Jim Catapano views the creative view from “Over the Shoulder”
The Creative View from Over the Shoulder
Mark Solomon Shares His Expertise on Telling Stories and the Art of Skillful Editing
“The way I see the world is through stories,” says Mark Solomon. “It’s the water I swim in.”
Renowned Film editor Solomon has over 30 years’ experience in engaging audiences. And he did exactly that for an enthralled crowd at a Talkback, Signing, and Live Podcast at the Drama Book Shop in Midtown Manhattan, regaling us with tales of the craft as detailed in his new book, Over the Shoulder: A Freelancer’s Guide to Telling Stories and Editing Films. (The following are highlights from both the Talk and the Q&A portions of the event, facilitated by The Drama Book Show! Podcast hosts Mark Eugene-Garcia and David Rigano)
Solomon first became enchanted by the art of storytelling through cinema at 18 years old, when he saw the classic film Harold and Maude, the May-December romance story that he found “beautiful and life-affirming”. “When I left the theater that night I felt like I was floating on air,” he says. “So exhilarated and uplifted. I decided right then—this is my path.”
But after several semesters at Syracuse University where he was pursuing a bachelor’s degree in film and theatre, it was time for his final project, and Solomon found himself “choked with fear.” “I had a passion for films and filmmaking, but I had no idea what to make a film about…what story did I want to tell? I was desperate, and I berated myself for not knowing.”
It’s a struggle that all passionate creators can relate to. The intense pressure, anxiety, and dread in the time leading up to graduation resulted in what Solomon calls a “toxic psychosis that I was lucky to survive.”
Solomon found his way back following a Eureka! moment prompted by his experience of Japanese theater, where the actors do not begin until they are certain the audience is giving the stage their full attention and focus. “Through the course of the evening the actors take control of the breathing rhythm,” he notes, “and guide the audience through the climax of the play.”
Something about this concept stayed with him and spurred him on, and he was able to return to his academic and artistic journey. “My brain slowly recovered…I remember walking around my suburban neighborhood with a single plea migrating through my body: Give Me Life.” He didn’t know yet what his story was going to be, but he knew for certain he wanted another chance to find it.
While studying more about the rough state of the world and exploring ways to make it better, Solomon grew as a person, which fueled his artistic aspirations. The activist that he says left the greatest impression on him was Daniel Berrigan, the Jesuit Priest famous for speaking out against the Vietnam War and openly opposing huge institutions like the US government and military. Solomon was inspired by his “shining moral clarity and the courage to live by his convictions…I found his talk galvanizing.”
Kerrigan encouraged Solomon to volunteer at the local nonprofit peace council, and Solomon learned a critical lesson. “A single voice has power.” And this has been the impetus for his storytelling journey ever since.
“Learn what story matters,” he says. “Tell that story in the most compelling way, to make people feel something emotional…learn how to reach people.”
This call-to-action leads Solomon and his editing team, on every creative endeavor, to create the version of a narrative that will create the strongest impact on the audience. “I ask (of a scene), what’s in and what’s out? Of the pieces that are available, what do you choose to keep with you and what do you leave behind?” For Solomon, it comes down to discernment, fueled by the knowledge that people look for patterns; the human mind sees two things and decides for itself how they’re related to each other, and the craft of successful storytelling depends on recognizing that truth. Solomon cites “The Kuleshov Effect,” a film editing technique that uses a sequence of visuals to infer meaning and evoke an emotional response. Returning to Japanese storytelling, another influential technique is Jo-ha-kyū, which instructs that all actions or efforts should begin slowly, accelerate, and then end suddenly or quickly. (Solomon notes an example of Jo-ha-kyū in his own Chicken Run, specifically the memorable “pie machine” sequence.)
Building masterfully on his extensive experiences and influences, Solomon has gone on to be the person behind the prodigious editing of such animated films as the aforementioned Chicken Run; Sgt. Stubby: An American Hero; The Tale of Despereaux; and Frankenweenie, which was nominated for an Eddie Award in 2013. He was also part of the team behind the legendary movies Shrek and Space Jam.
Solomon gives his insight on how to persevere and succeed in an industry where there is so much content and competition, at a time when art is presented by hundreds of thousands of creators on multiple platforms.
“Declare victory and move on,” advises Solomon when a project doesn’t achieve the level of success one had hoped for. “Call it a success, and learn what you can from it.” The good news about our times is that there is always a chance for art to be re-envisioned, re-launched, or re-released.
As very much someone who wants to give back and share his insight and experiences with aspiring artists, Solomon has taught his craft to students at film schools and universities. Over the Shoulder is a way of passing that knowledge to an even wider audience.
“I’d started teaching at a film school in Boston and in London…and every term, there would be one student who would sort of be really sparked by what I was talking about,” he explains. “I knew that they would follow and pursue a career as an editor, and I wanted to give them something to help. When you finish film school it’s hard to see how to navigate the world outside…So I thought that I would try to share what I learned.”
