Double the Drama, Double the Daring: Sarah Vindigni and Amy Losi Unveil Thought-Provoking Plays at ATA
Written by Zara Solange
New York City’s American Theatre of Actors (ATA) is set to host a compelling “Laurie Rae Waugh Double Feature” this July, presenting two distinct yet equally impactful new plays: Sarah Vindigni’s “¡Poof!” and Amy Losi’s “Love’s a Thin Diet.” Both productions, guided by the experienced hand of director Laurie Rae Waugh, promise to ignite conversations and challenge perceptions on the Beckmann Stage from July 9th to 20th.
The ATA, a venerable institution founded in 1976 by James Jennings, has long been a nurturing ground for emerging playwrights, directors, and actors, fostering a creative environment free from commercial pressures. Its mission to explore “the social and ethical problems of contemporary society” resonates deeply with the themes tackled in this double bill.
“¡Poof!”: A Shocking Scenario and a Call for Connection
Sarah Vindigni, the playwright behind “¡Poof!”, introduces herself as a purveyor of the thought-provoking. Her inspiration for this audacious work? None other than the king of comedic absurdity, Mel Brooks. “Mel Brooks inspired me to think outside the box and that nothing is too ridiculous,” Vindigni shares, a sentiment that clearly permeates the premise of her play.
“¡Poof!” plunges audiences into a chillingly plausible scenario: Union Activists taking over Metro Energy in NYC, threatening to shut down the grid unless their demands are met. The play raises a vital question: “Will they succeed and could this happen globally?” Vindigni’s creative process, she states simply, involves “taking lots of notes,” suggesting a careful observation of societal anxieties and a dedication to crafting a narrative that resonates.
Beyond the dramatic tension, “¡Poof!” carries a profound message. When asked about the “scary thoughts” her play provokes and its real-world potential, Vindigni offers a hopeful vision: “I think the world can learn to share resources so that no one is in need, and everyone can live like a human being.” This suggests that beneath the thrilling premise lies a call for greater equity and human connection. As for what’s next for this insightful playwright, she reveals a shift towards “A romantic comedy,” a delightful contrast to the high-stakes world of “¡Poof!”.
“Love’s a Thin Diet”: Navigating the Murky Waters of Power and Consent
Amy Losi, a prolific actor, director, and playwright with ninety plays under her belt as an actor and nineteen festival acceptances for her own works, brings “Love’s a Thin Diet” to the stage. This play delves into the deeply sensitive and timely issue of power dynamics in relationships, particularly when a professor exerts influence over a student, even if that student is their ex-husband. The central question: “What is the line between seduction and consent…?”
Losi’s inspiration for this poignant play stems from a personal experience. “A college professor invited me to his private office. Like the women in the play, he offered me wine and asked personal questions. He asked me to return but I never did,” she recounts. This play, she emphasizes, is a powerful statement “for all the women who did return, and more importantly, for those who are about to.”
Losi’s creative process is driven by a desire to explore the female experience, focusing on “women at various stages of their lives and center around overcoming the past or pursuing their dreams.” She also notes her interest in showcasing “older people connecting or falling in love,” and drawing from “aspects of my own life.”
The play bravely tackles the complex interplay between seduction and consent. Losi’s stance is unwavering: “It is never permissible to control or take advantage of others — and in particular, for a professor or male in a position of dominance to seduce or harass women. Seduction is not equivalent with consent.” This clear articulation underscores the play’s vital contribution to ongoing conversations about ethical boundaries and individual autonomy.
A Shared Vision Under Laurie Rae Waugh’s Direction
Despite their distinct subject matters, both “¡Poof!” and “Love’s a Thin Diet” are intrinsically linked by the vision of their director, Laurie Rae Waugh. As Sarah Vindigni rightly points out, “The Director, Laurie Rae Waugh,” is the unifying force. Amy Losi further elaborates on this connection, stating that “The characters in both plays want to reverse injustice and are committed to achieving that.”
Laurie Rae Waugh, a seasoned theatre artist in New York since 1980, has garnered numerous accolades for her directorial work, including the Jean Dalrymple Award for Best Dramatic Director for various productions. Known for her “realistic and unapologetic takes on family and relationship dramas,” Waugh’s directorial style often involves giving actors the “freedom to explore their characters as we break down the script,” allowing for truth and vulnerability to emerge. Her ability to navigate diverse narratives and draw out powerful performances makes her an ideal choice to helm this thought-provoking double feature.
