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American Theatre of Actors announces Jessica Jennings as New Executive Director on Eve of 50th Anniversary
The American Theatre of Actors (ATA), a cornerstone of New York City’s off-off Broadway scene, today announced the appointment of Jessica Jennings as its new Executive Director. This announcement comes as the venerable institution approaches its 50th anniversary in 2026. James Jennings, the theatre’s esteemed founder, will continue in his role as Artistic Director.
“I’m thrilled to continue the tradition started by my father in 1976 and now to bring the theatre forward into the next generation of the 21st century,” said Jessica Jennings, a multifaceted theatre artist with a distinguished career as a director, actor, dancer, and producer.
James Jennings, a celebrated figure in independent theatre renowned for directing the complete Shakespearean canon and his work with legends like Elia Kazan, Lee Strasberg, and Harold Clurman, expressed his pride: “I’ve watched Jessica go from that little girl looking over my shoulder to a celebrated director/actor/dancer and producer. Her plans and ideas are already bringing a new dimension to all three theatres in the ATA complex.”
Jay Michaels, ATA’s longtime press representative, echoed this sentiment, stating, “The Jennings family has truly placed itself as a prominent arts family in the indie arts scene of New York! Jessica’s vision is a dynamic force for the ATA’s future.”
Jessica Jennings brings a wealth of experience to her new role. She holds a BFA in Dance from the University of the Arts and a certificate from the Martha Graham School of Dance, where she was a Van Lier Scholarship recipient. Her dance career includes performances at the Philadelphia Fringe, Edinburgh Fringe, and the Etruscan Riviera Festival, as well as collaborations with renowned choreographers and companies. Notably, she danced in Cinderella with the Fort Worth Ballet at City Center and served as a dancer and dance stand-in for Bryce Dallas Howard in M. Night Shyamalan’s film, The Village, where she also assisted in teaching period dances to the cast.
As a director, Ms. Jennings has garnered accolades, including audience-vote awards for her productions at the John Chatterton Festival and Testo-Genius, the Jean Dalrymple Award for A Midsummer Night’s Dream at ATA, and a Princess Grace Award nomination for Romeo & Juliet.
Her acting credits are equally impressive, ranging from childhood appearances in commercials to lauded performances on the ATA stage, including Ophelia in Hamlet, Katherine in Taming of the Shrew, and Lady Macbeth. She has also performed in numerous Shakespearean productions and Off-Broadway shows.
Beyond her artistic achievements, Ms. Jennings possesses significant business acumen gained from managing multi-million-dollar retail locations and her experience in development at the Spanish Repertory Theatre (Repertorio Español). As the founding Board President of Ripple Effect Artists, a social-justice theatre, she honed her skills in theatre management and development, co-producing Off-Broadway shows and SAG short films. In 2021, she established Alchemy Theatrical Consulting, assisting indie theatre clients with various aspects of production and management. She has since returned to the American Theatre of Actors, contributing to rebranding, archiving, marketing, and business development.
American Theatre of Actors
Founded in 1976, the American Theatre of Actors is a vital repertory theatre company dedicated to fostering new talent in playwriting, directing, and acting. Over its history, ATA has presented over 1000 new works and provided a platform for more than 11,000 actors, including notable names such as Dennis Quaid, Bruce Willis, and Edie Falco.As the American Theatre of Actors looks towards its next 50 years, the appointment of Jessica Jennings as Executive Director signals a dynamic new chapter for this influential institution.
Contact info@jaymichaelsarts.com for further info
The Wit and Wisdom of Felipe Luz as written by Jim Catapano
An Up-and-Coming Cabaret Star Looks at Life, Love, Lust, and Everything Else That Happens Under the Covers
“As tempting as it is, please refrain from opening your dating apps during this show,” requests Felipe Luz in a voiceover at the beginning of their show, dubbed “Men Are Trash and I’m a Raccoon.”
Luckily, Luz is too engaging for that to be a concern. They’re not performing in a one-person show; They are a one-person show.
Luz is a Manhattanite who pursued an MFA in Acting at Ohio University (where they recently brought their show). They are a self-described “Brazilian multi-hyphenate and teaching artist” who believes “we should all live our lives as works of art.” And they are fulfilling this 100 percent in their ongoing theatrical journey, where they regale the crowd with persona life stories and lessons—with plenty of laughs along the way.
A stage is set with Japanese byōbu screens flanking a semi-dressed mannequin behind a makeup mirror and table, and a satin-sheeted bed. Luz emerges, a lighthouse beacon coming to rescue us from our denial of how modern life works (or doesn’t).