He recalls that when he first started out as an apprentice, he pledged to his editors and instructors to one day mentor newcomers himself as well. “I promised when it’s my turn, I’ll pass all that I’ve learned to the next generation. So this book is a part of keeping that promise.”
Learn more about Mark at MarkSolomon.net. Over the Shoulder is available at 7pinespublishing.com. Learn more about the Drama Book Store at https://dramabookshop.com/
MONARCH A Mexican-American Musical Exploring the lives of undocumented immigrants in the United States, will be presented at Harvard University.
MONARCH, an impactful new musical exploring the lives of undocumented immigrants in the United States, first premiered at the Los Angeles Theater Center in 2022, receiving great acclaim including praise from the Los Angeles Times, before taking Washington by storm — garnering a BroadwayWorld Award and a Helen Hayes Award nomination and finally coming to New York for a sold-out/standing ovation industry presentation. The synergy of these showings opened the door for an Off-Broadway production currently negotaited for Fall 2025/Spring 2026.
With a deeply moving book and lyrics by Mayu Molina Lehmann coupled with a soaring and stunning score by award-winning composer, Alfonso Molina. The musical follows Luis, as he confronts the shadows of his undocumented existence. In true “Les Miserables” style, he is relentlessly pursued by ICE Officer Castelo. As the stakes reach new heights, Luis takes refuge in a local church and draws inspiration from the Monarch butterfly. Much like the Monarch, Luis is determined to embark on a fate-defining journey.
HUMAS — the Harvard University Mexican Association of Students — will host an event featuring the original cast presenting a selection of some of the more powerful moments of the production.
THE CREATORS: Alfonso Molina (music, book, and lyrics), garnered the Advocacy Award from the Boston Metro Opera for his work, ‘Illegal Alien.’ He also composed the soundtrack for the film ‘Border Crossing,’ which earned the Audience Award at the 2006 Sundance Film Festival. Collaborating with him is Mayu Molina Lehmann (book and lyrics), a celebrated playwright and author known for her poignant storytelling. The Maryland Theater Guide commends their joint creation, ‘Monarch,’ stating that it not only contributes to the advocacy for a more just immigration system but also achieves art’s noble purpose by raising awareness and empathy
REVIEW by JIM CATAPANO: A Fractured Family Searches for Connection
A House Divided Visits a Family in the Aftermath of the Events of 2016 and 2020
Thanksgiving Day, 2021. COVID lingers. The Trump Era is (temporarily) interrupted. The working-class Gebauer family of south Philadelphia reunites for their first in-person gathering in years, after their personal and political differences had driven them apart. Thus begins A House Divided: A Blue Collar Comedy on National Themes, a timely, powerful and very entertaining work by Joshua Crone.
Jim (Mark Thomas McKenna) is a long-haul trucker and Trump supporter, separated from his liberal wife, schoolteacher Rosalie (Alyssa Simon), who is hosting for the holiday. “Granny” Alice (Jenny Martel) is initially not in attendance, and is only appearing via FaceTime, as Jim has refused to vaccinate and she doesn’t want to risk exposure. Adam McDowell is the Gebauer’s son Jimmy, a pastor, who has brought his devout girlfriend Grace (Kinah Britton), a woman of color, to the gathering. The couple has two related major life announcements to tell the family, but Jimmy is aware that they may not go over well, particularly with the “old-fashioned” (to put it mildly) Alice. Sammy (Hayley Pace) is the Gebauer’s other child, arriving with a Covid mask on—and a major life announcement of his own, which is unlikely to be welcomed by either Alice or Jim. All is revealed at the unseen dinner, and the family returns to the living room to deal with the aftermath, the chasm between them even wider than before.
Where the characters agree and disagree is handled very interestingly and realistically. Jimmy is the only character who tries to consistently put acceptance and understanding above all else, but struggles to maintain the role of peacekeeper. Jim is somewhat sympathetic to the Black Lives Matter movement, agreeing that police brutality and prejudice is a real thing, but he rolls his eyes at Rosalie’s having put a BLM flag in the window—suspecting it’s only there because Grace was coming. Rosalie later admits he’s right, but Grace is not impressed, and actually distances herself from the movement. Sammy and Alice agree on masks, but decidedly differ on Sammy’s revelation.
Hayley Pace gives a nuanced, sensitive performance as Sammy, who reveals to the family that he will seek gender-affirming surgery—despite being assigned female at birth, he’s a boy and always has been. The reactions of the other characters vary dramatically; Jim is aghast, verbally dismissive, and refuses to use Sammy’s pronouns (as foreshadowed earlier in the play when he can’t even remember to use his wife’s own preferred version of her name). The old-school religious Grace also condemns the notion, driving a wedge between her and Jimmy, who fully supports his sibling. Progressive Rosalie is also completely on Sammy’s side, but also very awkward and occasionally unhelpful—and Sammy calls her on that. The frustrated Rosalie later admits that as an ally she’s trying to do the right thing, but feels she keeps doing it the wrong way. Meanwhile the spark is still there between her and Jim, and they go from flirting to fighting in the blink of an eye—again, a very realistic take on the complexities of human relationships.
