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Jim Catapano, Danny, and Roberta, take a Plunge into the Deep End
John Patrick Shanley’s Stunning Two-Hander is Revived at the ATA
The renowned one-act playDanny and the Deep Blue Sea, which originallypremiered off-Broadway in 1983, is given a magnificent retelling at the American Theatre of Actors in its 50th season. Penned by prolific playwright and Oscar winner John Patrick Shanley (Moonstruck), it is an intense and compelling study of loneliness and human frailty, and the desperate desire to be seen and understood, forgiven and loved.
As observed in a holiday season where the “meet-cute” scenario is one of its hallmarks (pun intended), Danny stands out as a “meet-ugly”, and feels all the more real as a result.
Tashia Gates (producer) is Roberta, a divorced mom who encounters Danny (James Liddell) in a dilapidated, empty Bronx dive bar. Danny’s black eye and bruised hands indicate a recent altercation, creating an unsettling mood from the outset and the implication that he might erupt at any moment. He asks for one of Roberta’s pretzels and wants to leave it at that, but Roberta decides that she needs company and goes to sit with him, prompting Danny to act like a bear who’s been poked with a stick. Danny is bad news and makes no attempt to hide that, but Roberta is a woman in pain, trapped in her own life but yearning for some kind of human connection and normality that will release her from reality, at least for a handful of heartbeats.
“I can’t stay like I am,” she says to the only person she’s ever found who just might listen. “I can’t stay in this effing head anymore, I’ll go crazy.”
Danny is in a prison of his own. Feral and fearful and unable to connect to anyone except with his fists, he is in danger of losing his blue-collar job where his coworkers have labeled him “the beast.”
Undeterred, Roberta goes all in and tells this stranger of a dark, horrifying secret from her past, making Danny the only person who knows it and forcing a bond between them. Danny also suspects that his most recent actions may have led to tragedy, and the two debate the severity of their crimes and the depth of their pain until things get edge-of-your-seat frightening. As Danny grows more violent Roberta grows more defiant, winning the psychological and physical battle and convincing Danny to come home with her. She wants to play at “domestic bliss”, if only for one night; she even coaches her new partner in the art of being nice. But when Danny decides he wants the dream to become reality, they awake to a new nightmare that now imprisons them both.
Gates is astonishing as the broken Roberta, so trapped in her own mind that she wonders if prison would be a nice change of pace. She is looking for punishment, and then maybe forgiveness, though she suspects the latter impossible. Liddell is at turns terrifying and heartbreaking, a ticking time bomb who solves every issue with fighting, but crumples into a scared child as his unanticipated new lover takes him on a rollercoaster of emotions. These two damaged souls coming together in mutual desperation is portrayed compassionately and genuinely; and though most of us haven’t had Danny and Roberta’s experiences, Gates and Liddell make them relatable and even lovable.
Presented on a sparse stage and clocking in at a tight 80 minutes, this new incarnation of Danny and the Deep Blue Sea is a remarkable piece of work and a triumph for producer Gates and Liddell, who beautifully portray their characters in three dimensions. It is directed impeccably by Tessa Welsch, who makes brilliant use of the sparse surroundings to portray the dark, empty lives of the protagonists. And serving as executive producer along with Nick Milodragovich, this is Dr. Cynthia Hsiung’s first foray into theater, adding to an accomplished career in Film and TV. This iteration of Danny is a jewel in the crown for all involved.
Danny and the Deep Blue Sea is performed at the Sargent Theater at the American Theatre of Actors through December 7. It is dedicated to the memory of Maxine R. Gibbs.
Review by Jim Catapano: Tom Nemec’s A Cat in a Box Is a Moving Journey from Trauma to Healing
From The Storm to The Breeze
Comedian and actor Tom Nemec has a story to tell. It’s a deeply personal one, but judging by the response at The Tank theatre as he told it in his one-person show, one that resonates far and wide.