What’s Next for These Dynamic Playwrights
The future is bright for both Sarah Vindigni and Amy Losi. Vindigni looks forward to crafting a romantic comedy. Meanwhile, Amy Losi’s plate is overflowing with exciting projects: “Love’s a Thin Diet” is set for publication in October by Next Stage Press. In August, her newest play, a comedy about four older women, will be featured in the Gene Frankel Theatre Play Festival. September brings her full-length play, “To Feed the Roses,” to the Dream Up Festival at Theatre for the New City. And to cap off the year, a comedy by Losi will be part of the NY Theater Winterfest in December. Remarkably, Losi will also be acting in all these plays, all of which are being directed by Laurie Rae Waugh, showcasing a truly prolific and collaborative artistic partnership.
The “Laurie Rae Waugh Double Feature” promises an evening of compelling theatre, inviting audiences to confront timely social issues, ponder challenging ethical dilemmas, and perhaps even imagine a world where resources are shared and injustice is overcome. It’s a testament to the enduring power of new plays and the vibrant creative spirit fostered by institutions like the American Theatre of Actors.
The Midtown International Theatre Festival announces the first production to be part of MITF 2026: The Anxiety of Laughing by Andrew Justvig
The Midtown International Theatre Festival announces the first production to be part of MITF 2026: The Anxiety of Laughing by Andrew Justvig
Slated for including in the July 2026 festival, a special staged reading presented by Mixing It Up Productions and Have Readings Will Travel Co. will be presented Saturday, July 12 @ 1:00 p.m. at The Theater Center, 210 West 50th Sreet, 3rd Floor, New York City. For info and rsvp: info@miuprod.com.
The play revolves around comedian Joey Hill, who has cerebral palsy, is challenged to care for his fiancée, who was an aspiring ballerina until a car accident paralyzed her from the waist down. As their relationship is tested, the play explores themes of resilience, intimacy, identity, and the healing power of humor.
Directed by Hans Friedrichs and featuring Justin Justvig, Tauren Hagans,* Mackenzie Rodgers,* and Victoria Bundonis* (*appearing courtesy of Actors Equity Association)
Jim Catapano Wishes for Many Beautiful Hours at “Birthday Candles”
Noah Haidle’s Moving Masterpiece Birthday Candles is Beautifully Realized by the Lighthouse Repertory Theatre Company
Ernestine Ashworth celebrates her 17th birthday with her mom Alice (Alissa Wexler) as per family tradition—a homemade birthday cake. In between anxiously wondering about her place in the universe, she excitedly recruits Alice in helping her rehearse for her school’s production of “Queen” Lear, and then takes an annual turn at the height chart next to the front door of their Grand Rapids, Michigan home. That height chart will be filled with names we’ll get to know over the next century, and we’ll spend pivotal moments of those years with Ernestine and family, but always accompanied by the unseen but always felt antagonist of Birthday Candles: Time.
The idea for Birthday Candles came to Noah Haidle after his friend’s eight-year-old daughter asked her mom if she thought she had wasted her life. That question is also Ernestine’s first line, directed at herself, and thus a profound question from a child led to a profound play.
We get to spend Ernestine’s birthday with her over the course of 90 years; every year she bakes that same cake, and is accompanied by a version of her goldfish Atman (Sanskrit for “essence,”) always sitting in a bowl on the kitchen table. It is noted that goldfish only have 3 seconds of memory before they “start over”, and the other characters wonder if Atman is better off that way, as the years and the memories wear them down.
Kami Crary gives a magnificent performance as Ernestine Ashworth, whose life spans “one hundred years and ninety minutes concurrently.” With no makeup and only very slight costume changes, Crary embodies Ernestine at 17 and 107 and everything in between so convincingly it’s astonishing. Her castmates complement her wonderfully, going on their own life journeys filled with both sadness and joy, sometimes in the same scene.