Crone’s writing crucially does not take sides—events play out and the audience is allowed to take it all in without being manipulated into any character’s corner. The effect is a blend of All in The Family and the notorious “Seven Fishes” episode of The Bear. Which is to say there is a lot of humor mixed in with the dysfunctional strife, making the story more true-to-life than it would have been if it were nothing but melodramatic angst and shouting. Early on there is a comedic sequence involving the charred turkey, which brings in a fireman (Will Maizel) after a funny phone mix-up with the operator (Tiffany Ray). There’s even two invisible (but adorable) energetic cats, Smokey and Bandit, unseen but very much heard.
The characters escape from the conflict by reminiscing about the good times back in the day, trying to recapture the bond among them. They take turns noodling meditatively at the electric piano at the front of the stage. Jim tunes out the fighting literally, by singing loudly as he works on fixing the fireplace, trying to reclaim his former role in the family. These interludes culminate in an unexpected, hilarious Broadway-style song (by Michael and Joshua Crone) from the entire cast that provides a catharsis, and gently pokes fun at the inherent weirdness of the musical trope of everyone knowing the same song and suddenly bursting into it.
The actors gel remarkably, giving the impression of relationships with a long, complex history. At the end of the play we see them all as human beings, and despite their very serious differences the connections and love are still there among them. A heartwarming sequence involving popcorn and family-favorite movie Convoy drives this home (and “warm fuzzies” abound). A House Divided successfully shows us the angst, heartache, and growing pains of the 2020s, but reminds us that warmth and sweetness can still follow.
A House Divided is directed by Thoeger Hansen and is a production of Night Cook Studio. It runs at The NuBox at John DeSotelle studio through March 30, 2025.
Jim Catapano warns us of Tragedies of the Past, Warnings for the Future
Anne L. Thompson-Scretching’s A Lesson in Blood Returns to the ATA at a Pivotal
Moment in Time
The saying “Those who cannot remember the past are condemned to repeat it,” as
attributed to philosopher George Santayana, is oft quoted for a reason.
A Lesson in Blood, from the powerful pen of the prolific Anne L. Thompson-Scretching,
premiered at the ATA in 2011 and won best play at the Jean Dalrymple Awards. It’s the
first play in the Blood Trilogy, which also comprises A Long Way from Home and Home
Is Sweet Sorrow. In 2025, this work is more important than ever in its exploration of
racism and the exposing of those who cling to the absurd notion of white supremacy. It
is observed that people of color are “allowed” to go about their lives so as long as they
“stay in their place,” and the Klan is always lurking in the shadows, waiting to pounce at
the slightest hint of rebellion—real or imagined. Authority figures justify their prejudice
through their twisting of the words of the Bible, insisting it is the will of God that white
people are superior, and that people of different races must never mix.
This puts Osceola Red Feather (Rommell Sermons) in a dangerous situation. A
Cherokee Indian man of color, he is living in the Jim Crow-era Georgia of the 1940s with
his “Aunt Lucy” Dix (Joy Foster) and his brother Calvin (Kevin Leonard). Osceola had
been secretly seeing Aggie Peters (Serena Profaci), the white daughter of repellent
Klansman Nathan (David Ezell). Aggie returns to the south, and to Osceola, after seven
years, with devastating revelations that will have consequences for him and everyone
else—including Johnny Ray Dobbs (Ronan Schwarz), the town’s sheriff who also
desires Aggie.
When we first see Johnny Ray, he appears amiable enough, visiting with Aunt Lucy and
partaking in her chicken dinner. It’s explained that he and Osceola were friends in
childhood who still go fishing together. But as circumstances unfold, the darkness within
him becomes all-too evident. When Osceola’s current partner Clara Henderson
(Natasha Sahs) learns of Aggie’s relationship with him, she threatens to expose the
situation, putting everyone in danger and setting events in motion towards violence and
tragedy. There is a grisly murder, and its circumstances and perpetrator are a mystery,
but the supremacists in power are quick—and perhaps even thrilled—to put the blame
on a person of color.
As the town reels from this horror, Johnny Ray abuses his authority by getting Osceola
dismissed from his job with Noah Cohen (Alan Hasnas), a Jewish lawyer. Cohen
reluctantly complies but remains an ally to Osceola, and tries to overcome his fears to
combat the racism around him, haunted by memories of his own family’s deaths in the
Holocaust. Aunt Lucy and Calvin stand by Osceola, even as tensions rise among them
and they look to answers in the traditions of mysticism they grew up with. Lucy is aware
that Osceola and Calvin are the last of the line and will do anything to protect
them—from prejudice, and from themselves.