“How much will people put themselves into boxes only to get laid?” they observe. “Isn’t Grindr the LinkedIn of Sex”? And thus, the tone is set, and it’s lots of Truth and implied Dare. Luz proceeds to lay down the ground rules that must be followed if anyone wants their attention—no sex with idiots, no politics, no questions asked—while acknowledging that all those rules get dropped if Luz is feeling “super-horny.”
Luz’s honesty is refreshing and hilarious, and we laugh as they shine the spotlight back on us, urging us to consider our own motives in life and love. The show is filled with Luz’s astute observations and revelations; they admit they’ve always been a
“manic pixie dream boy,” who often exists solely as a “plot device” for people to learn about themselves before they move on to someone else (a stunning realization that surely hits home for many of us).
Lux is the kind of performer who holds your attention from beginning to end (an end that arrives too soon and leaves the audience wanting more). Their storytelling is rich and poignant, peppered with hilarity and familiarity, emotion and vulnerability. A relationship begins, addictions are addressed and conquered, feelings increase and diminish, restlessness and doubt creep in, and a wondering of what else is out there leads to growing apart and finally, a breakup.
“I’ll be forever grateful to you for showing me that I deserve love,” Luz says to their unseen former partner in a bittersweet, teary moment. Then the mood changes, as Luz, jumping excitedly on the bed, announces a plan to message all the boys they’ve ever dated and call them out— “just for the drama!”
Social media, and its impact on modern dating, gets a turn under Luz’ powerful microscope. In a nutshell, they observe that our addiction to checking on people from our past online means we can never truly turn the page and free ourselves, and our former objects of affection know this. “I’ll start dating someone else in two weeks, and they won’t even be that pretty, and you’ll wonder what’s wrong with you!” Luz proclaims to a past paramour (another shot to the heart).
It’s then that a true shot to the heart is delivered. “We’re always waiting for someone, so we don’t want to get too attached, because there might be someone better waiting around the next corner.” Luz knows themself—and us—very well.
“Men Are Trash and I’m a Racoon” recently ran at Brooklyn’s The Rat, and further NYC shows are coming this year. Follow Felipe on Instagram at @letherebefelipeluz to see what they do next (and where you can see them do it!).
CALL FOR SUBMISSIONS: Midtown International Theatre Festival, July 2026.
CALL FOR SUBMISSIONS Midtown International Theatre Festival, July 2026.
The Largest NY Independent Theatre Festival
Contact info@jaymichaelsarts.com for further info
The New MITF is currently accepting submissions for its inaugural festival, scheduled for July 2026.
CLICK HERE for info and application
Set to take place over three weeks in July 2026, the revived MITF promises a diverse and dynamic lineup of theatrical experiences.
The MITF will showcase a wide spectrum of performances, including plays, musicals, cabaret acts (now named in honor of the late Vickie Phillips), and solo shows encompassing stand-up comedy. Discussions are underway to add a film festival in the series. Productions of all lengths are welcome, from concise one-minute pieces to full-length shows up to 120 minutes. Excitingly, discussions are also underway to potentially include an indie film festival and an art exhibition, further enriching the festival experience.
The original MITF, established in 2000 by John Chatterton to complement the downtown scene and ran for 18 successful seasons. MITF quickly became a respected and highly visible platform for independent theatre, even pioneering a festival model of theater rental and shared box office revenue that continues to influence theatre festivals today.
Participating in the MITF offers numerous benefits for producers, often at a more affordable rate than producing independently. The participation fee (PF), a down payment against a share of the gross, covers essential amenities such as:
- Publicity: Led by Jay Michaels and his team, ensuring broad exposure for all productions.
- Rehearsal Time: Allocated technical rehearsal and run-through time.
- Storage Space: Limited backstage storage provided at each venue.
- Performance Space: Rental of the venue for all contracted performances, including setup and strike.
- Technical Director: On-site support during rehearsals and performances.
- Lighting Designer: Professional lighting plot setup for each theatre.
- Equipment: Access to necessary festival-provided equipment, including an 88-weighted key electronic keyboard.
- Air Conditioning: Guaranteed comfort in all performance spaces.
- House Management: Staff to manage audiences.
- Box Office: Professionally managed ticketing services.
- Venue Management: Staff to ensure smooth operations and adherence to schedules.
- The Festabill: A full-color program guide for patrons, with advertising opportunities for shows.
- Insurance: General liability coverage provided by the festival.
An application form is available online HERE.
Please contact info@jaymichaelsarts.com for further info.
The festival anticipates announcing its partner theatre venues before the end of 2025.