The 17-year-old Ernestine is aggressively but charmingly courted by Kenneth (usually played by Kevin Russo, but in this performance played by producer Tony Chiofalo, in a stellar “one-night-only” turn). However, she instead marries Matt (Rian Romeo), and they have many happy years together until tragedy leads to a devastating betrayal. But, it also means that Kenneth may have a chance with Ernestine after all, if he waits long enough…
An ominous tickling clock accompanies blackouts that depict time moving forward. Sometimes the scene is brief and humorous (like when Ernestine’s daughter goes from College Senior to College Graduate to Unpaid Intern in a matter of real-life seconds, or when Matt is seen to give Ernestine the same gift three birthdays in a row). But sometimes the circumstances are heartwrenching (one short scene is just of the characters sobbing). Most scenes are longer, depicting poignant life-changing turning points. The fact that Ernestine lives for over a century means that tremendous sadness and loss are inevitable, and this casts a backwards shadow over the events of her life, even the happier ones. Ernestine is determined to keep her loved ones alive through her rituals, even if it means breaking into the house that she no longer lives in to bake that cake one more time, a full century after the tradition began—much to the chagrin of new owner Beth (Julie Lorson) and to the amusement of Beth’s domestic partner John (played by Chiofalo). “Ernestine: Age Eternity,” she introduces herself with pride.
Shea James plays Ernestine and Matt’s daughter Madeline (Maddy), who later wishes to be called Athena, and finally “Anonymous.” She is a troubled soul who is existentially perceptive, lending a perspective that complements the transitory nature of life that the play so keenly demonstrates. Stephen Anastasia is Billy, who rebelliously criticizes his parents for settling and selling out, only to have the same charges leveled at him by his own daughter Alex (Stephanie Curley) decades later. Billy is a musician who is heard practicing the Beatles’ “Let It Be” (a fitting song for this play), and his rendition gets better and better over the years. Liz Spencer is hilarious as Billie’s girlfriend (and later wife) Joan, an anxious person who berates herself in the third person after every faux pas. Amanda Luong and Glenn McKay are Ernestine’s grandchildren Ernie and William, seen rehearsing “Queen” Lear decades after their grandma’s initial triumph.
Birthday Candles is a heartbreaker for the ages, but also incredibly funny; and it is a stunning celebration of all that matters, and a reminder that a life well lived and full of love is worth the tears. To paraphrase Ernestine, let’s all make a wish for “so many beautiful hours.”
Birthday Candles is directed with finesse and poignancy by Kate Russo. It is performed at the Merrick Theatre and Center for the Arts through June 29, 2025. The production benefits Birthday Wishes of Long Island, whose mission is to improve and empower the lives of homeless children and their families. To learn more, visit birthdaywishes.org.
Jim Catapano learns that The Past Comes Knocking in Sean Szak Prasso’s Angel in the Heat sizzling at the ATA
Sean Szak Prasso’s Angel in the Heat Sizzles at the ATA
Blake Jean (Travis Bergmann) is on the cusp of success. The Louisville Kentucky attorney is a candidate for mayor, and about to buy a house with his wife Charlotte (Amanda Stamm). They appear to have the perfect mid-20th century life, but then a news announcement comes over the old-fashioned radio, literally (and very symbolically) interrupting the feel-good 1950s tunes emanating from it. Dixie Campbell (Annie Unger), a 17-year-old in prison for murder, is on the loose. Blake had been involved in the trial that put her there, and we soon learn that their relationship went far beyond the professional…
Written and directed by Sean Szak Prasso, Angel in the Heat is a compelling 90 minutes of theatre; its theme, writing, and setting wonderfully evoking the classics of the past. The cast practically sings the dialogue, their well-defined characters bringing the provocative story to dazzling life. Unger makes Dixie a sinister but irresistible presence, a forbidden fruit that Blake can hardly resist even while knowing it will likely lead to personal and professional ruin. Dixie returns to Blake’s life like an unexpected tornado. You can almost see his tidy conservative home turn upside down as she re-asserts her presence in his life, dancing to the radio in her undergarments; she cheerfully puts up decorations for his upcoming party, even as she plots to seduce him and destroy him if he resists. You can literally feel Blake’s heart pounding as he tries to find a way to get Dixie her freedom while saving his reputation; the trouble is, Dixie doesn’t want a new life unless Blake comes with it.