A Lesson in Blood is beautifully directed by Tippi, who has steered many of Thompson-
Stretching’s productions. Expert lighting and sound design by Joe Coppola and Liam
Rordan respectively complement a fantastic set, that of Lucy’s old house, which takes
us right back to the Georgian summer of 1946. The writing pulls no punches in exposing
the racism of the era—a racism that we know very well was never fully extinguished.
The scene of Nathan asking Lucy for water, but insisting she pour it in his hand because
he won’t drink from her glass, is nearly as chilling as the moments of violence and
spoken hatred that surround it.
The cast is unified in its expert realization of the text; one fully believes in the history
among the characters and the desperation and injustice of the moment they find
themselves in. In a time when prejudice and ignorance threaten to overwhelm once
again, A Lesson in Blood is a crucial work that is not to be missed.
A Lesson in Blood is performed at the American Theatre of Actors through March 30,
2025.
Jim Catapano views the creative view from “Over the Shoulder”
Mark Solomon Shares His Expertise on Telling Stories and the Art of Skillful Editing
“The way I see the world is through stories,” says Mark Solomon. “It’s the water I swim in.”
Renowned Film editor Solomon has over 30 years’ experience in engaging audiences. And he did exactly that for an enthralled crowd at a Talkback, Signing, and Live Podcast at the Drama Book Shop in Midtown Manhattan, regaling us with tales of the craft as detailed in his new book, Over the Shoulder: A Freelancer’s Guide to Telling Stories and Editing Films. (The following are highlights from both the Talk and the Q&A portions of the event, facilitated by The Drama Book Show! Podcast hosts Mark Eugene-Garcia and David Rigano)
Solomon first became enchanted by the art of storytelling through cinema at 18 years old, when he saw the classic film Harold and Maude, the May-December romance story that he found “beautiful and life-affirming”. “When I left the theater that night I felt like I was floating on air,” he says. “So exhilarated and uplifted. I decided right then—this is my path.”
But after several semesters at Syracuse University where he was pursuing a bachelor’s degree in film and theatre, it was time for his final project, and Solomon found himself “choked with fear.” “I had a passion for films and filmmaking, but I had no idea what to make a film about…what story did I want to tell? I was desperate, and I berated myself for not knowing.”
It’s a struggle that all passionate creators can relate to. The intense pressure, anxiety, and dread in the time leading up to graduation resulted in what Solomon calls a “toxic psychosis that I was lucky to survive.”
Solomon found his way back following a Eureka! moment prompted by his experience of Japanese theater, where the actors do not begin until they are certain the audience is giving the stage their full attention and focus. “Through the course of the evening the actors take control of the breathing rhythm,” he notes, “and guide the audience through the climax of the play.”
Something about this concept stayed with him and spurred him on, and he was able to return to his academic and artistic journey. “My brain slowly recovered…I remember walking around my suburban neighborhood with a single plea migrating through my body: Give Me Life.” He didn’t know yet what his story was going to be, but he knew for certain he wanted another chance to find it.
While studying more about the rough state of the world and exploring ways to make it better, Solomon grew as a person, which fueled his artistic aspirations. The activist that he says left the greatest impression on him was Daniel Berrigan, the Jesuit Priest famous for speaking out against the Vietnam War and openly opposing huge institutions like the US government and military. Solomon was inspired by his “shining moral clarity and the courage to live by his convictions…I found his talk galvanizing.”
Kerrigan encouraged Solomon to volunteer at the local nonprofit peace council, and Solomon learned a critical lesson. “A single voice has power.” And this has been the impetus for his storytelling journey ever since.
“Learn what story matters,” he says. “Tell that story in the most compelling way, to make people feel something emotional…learn how to reach people.”
This call-to-action leads Solomon and his editing team, on every creative endeavor, to create the version of a narrative that will create the strongest impact on the audience. “I ask (of a scene), what’s in and what’s out? Of the pieces that are available, what do you choose to keep with you and what do you leave behind?” For Solomon, it comes down to discernment, fueled by the knowledge that people look for patterns; the human mind sees two things and decides for itself how they’re related to each other, and the craft of successful storytelling depends on recognizing that truth. Solomon cites “The Kuleshov Effect,” a film editing technique that uses a sequence of visuals to infer meaning and evoke an emotional response. Returning to Japanese storytelling, another influential technique is Jo-ha-kyū, which instructs that all actions or efforts should begin slowly, accelerate, and then end suddenly or quickly. (Solomon notes an example of Jo-ha-kyū in his own Chicken Run, specifically the memorable “pie machine” sequence.)
