-dives into unconventional narratives.
- The Ballad of Bonder Thrasher Fitzqualudes (Fletcher Michael): A comedy about an “apartment ball” champion who swaps brains with Christopher Marlowe to survive an MFA program. — July 20 (7:45), July 21 (9:15), July 25 (2:00)
- How Not to Fund a Honeymoon (Stephanie Greenwood): A desperate couple attempts to rob their aunt’s house. High stakes, one rock, and a lot of hope that she’s actually on holiday. — July 27 & 28 (7:45), Aug 1 (2:00)
- Selkie Woman (Zoe Stanton-Savitz): An intimate journey of girlhood and friendship following Layla and JJ from ages 12 to 18. — July 27 & 28 (9:15), Aug 2 (1:00)
- A Humorless Exploration of Humanity (Ryan Sickles): A grief-stricken reality star accidentally lets an alien into her living room. A study on loneliness and the red light that never turns off. — Aug 3 & 4 (6:00), Aug 8 (2:00)
- My Ghosts (David & Erica Laros): A madcap journey in a haunted clocktower where writer Cab Curio fends off the inner critics of Shakespeare and Marlowe to find his true self. — Aug 3 & 4, Aug 8 (3:30)
ONE NIGHT ONLY & LIMITED ENGAGEMENTS
Raw, experimental, and fleeting.
- The Rosary Through Which We Talk to the God We (Don’t) Share (Alejandra Cepeda Batiz): July 20 @ 6:00 PM. A powerful exploration of queer identity vs. religious tradition.
- It’s Five O’Clock Somewhere (Justin Jager & Friends): July 20 @ 9:15 PM. Staged readings of plays written under the “influence.” A testament to friendship and the dangers of Google Docs.
- Fingers Crossed (Stacy Cancelarich): July 21 @ 6:00 PM. A darkly poignant solo show about caring for a dying father during the COVID-19 lockdown. Directed by Michael Gardiner.
- Ruff Ruff Ruff Ruff I’m a Dog (Atlas Kazan): July 21 @ 7:45 PM. Diogenes humiliates Plato in a squabble over virtue and the point of Western philosophy.
- Princess Fantasy! (Alexandra Brokowski): July 26 @ 1:00 PM. A long-dormant princess navigates dreams and sleep paralysis demons on her path to the throne.
- Songs I Sing in the Shower (Danielle MacMath): July 27 @ 6:00 PM. A comedic solo manifestation of childhood dreams and hot-water catharsis.
- The March Hare (Amanda DeLalla): Aug 4 @ 7:45 PM. A contemporary fairytale following a neurodivergent woman in a Manhattan teahouse.
EVENT SERIES: BEYOND THE STAGE
- “Interface” Screening with Umami (Justin Tomchuk): July 29 (TBD). A rare screening of the 2-hour animated sci-fi epic followed by a talk-back with the creator.
- Front and Center: Aug 5 (TBD). A showcase of original work written and performed by the ManiFestival’s own front-of-house staff.
- Clowning Around (After Hours): Aug 5 (TBD). Performers shed their noses and shoes to reveal their offstage artistry in dance, music, and theatre.
- Rumours: In the Room: Aug 5 (TBD). An intimate, acoustic reimagining of the Fleetwood Mac classic, where the music becomes a weapon in a dissolving recording session.
TICKETING & INFORMATION
Experience the future of New York independent theatre. For performance schedules and tickets, visit: https://www.diamondmeshinc.com/
#DiamondMesh #ManiFestival2026 #NYCTheatre #SupportIndieArt
“The NPR of Theatre” Approaches 5th Anniversary:Stage Whisper Launches $15K Fundraising Campaign to Sustain Independent Arts Journalism
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NEW YORK, NY — Since 2020, what began as a humble conversation at a dining room table has evolved into the heartbeat of the independent arts scene. Today, Stage Whisper, the #1 podcast for independent artists, announces its 5th Anniversary Campaign, seeking to raise $15,000 to ensure that the voices of New York’s creators continue to be heard loud and clear through 2026
Five Years of Amplifying the UnseenAs Stage Whisper approaches its fifth year in July 2026, its impact is undeniable. Having facilitated over 1,550 interviews and covering more than 1,000 shows annually, the platform has become a vital lifeline for indie theatre, dance, opera, film, and poetry.”Stage Whisper is the NPR of theatre podcasts,” says actress Laura Shoop, echoing a sentiment shared by thousands of listeners. For many creators, the platform is more than just a media outlet; according to PR strategist Jay Michaels, “Stage Whisper has become the difference between success and total anonymity for many arts companies.”