Bergmann conveys his character’s dilemma deftly, his desperation and desire palpable and believable as we see his mind (and his pulse) racing, trying to find a way out of a situation that he is quickly losing control of. Stamm is the picture of tragedy, as the already unwell Charlotte watches her idyllic life crumble. The look of utter horror as she watches the duplicitous Dixie straddle her husband and kiss him right in front of her will stay burned in your memory.
Dustin Pazar excels as Chase Collins, a chain-smoking cowboy hat and boot-wearing picture of masculinity whose unexpected encounter and heart-to-heart talk with the beguiling Dixie leads to a whispered scheme that threatens to take Blake down while getting Dixie exactly what she wants. Amy Losi is a scene-stealer as Deborah, an older neighbor decked out in 50s finery. During a café chat with Blake, Deborah plays detective, noticing that he’s bought a dress that is clearly not his wife’s size, and elevating the mayoral candidate’s paranoia to an eleven.
Angel in the Heat is a must-see theatrical powerhouse that is destined to be viewed as one of the modern greats while perfectly evoking the atmosphere, themes, and styles of the mid-20th Century. It is performed at the Beckman Theatre at the American Theatre of Actors through June 29, 2025.
Content Warning: Sexually suggestive and violent themes. Use of flashing lights (not a strobe)
Jim Catapano spies a Glimmer of Hope Amidst the Misery, wallowing in MUD (at the ATA)
MUD, María Irene Fornés’ 1980s social commentary, is reborn at the ATA
“I am a hungry soul. I am a longing soul. I am an empty soul,” laments Mae, an impoverished, illiterate young woman in an old torn dress. “Can’t I Have a Decent Life?”
Mae is living a bleak existence with an unwanted life partner, Lloyd—a man who is a virtual animal in human form. Their toxic relationship is marked by harrowing screaming matches as she goes about ironing and pressing clothes, desperately trying to maintain a civilized demeanor amidst the chaos. Mae finds what appears to be a way out in a possible relationship with the suit-and-tie clad Henry, a seemingly successful neighbor who to her is a symbol of education and escape. “I feel like heaven had come to this place and I still feel so,” Mae proclaims defiantly. But even that brief candle of hope is quickly extinguished due to an unexpected turn of events that leaves Mae in an even more dire situation than before.
MUD is a contemporary groundbreaker by María Irene Fornés’, the late Cuban-American playwright whose work was known for depicting characters who dared to dream themselves out of the dire and unfair circumstances that social and cultural realities imposed upon them. This important and relevant piece is now brought to life in 2025 by Utopia for Losers, “a New York-based theatre company of young actors and directors staging work by a variety of contemporary playwrights.”
Mae explains to Henry that her late father found Lloyd on the street and took him in; he is literally a feral stray that has resisted all attempts at domestication. He is dominated by base impulses of hunger and carnal desire, the latter hampered by an illness that leaves him physically impotent but still craving at a feverish level. “We’re like animals who got together and mated,” Mae admits with disgust. This leaves her forced to care for a person who is essentially an unwanted pet, a burden that hampers her desperate attempts to rise above the unfair cards that have been dealt her.
Chloe Margot gives a stunning performance as Mae, a heartbreaking heroine trapped in an utterly hellish situation; one roots for her to escape while recognizing how tragically unlikely that is. Mae is driven to better herself through education and a firm work ethic; she goes to school and has trouble retaining what she learns, but forges on regardless; she tries to develop her reading skills, narrating aloud (slowly but determinedly) books about starfishes and hermit crabs while trying to ignore the pathetic creature she is stuck in cohabitation with.
Brian Beckerle as Lloyd perfectly realizes the bestial, pitiful nature of the difficult character while never allowing him to tip over into being utterly repugnant. His physical acting is remarkable—Lloyd jumps onto the table repeatedly, exemplifying his subhuman nature, and cartwheels across the stage to demonstrate his virility and vigor. Aiden Castillo as Henry excels at an extremely difficult task of showing the character at first dominating but sinister, and supposedly civilized, until circumstances leave him compromised and forced to a state of dependency similar to Lloyd’s. The trio of actors give a masterclass in the realization of a playwright’s intent, expertly interpreting Fornes’ poetic style and bringing to life her themes of psychological and relationship complexity fueled by poverty. It’s a triumph for the cast, Director/Producer Dylan Pitanza, Assistant Director Christopher Paul Richards, Dramaturg Ava Lamantia, and Producer Sawyer Barth; and a home run production for Utopia for Losers and the American Theatre of Actors.