Building masterfully on his extensive experiences and influences, Solomon has gone on to be the person behind the prodigious editing of such animated films as the aforementioned Chicken Run; Sgt. Stubby: An American Hero; The Tale of Despereaux; and Frankenweenie, which was nominated for an Eddie Award in 2013. He was also part of the team behind the legendary movies Shrek and Space Jam.
Solomon gives his insight on how to persevere and succeed in an industry where there is so much content and competition, at a time when art is presented by hundreds of thousands of creators on multiple platforms.
“Declare victory and move on,” advises Solomon when a project doesn’t achieve the level of success one had hoped for. “Call it a success, and learn what you can from it.” The good news about our times is that there is always a chance for art to be re-envisioned, re-launched, or re-released.
As very much someone who wants to give back and share his insight and experiences with aspiring artists, Solomon has taught his craft to students at film schools and universities. Over the Shoulder is a way of passing that knowledge to an even wider audience.
“I’d started teaching at a film school in Boston and in London…and every term, there would be one student who would sort of be really sparked by what I was talking about,” he explains. “I knew that they would follow and pursue a career as an editor, and I wanted to give them something to help. When you finish film school it’s hard to see how to navigate the world outside…So I thought that I would try to share what I learned.”
He recalls that when he first started out as an apprentice, he pledged to his editors and instructors to one day mentor newcomers himself as well. “I promised when it’s my turn, I’ll pass all that I’ve learned to the next generation. So this book is a part of keeping that promise.”
Learn more about Mark at MarkSolomon.net. Over the Shoulder is available at 7pinespublishing.com.
Jim Catapano reviews the creation & connection in AMT’s Upside Down
A Rousing New Musical at AMT Imagines Life and Love in a Very Different Timeline
It’s another day in our matriarchal society. The legendary New York Jets are working towards their seventh Super Bowl win. Teachers are the heroes, and command the salary they deserve. A gay woman (Ashanti J’aria) is the president of the United States, and her partner (Kira Sarai Helper) is a general in the women-led military. Over 90 percent of the population identifies as gay, while marginalized straight people are fighting to exist and be heard. (The TV series “Straight Eye for the Gay Guy” is one attempt at mainstream recognition). The heterosexual community dreams to be accepted for who they are and to not be judged on who they love. But over on FUX news, “conservative” pundit Lou Smalls (Josh Powell) casts aspersion on the “breeders” (the straight community) while his purple shirt-wearing shadower Pastor Jake (Jake Foster) nods along, claiming that the Bible forbids “a man to lay down with a woman”.
Enter theatre book writer Jake Tanner (Mike Ferlita) and musician and lyricist Robert Lyons (Matthew Liu). The two gay creators are desperate for a Broadway hit, and joining forces with producer Robin Bird (Kelli Maguire) and agent Maggie Burns (Gina Milo), are commissioned to tackle a long-held taboo. They are to create the first heterosexual musical—and the theme will be (gasp!) straights in the military. Can you imagine, men and women on stage—together?! Welcome to Upside Down.
Jake and Robert’s journey to accomplish their momentous task starts with them going undercover at a straight bar. Robert is comically and ostentatiously dressed as straight icon Elvis, while Jake meets straight Tennessee torch singer Tammy (Brogan Nelson, who sings a spirited “Tennessee Rag” and “Midtown Boy”). Jake asks for Tammy to be his beard while he poses as hetero, and in turn Tammy asks him to help her get rid of her rich stalker, creepy mama’s boy Eugene (Patrick Brady, who sings the hilarious “Without Mom.”)
Struggling to write music about straight relationships, Robert composes a love song to his Alexa device (“My Female Ideal”). “You only speak when spoken to!” he croons to it. Meanwhile the “engaged” Jake and Tammy encounter bigotry when they go to a bakery and are rejected—the place won’t make wedding cakes for straight couples. As Jake learns more about the plight of the heterosexual community, and spends more time with the magnetic Tammy, he begins to feel things he didn’t expect. And as the musical gets closer to opening night, the powers-that-be get wind of the “offensive” content, and threaten to shut it down…
Upside Down is a positive triumph from Al Tapper (Book) and Tony Sportiello (Lyrics). It combines old-school Broadway flair with modern wit and sensibility, and is a joyful adventure from the first note to the coda. It holds a mirror to our society at a crucial time, and makes us stop and think about the absurdity of exclusion, while being endlessly ebullient and entertaining throughout. The ensemble’s singing and dancing is chef’s kiss, and all in the company get turns to show their stuff. Shining moments abound from Lauren Gemelli (Rachel/Mandy), Stephanie Maloney (Waitress), Stanley Martin (Ross/Roger), and Bernie Baldassaro (Midtown Boy). The group numbers are nothing short of astonishing (including an incredible tap-dancing sequence), and the tunes are collectively catchy and memorable. You’ll want to come right back for another evening in the Upside Down—and probably wish you could live there.
Upside Down is directed and choreographed by Taavon Gamble, with musical direction by David Wolfson. It runs at the AMT Theater through April 5, 2025.