Julie Lorson: A Theatrical Force Multiplied in MCTLI’s “As Bees in Honey Drown”
Anya Kai, reporting
For Julie Lorson, a dedicated board member of Modern Classics Theatre of Long Island, theatre isn’t just a hobby – it’s a way of life. Her involvement spans far beyond the stage, encompassing producing, stage managing, technical operations, publicity, and even prop and costume sourcing. This deep commitment makes her inclusion in the cast of “As Bees in Honey Drown” at the BACCA Arts Center a particularly significant contribution, showcasing her multifaceted talent.
While deeply involved behind the scenes, “As Bees in Honey Drown” marks only Lorson’s third main stage performance with MCTLI, following her roles in “The Curious Savage” (alongside fellow cast member Christina O’Shea) in 2022 and “The Curious Incident of the Dog in the Nighttime” in 2023. She has also been a consistent participant in their annual One Minute Play Festival, demonstrating her consistent engagement with the company.
Lorson’s connection to “As Bees in Honey Drown” began during the play selection process for the season. Among thirty scripts, Beane’s work stood out for its “brilliantly written and incredibly witty” dialogue. She was particularly drawn to the central character of Alexa Vere de Vere, whom she describes as the aspiration of every actress, a compelling “anti-hero” who is both captivating and detestable. Lorson also appreciates the rarity of a show driven by a strong female lead, making this production particularly appealing to her.
Despite the play being set in the late 1980s and early 1990s, Lorson finds its themes strikingly contemporary. She draws a parallel to the recent news surrounding Anna Sorokin, whose real-life deceptions bear a remarkable resemblance to Alexa’s schemes, even playfully suggesting Sorokin might have drawn inspiration from the play. This relevance underscores the enduring nature of the play’s exploration of ambition and artifice.
In “As Bees in Honey Drown,” Lorson takes on the ambitious task of portraying six distinct characters, each demanding unique costuming, accents, wigs, and shoes. This demanding feat has led to a significant personal realization. “I play six different characters, with 6 different costumes, 6 different accents, with 5 different wigs, 4 pairs of shoes and it’s a lot. But I learned that I can handle more than I thought,” she reflects. This challenge has proven both demanding and deeply rewarding, showcasing her versatility as a performer.
Lorson finds inspiration in the transformative power of wigs, particularly referencing a Tracy Ullman stand-up skit where wigs embody distinct personalities. This concept serves as a key influence for her multiple roles in the play. Beyond this specific inspiration, she admires the powerful presence of Broadway divas like Ethel Merman, Patti LuPone, and Audra McDonald, as well as the sharp wit of female comedians such as Judy Gold, Lisa Lampanelli, Amy Schumer, and Sarah Silverman.
As a self-described “comedic actress,” Lorson’s primary mission is to evoke laughter from the audience. “I feed off of laughter,” she admits, highlighting the symbiotic relationship between performer and viewer. She also emphasizes her responsiveness to the audience’s reactions, adjusting her performance to their preferences.
Interestingly, despite holding a degree in film theory, Lorson has no aspirations for a career in film acting. The prospect of multiple takes for a single scene holds little appeal for this “one and done type of girl,” further solidifying her passion for the immediate and dynamic nature of live theatre.
Lorson humorously describes her weekend role as a birthday party clown, where she enjoys the enthusiastic reception from her young audience. However, her true appreciation lies with performing for “theatre people” who understand the dedication required to mount a successful production. While her family offers their support, she notes that only her theatre-involved father truly grasps the intricacies of the process.
When considering who “needs” to see “As Bees in Honey Drown,” Lorson highlights its dual nature as a mystery, following Evan’s unraveling of Alexa’s identity, and a character study in multiple personalities. This makes it particularly appealing to mystery enthusiasts and fellow actors seeking to observe the complexities of portraying diverse roles.
The intricacies of managing numerous wigs have become a running joke within the production. “We joke that the show isn’t actually about Alexa and Evan but about the 13 wigs we use throughout the piece,” Lorson quips. A specific challenge lies in differentiating between her various British accents, ensuring her “proper British accent doesn’t sound too much like my Cockney British accent.”
Looking ahead, Lorson is eagerly anticipating her role as Beth in “Birthday Candles” at Lighthouse Repertory Theatre. This production marks her fourth consecutive show since early May, leaving her with a packed schedule until her brief “break” around July 4th, which will be followed by a cabaret performance.
Julie Lorson’s deep-seated love for theatre, her willingness to tackle multifaceted roles, and her dedication to engaging the audience make her a vital part of Modern Classics Theatre of Long Island’s production of “As Bees in Honey Drown.” Her ability to seamlessly transition between six distinct characters promises a dynamic and entertaining experience for all who attend.
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
Arts Independent 