Content Warnings: Profanity, discussion of sexual acts, simulation of a sexual act, gun violence, discussion of bestiality, misogyny.
MUD was performed by the American Theatre of Actors through June 29, 2025.
The Case of AI vs. Humanity Shall Now Be Heard by Judge Jim Catapano
One of the Greatest Dilemmas of Our Times Is Explored in Immersive Dance
Mrs. Zero (Monica Blaze Leavitt) and Mr. Zero (Johnny Blaze Leavitt) are from the 20s, but not the ones we’re experiencing now. They hail from the “roaring” 20s of 100 years ago, and are now marveling at the technological advances made in between. Well, Mrs. Zero is marveling…her husband is recoiling in horror.
The duo are hosts to AI vs. Humanity: The Experience at the Paradise Factory Theatre, presented by Ripple Effect Artists, and it’s an exquisite—and important—illustration of this very moment in time, when humanity itself is at a crossroads.
Mrs. Zero, dressed in bright red with a delightful accent recalling Audrey of Little Shop of Horrors fame, spent time with the audience before the show, asking each one of us our names and what we did; it was a fun icebreaker that would enhance and inform the experience of the performance to come. Women in white dresses followed, handing each of us a flower, which I playfully tucked behind my ear (something robots rarely do, by the way). We soon learned that the women — Emily Hart Herbert, Franca Rosenblatt, Francesca Savone, and Skye Todaro—were dancers who represented humanity. Their counterparts were the “robots”—Andrew Fitzpatrick, Eric Jaison, Trinity Smith, and Fiona Tsang. These were dressed in dark shirts and pants, with dark face masks under blank staring eyes, hiding any notion of human expression. The robots were “dancers” as well, and they were impeccably choreographed as they went about their function, in this case stacking pieces of sound-proofing foam, to the fitting sounds of Daft Punk. Mrs. Zero was enthused by the robot performance, as her initial thoughts suggested she would be, while her partner was so disturbed he continuously brought the automaton dances to a halt, protesting what he perceived as a palpable threat to humanity itself.
The “humans”, in contrast, performed with full emotion and exquisite grace, their eyes and smiles conveying the joy of movement, and of creativity. In the most powerful moment, two of the dancers made eye contact from across the floor, their smiles widening with elation as they connected on a deeper level. The other two human dancers followed suit, pairing ecstatically, and demonstrating the love and aliveness that their efficient but emotionless robot counterparts could never feel.
In between the dance performances we were treated to videos that helped support the case for the defense of humanity. These included a speech on the nature of love by the legendary Alan Watts; and a moving time-lapse by Ryan Anthony Fernandez, depicting moments of connection and compassion. Author Amie McNee was shown in an excerpt from her Ted Talk, “The Case for Making Art When the World Is on Fire.” She explained in her presentation that she had heard from so many artists who felt guilty focusing on creation when there was so much pain in the world.
“What I need all of us to realize today is that we need to be ‘at the piano’ making our art more than ever as we navigate these incredibly difficult things.”
The Leavitts provided deft comedic improv between the presentations, while making profound points in the case of humanity vs. technology. Mrs. Zero argued that tech was making life so much easier for the hard-working among us (microwaved food being exhibit A). Mr. Zero, in contrast, frowned with disgust at the rise of soulless technology. He noted that the word “robot” originates from the Czech word “robota”, meaning “forced labor” or “drudgery”. Humorously condemning the advent of “Chat Gibetah”, he warned of a future where Artificial Intelligence was no longer a tool for humans, but a replacement for them. (And that future is now—AI is already erasing jobs and creating mass layoffs by the millions). To their credit the Leavitt’s debate never became too heavy-handed; it was delivered with lightness and humor, while still driving the pros and cons home.
In the finale, the humans and robots united in dance, with one side abandoning their former essence to join the other. Without spoiling which, let’s see if reality follows suit.
AI vs. Humanity: The Experience is directed by Ripple Effects founder Jessie Fahay, with assistant direction from Emily Araújo and Olivia Armon; choreography is by Fahay, Rebecca Frazier and Kristen Mangione.