Knock Knock, Whodunnit? Jim Catapano finds fun at CLUE
The MCT’s Imagining of Clue delights at the BACCA Arts Center
It is the early 1950s, a time when everyone is suspicious of everyone else. By invitation, several of society’s supposed finest gather at the mansion of Mr. Boddy (Mark John Santaromita) on a stormy night. They are familiar archetypes with political influence, all known for the occasion by the special pseudonyms bestowed on them by their mysterious host: Colonel Mustard (Joe Hoffman), Mrs. White (Pamela Seiderman), Mrs. Peacock (Elizabeth DeGennaro), Mr. Green (Ed Cress), Professor Plum (Gary Tifeld) and Miss Scarlet (Meredith Lynn Spencer). The guests are greeted by the very shady butler Wadsworth (Dan Bellusci) and the very French maid Yvette (Heather Legnosky). After clenched-teeth pleasantries, cocktails, and shark’s fin soup (Mrs. Peacock’s favorite, as the cook is creepily aware of), Mr. Boddy appears and reveals he is blackmailing them all, and then hands them their “gifts”; potential murder weapons for one of them to use to kill Wadsworth to protect their secrets before he contacts the authorities. The lights go out, and the fun begins as the bodies pile up and the suspects grow more desperate and frantic.
Sandy Rustin’s stage play Clue, based on the 1985 cult classic film based on the classic board game, is revisited through a wonderful new production by the Modern Classics Theatre of Long Island. It is directed with great panache by Matt Stashin, with clever set design by John Emro and Rian Romeo. A set of moving doors create the illusion of a vast mansion, and they are used to great effect as the characters peer in and out of them, race through them, and shudder at what horrors might be found behind them. High-energy chase music accompanies the characters rushing from room to room between scenes as the sets are swiftly and skillfully swapped—the scene changes are almost as entertaining as the show itself. This is a very physical production; the actors throw themselves bodily into every sequence as they deftly handle the complex wordplay, which is delivered rapid-fire; the audience is still laughing at the previous joke when another one comes hurtling at them.
In addition to the always witty and often hysterical dialogue, there are wonderful sight gags: the actual board game of Clue is used as a map to the mansion; one of the murder victims (James Brautigam) resets the scenery and gets back into position dead on the floor, in full view of the audience; a chandelier falls in super-slow motion as its victim recoils and screams equally slowly; the suspects prop up the dead bodies Weekend at Bernie’s-style to fool a prying police officer. Sound is also a big part of the fun: the ominous doorbell; the barking guard dogs outside; the incredibly loud dinner gong of the cook (Karen Santaromita) which traumatizes everyone, and Mrs. Peacock’s blood-curdling, sound barrier-breaking screams. Karen Santaromita’s double duty as a cheery but ill-fated singing telegram provides one of the show’s funniest moments as the murders accelerate. “Three bodies in three minutes!” marvels one suspect. “That’s our best record!”
Clue boasts a cast of 11 and a character count of 15—in this incarnation, every murder victim humorously gets to be reincarnated as a police officer.
The actors of the ensemble are all perfectly cast, and hilarious in their distrust and barely concealed contempt for each other as they desperately try to avoid suspicion and/or death. Late in the play when Wadsworth breathlessly recounts and acts out the events of the entire evening, Bellusci’s performance is astonishing. And true to the source material, multiple dénouements are explored, as every character gets a chance to have done it. “But it really happened like this…”
Clue is performed at the BACCA Arts Center through Sunday March 16.
Jim Catapano reviews a dying gasp of a senator’s soul with Michael Hagins’ “The Senator Speaks”
Michael Hagins’ Powerful New Play The Senator Speaks Examines the Human Consequences of Playing Politics
“We are all mired in dark times,” proclaims Conservative Republican Senator Calvin Shepherd (Michael J. Whitten). “At a time when the hard left is helping to ruin this country. Liberty is under assault…we are going to arm up and fight back.” Shepherd is spending the morning at home, surrounded by portraits of Reagan, Bush I, a large cross, and an even larger American Flag. He is practicing the Keynote speech he is scheduled to deliver to the National Rifle Association.
“It’s just rhetoric,” he admits to his religious, reserved wife Martha (Mary Sheridan). “I don’t believe any of it.”
Unsure of his own talking points, Shepherd keeps running to his desk to double-check his prepared script; he humorously has trouble saying the word “statistician.” But these are the least of his issues; his liberal activist, liberal arts-studying daughter Corinne (Olivia Whicheloe) is home from college, and they’re destined for another shouting match, which Martha wearily prepares to referee. (The relationship between father and daughter is exemplified by Corinne having thrown red paint on him during one of her many protest outings.)