The “Hard Reality” of Independent MediaDespite achieving 2.4 million annual social media interactions and surpassing 100,000 downloads, Stage Whisper remains a fiercely independent, unbiased beacon. To keep its content free for both artists and audiences, the team operates on a grueling 90-hour weekly production schedule.
The $15,000 goal will directly fund the essential “behind-the-scenes” infrastructure required to maintain this pace in New York City, including:
Show Operations: Studio space, global broadcast equipment, and high-speed tech.
On-the-Ground Coverage: Transportation and tickets to 5+ shows a week to ensure no artist is overlooked.
The Human Element: Supporting the basic stability—from medical bills to childcare—that allows the production team to stay on air.
Give a “High-Five” for the Arts
To celebrate five years of service, Stage Whisper is inviting its community to participate in the “High-Five” initiative:
The $5 High-Five: A small gesture with a massive impact. If every past guest and listener gave just $5, the goal would be met instantly.
Become a Producer: Larger contributions serve as a direct investment in the future of arts journalism.
SHOUT the Whisper: Supporters are encouraged to share the campaign to help find patrons who believe independent voices matter.
A Tax-Deductible Investment in Culture
In a show of community solidarity, Genesis Repertory Ensemble, Inc.—the arts and education organization chaired by Jay Michaels—will serve as the fundraising sponsor. Consequently, all donations to Stage Whisper are tax-deductible, allowing patrons to support the arts while receiving a federal tax benefit.”The arts are the heartbeat of our community,” says the Stage Whisper Team. “But that heartbeat needs a home. We are asking our community to help us keep the mic live.”
To donate or learn more, please visit: https://gofund.me/e12f0a5f0
Gothic Musical “MY GHOSTS”to Headline ‘One Night Only” Seriesat Inaugural ManiFestival in NYC
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NEW YORK, NY — This summer, the spirits of literary giants will haunt the New York stage as Laros Theatre presents a special, one-night-only showing of the new gothic musical, MY GHOSTS.
The production serves as a featured event of the ManiFestival, an inaugural new works festival produced by Diamond Mesh Inc. Theatrical Productions (led by Matt Bader and Faith Pasch). Scheduled for August 4 at 9:15 p.m., the performance acts as a “Grand Finale” for the festival’s special event series, intentionally timed to celebrate the birth of romantic poet Percy Bysshe Shelley—the radical thinker and husband to Frankenstein creator, Mary Shelley.
A Tunefully Dark Comedy of Literary ProportionsMY GHOSTS is a fantastical dark musical comedy that pulls back the curtain on the agony of creation. The story follows acclaimed author Cab Curio as he struggles to defeat his most relentless “inner critics” — the literal ghosts of Shakespeare, Marlowe, and Wilson. Racing against a ticking clock, Curio seeks the aid of Lenore, a mysterious clock tower ghost with a secret of her own, in a desperate bid to find his voice before his time runs out.
The musical is the brainchild of a powerhouse creative duo:Book by Erica Elsa Laros: A poet, artist, and New York Times-published obituary writer.Music & Lyrics by David Laros: An international piano entertainer and veteran musical theatre composer and director.
MY GHOSTS had two successful workshop production in New York prior to this off-Broadway showing. It is also featured on Channel Indie TV.
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The ManiFestival Mission: Reclaiming ConnectionThe ManiFestival (running July 16th – August 9th) arrives at a time of deep digital isolation. Diamond Mesh Inc. created the festival as a response to the “why” behind modern loneliness, seeking to build a bridge between the artist and the audience.“You did not stumble upon these questions. You found them,” says the Diamond Mesh mission statement.
“We have been looking for you too.”The Mainstage LineupIn addition to MY GHOSTS and a series of one & two night only special events, the ManiFestival features three anchor productions:
Club 27 (Written by Maeve Z. O’Connor; Starring Faith Pasch): A confessional cabaret grappling with the spirits of Janis Joplin, Amy Winehouse, and the infamous “27 Club.”
Piss.JPG (Working Title) (Written by/Starring Michael Gardiner & Justin Jager; Dir. Daniel Yaiullo): A “Gen Z Waiting for Godot“—an absurd romp through the American stage that is as life-affirming as it is impossible to explain.