Jim Catapano Saddled-Up for a Gay Rodeo!
An Exuberant New LGBTQ+MusicalKicks Off Pride at 54 Below.
“The rodeo has come to town!” sings Gurney (the powerhouse-voiced Erich W. Schleck), to open Queer Cowfolk: The Gay Rodeo Musical. “Time for chasing dreams that don’t last, let’s forget the world and have a blast!” he implores, with a compulsory yippee-kay-ay.
The musical, crafted by writer Bear Kosik and composer Lani Madland, is a rollicking good time throughout, and a celebration of LGBTQ+ creation and community. The town that Gurney sings of is Denver Colorado, where the International Gay Rodeo Association has landed for a weekend event. The center of activity is the bar Chutes, where several members of the local community explore love, relationships, and their place in the world.
Amid the backdrop of the rodeo we meet Brace, the owner of the leather shop next door. She introduces us to Fred, “one of our favorite people here,” who was recently injured and thus unable to participate in the rodeo. This impacts his relationship with his partner Ron, who is having trouble dealing with Fred’s “lost sense of purpose,” and is seemingly falling out of love with him.
“What the hell has happened here? We were the couple of the year!’ Fred laments in “Last Time You Kissed Me. “Are you ever gonna miss me again?”
Meanwhile, Ron sets his eyes on Marty but has competition in Dolly (Candace J. Templeton); Derik, the sex-loving beer delivery driver and rodeo cowboy, and Dane, the lonely Chutes bartender, express their despair about having never found true connection in the moving “Lonely After 40”. They’ve been “picking up men but avoiding relationships”, and the rodeo weekend makes them rethink their life choices.
Paul and Martin arrived at the rodeo in a rental car from Baltimore. Paul has had an “encounter” with the promiscuous Derik, in the latter’s truck. Martin, having realized he is bisexual, has “proceeded to break up with both his wife and his girlfriend.” The two sing “Purple Mini-Rental” as they play tag around the parked vehicles.
Rebecca and Tina met at a previous rodeo and are now an item but live on separate ranches miles apart. “That’s how people stay together,” muses Brace. “They live far away from each other!” Tina sings about wanting the same love her parents shared in the lovely “Day Old Roses.”
The lyrics clearly and poignantly illustrate each character’s journey, set to music that is a perfect blend of Classic Country and Broadway. Boisterous singalongs sit very comfortably alongside moving ballads.
The songs are wonderfully crafted and the love that went into creating them is evident, from the opening stomper “The Rodeo Has Come to Town!” to the gorgeous, award-winning “What I’m Saying” to the soon-to-be iconic “The First Drag Queen Rodeo Clown.” “Tell the World” could be the theme of Pride 2025, as it urges all to banish hate and choose love.
As Kosik has pointed out, Cowfolk’s characters are entirely from the LGBTQ+ community, thus freed from being relegated into the box of the “other” in a society where heterosexuality is stubbornly clung to as the norm. They are relatable and 3-dimensional, and feel like new friends you want to hang out with by show’s end.
At the 54 Below world premiere performance on June 9, presented by Bearly Designed Productions, Cowfolk was emceed by Lisa Dennett and Schleck (of the Jesus Christ Superstar national tour). The cast also included Dennett, Allison Calabrese, Anthony Castellano, Farid Garofalo-Germes, Laura MacLean and Andrew McNamara, all bringing the characters and songs to life with gusto.
Sue C. Maskaleris provided expert musical direction and accompanied the cast on piano and violin. Nelson Riveros did stunning guitar work throughout, backed by the impeccable rhythm section of Tony Ventura on bass and Brian Woodruff on drums.
Cowfolk the Gay Rodeo Musical is a love letter in song to LGBTQ+ pride, and a tremendous showcase for the artists of the community. Keep an eye out for it Off-Broadway.
“Tell the world we choose love.”