Adding exponentially to the tension is the presence of Danny Johns (Xavier Rodney/Michael Hagins at Friday performances). Political Machiavelli Danny is essentially Shepherd’s Chief of Staff, and the devil on his shoulder, pulling the strings to advance Shepherd’s career and reap for himself the resulting rewards. (He also boasts that he’s the guy that makes potential “problems” go away for anyone who does what he wants.)
As events unfold, we learn that Shepherd’s voting history—the details of which he often struggles to recall—is coming back to haunt him. His rejection of background checks has put a gun in the hands of a young man who is now an active school shooter, just a few miles away, and ironically, mere hours before Shepherd is to go before the NRA. To the Shepherds’ horror, their young niece Jamie is one of the students trapped inside. Danny reveals that he’d been aware that the gunman was a potential threat to the community for some time, and he had strategically swept the information under the rug. But even now, this “incident” is all a mere inconvenience, and one that can be spun for political gain. “You can be America’s rock,” he later implores Shepherd. “The senator who overcame tragedy to bring this country to a stronger future.”
Amid an agonizing tug-of-war between Danny and the Shepherd family for the soul of the Senator, Corinne reveals that something terrible had recently happened to her at college. It’s indeed a crime against her, but one that she will receive no justice or recompense for—as a result of her father’s earlier political decisions. A further family revelation drives home the hypocrisy at the heart of Shepherd’s very being. Thus, at the urging of Danny and for the sake of some perks hidden in big wordy bills, Shepherd has essentially sold out his own family, to tragic consequences.
Brilliantly written and directed with no punches pulled by Michael Hagins, The Senator Speaks comes at a pivotal moment in history, when the chasm between congressman and constituent has never been greater. Hagins exposes the rot at the center of the politician’s heart; Shepherd is both callous and clueless, and this characterization is far from hyperbole in the turbulent early days of 2025. Corinne refers to Danny as “Rasputin,” and she is not far off; the kingmaker is not only a puppet master, but also so powerful in the political sphere as to be seemingly invincible. A disgusted Corinne asks him what he believes in. “Money,” he replies cooly. Shepherd is caught between Danny and his pleading family in a gripping and heartbreaking battle that singlehandedly sums up all that is wrong with American society.
The actors perfectly embody their roles, to the extent that the audience feels they are eavesdropping on a real family’s despair and disintegration. Rodney/Hagins’ Danny is a supervillain oozing with evil—but chillingly, he’s also completely realistic. The same is true for Whitten’s corrupted Shepherd, a man so consumed with his career and so brainwashed by his puppeteer that he can barely discern right from wrong anymore. Whicheloe’s assertive, fed-up Corinne is at turns defiant and heartbreaking—as is Sheridan’s disillusioned Martha, whose wavering admiration of her husband gives way to complete contempt. Whicheloe and Sheridan are compelling as their characters come to terms with the reality that their father/husband is not a person they can ever again stand with or depend on.
The Senator Speaks is a must-see production in an era when the creative voice is needed more than ever to speak to the troubles of our times, and to be our companion as we navigate the turbulent seas ahead of us.
The Senator Speaks is part of the African American Playwrights Initiative at the ATA. It is playing through March 8 at the Sargent Theater at the American Theatre of Actors.
Jim Catapano serves up a Double Serving of Strindberg from the ATA
The Stronger and Playing with Fire Perfectly Complement Each Other at the ATA
August Strindberg was a true renaissance man of late 19th Century Sweden—a prolific playwright, painter, novelist and poet. His plays are lauded examples of both naturalism and surrealism; he was quoted as saying, “I want to turn everything upside down to see what lies beneath.” The 10-minute monologue The Stronger and the farcical Playing with Fire are a fine sampling of his work and his worldview.
The semi-autobiographical The Stronger, written in 1889,features one actor in a brief but powerfully intense scene. Jennifer Patino triumphs in a solo performance as actress Madam X. There is another character, Amelia, AKA Mademoiselle Y. She is also an actress, and a rival to Mme X both on the stage and behind the scenes. Amelia has no dialogue, and though often portrayed by a second actor in productions of the piece, is here represented only by an empty chair.
Mme X, brandishing a basket of gifts for her “little piggies” (her children Liza and Henry), runs into Amelia, who is seated alone at an empty café.
“Good evening, sitting here on Christmas Eve like a poor old maid!” chides Mme X. “It worries me to see you this way,” she tut-tuts with fake sincerity and genuine condescension. She admonishes Amelia for giving up on her marriage, and threateningly waves around the pop gun she bought Henry. She then launches into a diatribe that escalates quickly, the main topic being Mme X’s own husband Bob, whom we learn Amelia is all-too “familiar” with. “You ought to have such a husband,” she says, twisting the knife and foreshadowing a revelation. Patino is riveting as she raises the temperature slowly and believably through her deft physicality and expert performance of the difficult monologue. In just over ten minutes she tears down her unseen rival who—in the audience’s imagining—heartbreakingly takes it all in, in stunned, defeated silence. “Thank you for teaching my husband how to be a good lover,” is a finishing blow far more deadly than any gunshot.