The Silly William Gambit (Written by/Starring Matt Bader; Dir. Justin Jager): An eccentric chess prodigy plays seven real-time matches against a mysterious entity on a train bound for Hell (or Philadelphia).
TICKETS & SHOWTIME for MY GHOSTS – August 4 @ 9:15 p.m.Full ManiFestival schedule: July 16 – August 9, 2026
Contact info@jaymichaelsarts.com
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Jim Catapano reviews Richard Vetere’s Compelling “Poet on a String” which draws eerie parallels between 1939 and today
Creativity and Connection, Challenged in a Changing World
Richard Vetere’s Compelling Poet on a String Draws Eerie Parallels between 1939 and Today
As the 1930s faded and the reality of another World War loomed, the artists of the time were facing their own crossroads. Film was becoming the dominating medium, and the culture-changing era of Television was fast approaching. The poet Delmore Schwartz (Sam Cruz), only 26 but already studiously examining his “past”, rages against the new paradigm, mocking the very notion of a “screenwriter” as a meaningful pursuit.
Delmore’s wife of two years, Getrude Buckman (director Amber Brookes), is also a writer, but this means little to the narcissistic, dismissive Delmore. “I don’t think she has talent, but I love her just the same,” he confesses directly to the audience at play’s opening. But the “love” part is seriously in doubt as well, as it becomes evident that Delmore sees Getrude solely as the muse to fuel his own brilliance.
“I have a big ego because I’m a genius!” he bellows.
In the midst of the couple’s play-acting at a healthy partnership, they arrive at the home of friend and fellow writer James Agee (Joseph Monseur) to spend the summer weekend boozing and philosophizing. James is primarily a journalist and commentator who is doing a piece for Life magazine on Delmore. But in stark contrast to his friend and interview subject, James is planning to jump headfirst into the modern way of storytelling, aspiring to be one of the Hollywood screenwriters that Delmore scoffs at. In between drinking and flirting with Gertie, James likes to wander off and seek out the ghost of his father, who died very young, and according to James appears nightly on the grounds to have a chat.
Thus begins an intense 48 hours that examine the fragility of relationships as the tidal wave of global change on many fronts threatens to consume them. James is self-destructive, Delmore is paranoid and rigid; Getrude struggles to be seen as an individual with a creative voice that deserves to be heard.
“I don’t want to be his muse!” a defiant Gertrude proclaims to James. “I’m searching for my own.”
A passionate debate between Delmore and James illustrates the crux of the conflict. “When poets destroy other poets, they are falling into the hands of the Philistines,” seethes Delmore. “The people must read poetry, they must shun the movies, they must be allowed to learn and question life—not deny pain and suffering. Movies perpetuate fantasy: We are a culture of denial.”
“Let’s join the culture of denial!” responds James, urging Delmore to join him on the “dark side” by coming with him to Paramount to write movies together.
Vetere and Brookes have come together to create a production that not only gives a tantalizing fly-on-the wall-look at three real-life artists in the pivotal year of 1939, but also holds tremendous relevance up to those of us navigating the treacherous waters of 2026. The dawn of the Golden Age of Hollywood mirrors the rise of AI. When Delmore condemns film as an affront to genuine artistry and a catalyst in the diluting of audience intelligence, we can’t help but shudder at where we are now, as the even greater danger of Artificial Intelligence threatens to utterly destroy the human component so crucial to creativity. That said, Agee’s point of view must also be considered; if the creative world is changing and nothing can stop it, the only options are to ride or die. This conundrum, along with the tension among the characters, is presented with astonishingly strong dialogue, deft direction and terrific work by the cast. Many of the things the characters say are based on extensive research, with Vetere’s artistic flourish painting a realistic picture of what may have happened that fateful weekend. There are many witty, laugh-out loud moments to complement the dramatic intensity and powerful performances, making Poet on a String a modern classic and a must-see.
Note that the production features two rotating casts, allowing for audiences to enjoy different interpretations of these literary icons and this very relevant artistic dilemma: The second cast features Dustin Pazar as James, Elizah Hill as Gertrude, and Jake Minter as Delmore.
Poet on a String runs at The Sargent Theatre at The American Theatre of Actors through April 12, 2026.
Arts Independent 