The Aftermath of Murder: Jim Catapano reviews John Galsworthy’s “The First and The Last” at the ATA
John Galsworthy’s Compelling The First and The Last is Brought into the 21st Century at the ATA
Cleaning up after a killing is never going to be an easy task (unless you’re Harvey Keitel’s character in Pulp Fiction). Such is the dilemma of Keith (Clay von Carlowitz), a young, successful, and ambitious lawyer with a wayward younger brother, Larry (Jonathan Beebe). Larry is madly in love with Wanda (Natasha Sahs), with a fervor that leads to tragedy. A distraught Larry visits Keith with the news that he has killed Wanda’s estranged ex after an altercation, and the couple had casually dumped the body under an archway. The murder is now all over the media, and Keith’s dilemma is how to make this “problem” disappear for his brother while protecting his own reputation. Keith’s investigation has him conclude that nothing directly implicates Larry, and the news of a vagrant discovering the body makes for a convenient distortion of the truth…
The provocative circumstances ensure that The First and The Last goes to 100 mph and stays there throughout its brief running time. Galsworthy’s play of over 100 years ago, itself based on a 1917 short story, is brought hurtling into 2025 by the actors, whose collective intensity is palpable. Amidst the powerful dialogue, the desperation of the situation is conveyed in their eyes, the glances between each other, the body language conveying human beings watching their very existences unravel. Beebe’s Larry is a deer in the headlights, his every expression and movement illustrating a man horrified by the dark corner of reality he has found himself in. Carlowitz’ dapper Keith is the picture of a man at a crossroads, trying to protect family while making sure his professional life is not tarnished, and grappling over which of those is most important to him. Sahs’ imbues Wanda with an astonishing potency that depicts a woman consumed by passion; Wanda starts in a black dress of mourning and traditions to a white wedding gown, hopelessly attempting to suggest an innocence that is no longer there. Ovid Radbauer provides a sinister, foreboding presence in the roles of a policeman and a paper seller, two people whose professions symbolize the very forces that could doom the brothers and Wanda.
Directed with a flourish by John DeBenedetto, The First and The Last is like a runaway train heading towards a brick wall of an ending that is shocking and yet somehow inevitable, and makes for a gripping hour of theatre. It runs at the Beckmann Theatre at the American Theatre of Actors through June 15, 2025.
Hiding in The Shadows No Longer: Jim Catapano reviews “Stormé”
The Story of the Legendary Stormé, Hero of the Stonewall Uprising and So Much More, Is Beautifully Brought to Life at the ATA
“It was a rebellion,” Stormé declared. “It was an uprising…it wasn’t no damn riot.”
Carolyn M. Brown’s musical drama about the life of iconic 20th Century singer and drag performer, activist and protector Stormé Del DeLarverie is a must-see, and a reminder of everything that matters in the troubled times that we face here and now.
Stormé is portrayed magnificently by Yanece Cotto, who we first see at the Henrietta Hudson bar of the early 90s to tell colleagues (and us) the story of her journey. “I’m a bouncer, though I don’t like to be called that,” Stormé explains, appearing in full “sheriff” regalia. “No, I am a well-payed babysitter and protector of my people. I patrol these streets at night, on the lookout for any ugliness…I won’t have it. Not on my watch.”
Stormé was born in New Orleans in 1920, facing a life of abuse and rejection due to being a lesbian of mixed parentage. Undeterred, Stormé found her place in Chicago as the big band singer “Stormy Dale”, and later as a Drag King in Harlem with the Jewel Box Review (the intended short-term gig lasting 14 years). Her journey brought her to the love of her life, her beloved partner Diana Prasad (Asha Devi). Along the way she also befriended the legendary jazz composer Billy Strayhorn (Antonyio Artis), and the pioneering Drag Queen Billy Daye (Joshua Boyce). Sean Segerstrom, Aidan Martinez, Jenna Lucht, and Iain McLennan all deftly play multiple roles, depicting the heroes and villains and everything in-between that pass through Stormé’s life.
The play chronicles pivotal moments through the real-life adventures of the prolific performer, who as a Drag King in NYC was a target of cops who aggressively enforced the absurd laws against “cross-dressing” that were on the books in the era (likely as a quick way to boost their arrest records). Events climax at Stonewell in June 1969, when Stormé was seen to be on the first line of defense against the police persecution that plagued the now-historic home to LGBTQ+ performers and patrons.
It was shortly after that Stormé became devoted to fighting social injustice and defending the marginalized and oppressed, becoming “The Sheriff of Greenwich Village” (and as noted, fabulously looking the part).