Playing with Fire is an unusually comedic turn from Strindberg, crafted in 1893, and also drawn from his own life experiences. Max Branciforte is Knut, a painter, and husband to the regal Kerstin (Annie Unger). The couple are entertaining visitors at the summer home owned by Knut’s parents (Amy Losi and Edmund McCarthy). The guests are young demure cousin Adele (Carolyn Best) and mutual friend Axel (Jessie Allen Hitner)—a jacket-, tie- and white tennis shoe-wearing writer who arrived in the middle of the night. The morning of the get-together begins cordially, but tensions rise when the true relationships among the characters—and what they truly think of each other—are slowly brought to the surface. Knut insists profusely that he is not jealous of the charismatic Axel; Adele is constantly cleaning, to the ire of Kerstin. “It’s her way of criticizing me and showing me up!” she observes. Knut is living off his parents’ allowance, while ungratefully dismissing them as “Philistines”. “You haven’t worked a day in your life,” fires back his mother. “And your father wasn’t a Philistine when he built this house for a scoundrel like you!” And circumstances (delightfully) escalate from there. It’s revealed that Knut is having an affair with Adele, who Knut’s father would love to make his own mistress. Adele is enamored with Axel—but confirming Knut’s suspicions, the charming writer is revealed to also be the true object of Kerstin’s desire. The reveal of the latter’s limerence sparks an unexpected response from Knut; he finds the competition is actually reigniting his dormant interest in his own marriage. Thus enfolds a hilarious, quotable tale of impropriety among the upper-class. Playing with Fire is the perfect main course after the appetizer of The Stronger; a love triangle storyteeming with sparkling discourse, it is presented with relish by a cast that is clearly enjoying the witty dialogue and delicious material.
The Stronger and Playing with Fire are stylishly directed by Sean Szak Prasso. There will be an encore performance at the American Theatre of Actors on March 2nd, 2025.
AMT Theater announces opening of UPSIDE DOWN, a new musical — Opening March 8 @ 7:00 p.m. at AMT Theater
AMT Theater announces the new opening of UPSIDE DOWN, a new musical — Opening March 8 @ 7:00 p.m. at AMT Theater, 354 West 45th Street, New York City TICKETS here.
According to a recent Gallup poll, 92.4 percent of the U.S population identifies as straight while the rest considers themselves as part of the LGBTIQA+ community.
Turn that number around, and you have the world of Upside Down.
It’s a world where straights are in the minority, women rule the military, and the Jets constantly win the Super Bowl. This is a world where the majority is gay.
In this topsy-turvy world, two songwriters are creating a new musical — innovative, unique, ground-breaking Broadway musical … about straight people!
The President is outraged! The military is put on red alert! News outlets are all ablaze over this unprecedented event.
Will they succeed? Is the world ready for a [wait for it] …a man and woman falling in love …ON STAGE?
The world of UPSIDE DOWN will put you in the zone … The Twilight Zone.
Upside Down has music and lyrics by Al Tapper, book by Tony Sportiello, directed by Taavon Gamble and music direction by David Wolfson. The cast includes Bernie Baldassaro, Patrick Brady, Mike Ferlita, Jake Foster, Lauren Gemelli, Kira Sarai Helper, Ashanti J’Aria, Matthew Liu, Kelli Maguire, Stephanie Maloney, Stanley Martin, Gina Milo, Brogan Nelson and Josh Powell.
Upside Down will open March 8th and run through April 5th at AMT Theater, 354 West 45th Street. For more information, contact amttheater.org
“What we are doing tech-wise with Upside Down is more ambitious than any show we’ve ever done.says Artistic Director Tony Sportiello. “The set alone is going to be a marvel. You’re going to go from a bar to The White House to an apartment to a television studio all in a flash.
AMT: The MISSION
AMT Theater aims to entertain, educate and inspire people through the arts. AMT Theater shall provide audiences the opportunity to attend and participate in quality presentations of the finest theatrical works available. We are dedicated to enhancing quality of life through art, events and workshops. AMT will create opportunities for hands-on learning experiences in all aspects of theater production and management to adults and children in order to foster and develop their talents. AMT will strive to be an organization which is diverse, inclusive and a leader in our field.
BOARD OF DIRECTORS: Co-Chairs: Tamara Flannagan & Tony Sportiello; Secretary: Joan Pelzer; Treasurer: Sharon Osowski; Members: Zoë Reeve, Joanne Schmidt, Al Tapper, Eve Tapper, Lynne Tapper
| In just its third year, AMT Theater is the West 42nd Street 2024 Winner for Best Venue. Upside Down is its fifth production, following An Unbalanced Mind, On The Right Track, Bettinger’s Luggage and David the Musical |
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