“A change is gonna come,” proclaims Stormé. “People are tired of hiding in the shadows.”
As befitting a story about the lives of these incredible performers, Stormé is filled with rousing music rendered with panache by the cast. Cotto brings us the Gershwin classic “Man I Love,” in Stormé’s first Chicago audition; and the spectacular original song, “What’s a Show Without Ladies,” written by Christie Chiles Twillie and Nico Juber.
Boyce as Billy Daye gives us a stunning mini-concert, belting “St. Louis Blues,” and “Ain’t Nobody’s Business,” juxtaposed with a heartbreaking story about childhood abuse and rejection. Artis’s voice is stunning as his Billie Strayhorn delivers the moving “Something to Live For”, and later teams with Cotto on “Sweet Georgia Brown.” The three come together to deliver the emotional closing number, the legendary Joe Raposo’s “Being Green,” and both performers and audience are united; we’ve all been “green” at some point in our lives.
Stormé is an incredible theatrical experience and an excellent reminder of (or introduction to) an icon whose story needs to be told far and wide. It is a window into a history and a culture that perseveres even as hatred and ignorance rear their ugly heads once more; and it is also a celebration not to be missed.
Stormé is directed by Kevin Davis, with Musical Direction by Nicholas Sienkewicz. As part of the Icons Festival, it runs at the American Theatre of Actors through June 15, 2025.
Nothing Left but the Kindness of Strangers: A Jim Catapano Review
Bernard J. Taylor’s Tennessee Williams: Portrait of a Gay Icon Brings a Legend to Life at the ATA
Tennessee Williams is alone on stage, and at this point, apparently alone in life. Seen on a lecture tour, he is surrounded by posters of his most famous works: A Streetcar Named Desire, The Glass Menagerie, Cat on a Hot Tin Roof; the face of his muse, Anna Magnani, stares out at us from a poster of The Rose Tattoo. Another wall is plastered with manuscript pages, relics of an era when creativity flowed. Pictures of his beloved sister Rose, his parents (one loving and one abusive), and his life partner Frank Merlo are on the table next to the chair from which he tells his story. They are all ghosts now—the only companion he has with him is a bottle of Vodka. He reminds himself to take “small sips”, but as his trauma comes to the surface these become heavy gulps. His laughter gives way to gasps of despair; he hugs the chair and sobs, imagining it to be Frank in his late partner’s last moments. He screams out Anna’s name in utter desperation for a companion for comforting and understanding than a liquor bottle.
John Stillwaggon as Williams is astonishing; one feels they are genuinely spending an evening with the legendary writer. Williams bares his soul, exorcises his demons and welcomes them back in again, and we feel we are witness to something extraordinary, as turns triumphant and tragic. The south of the mid-20th century comes to life in his words, and his disdain for the dreaded city of St. Louis is a hilarious running theme amidst the sadness.
A gay man in a time and place where that was not treated kindly, Williams is portrayed by Stillwaggon as defiant, boisterous and charismatic, while simultaneously tragic and heartbreaking. He laments the fate of his beloved Rose, inspiration for Laura in The Glass Menagerie, and the victim of a lobotomy in a time when mental health was even more misunderstood than it is today. He mourns his beloved Frank and curses his vile father, who he says he only got along with “after he died.”
He gushes at the magnificence of the young Brando and rages against the critics—and at “the dying of the light,” noting that he’s once again “graverobbing” from other artists. “They say Dylan Thomas went to the White Horse Tavern…drank 18 shots of whiskey and dropped dead,” he remembers, glancing at the Vodka bottle and musing that he’s likely halfway there himself. It’s funny until you realize he likely wants to complete the journey.
The production is a must-see for the masterful performance of Stillwaggon, who recreates the swagger, wit, charm and pathos of Williams perfectly. It is directed deftly by Carolyn Dellinger, with a brisk pacing that complements Stillwaggon’s performance and Taylor’s writing expertly. It provides great insight into not only the story of one legendary artist, but the very notion of the highs and lows of fame, and the “having and losing” nature of life itself.
Tennessee Williams: Portrait of a Gay Icon, as part of the Icons Festival, runs at the American Theatre of Actors through June 15, 2025.
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