One of the first things Nemec does upon taking the stage is to invoke his childhood self, calling for his mom. “This is the way I entered my childhood home my entire life,” he explains. “Screaming ‘Mom!’ often before I even got through the front door.” He shows a picture of the home, in Lyndhurst New Jersey (“Gateway to the Meadowlands,” he quips before adding, “I hated that house.”)
Over the course of an hour, A Cat in a Box reveals what happened in that house as Nemec and his three siblings grew up in the 1970s; and as these events unfold to us, Nemec bares his soul and shares his life. It was a childhood of dysfunction and isolation, of alcoholism and emotional and physical abuse.
Nemec warns early on not to expect any funny or sentimental anecdotes. “When most people hear the word ‘family’ they think love, stability, support,” he notes. “But that’s not the definition. That’s an ideal…My family was just a group living together as a unit.”
He hated the family photo that hung on the wall as much as the building that housed it, as it was a lie. “That was not us,” he observes. “But I continued to pretend it was for a long time.”
Nemec’s recollections are raw, and no punches are pulled. He speaks of nights that would end with Nemec’s severely inebriated father banging on the door, demanding to get in. “I’d just wish he’d wander off to someone else’s house and never bother us again,” Nemec admits. He is nostalgic for the Christmas holidays because “no matter how bad things were at home, everyone was in a slightly better mood (and besides I kind of believed in Santa Claus”). Though he concedes that any gifts were “more like an obligation wrapped in a bow.” He reveals sadly that his father’s addiction overshadowed his mother’s behavior, which was often accompanied by violence.
The audience was captivated by Nemec’s every word. One could almost picture themselves in that Lyndhurst home, so vivid is Nemec’s recollection and expert storytelling. The most moving part of his tale is his journey to adulthood and his path to reconciling with the past and conquering his own demons. He last entered that house in the year 2000, and is now not only an accomplished actor and comedian, but a teacher, helping young children make their first steps into life in a healthy, nurturing environment.
A brief Q&A after the performance revealed that many in attendance saw a lot of their own childhood in Nemec’s. For a moment, we were united in our collective experience, and in our resolve to heal; and to paraphrase Nemec’s powerful closing statement, “to see the breeze as our friend.”
A Cat in a Box is directed by Jim Mendrinos is performed at The Tank through November 8, 2025. For more information, visit https://thetanknyc.org/calendar-1/a-cat-in-a-box
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.
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.
The Bees Still Can’t Help Themselves! says Jim Catapano
Douglas Carter Beane’s 90s Classic As Bees In Honey Drown Gets a Masterful Revival
“Once, I saw a bee drown in honey, and I understood,” is a famous quote attributed to the 20th Century Greek writer Nikos Kazantzakis. He recognized the danger of wanting too much, the trap that is set for us by our own unquenchable desires. Douglas Carter Beane took this fact of life and fashioned As Bees In Honey Drown, an astute and incredibly witty play that takes a brutal look at the fame game and how seduction can lead us down a dark path, and eventually destroy us. The Modern Classics Theatre Company has brought this masterwork roaring into the (new) 20s with panache and a sterling cast.
New York City con artist Alexa Vere de Vere (Christina O’ Shea), the villain of As Bees in Honey Drown, recognizes the power of the “honey” that is fame and fortune, and makes a living out of exploiting those who hunger for it. Alexa is a force of nature, a narcissistic socialite in designer dresses who sports an Uma Thurman Pulp Fiction-style black bob and an air of being the most important person at the party. She claims a thousand connections and drops a name at every opportunity, in an exotic, unplaceable accent rivaling that of Kathleen Turner (as she freely points out). As her story unfolds we learn that she is both Frankenstein, and the monster. The latest bee in her honey pot, Evan Wyler (Peter Konsevich), is a writer on the cusp of fame. At a magazine photoshoot for his upcoming book he is convinced by the photographer to pose without a shirt, and this gets Alexa’s attention, outing him as a person desperate for success. She seduces her prey with promises of fortune and glory—convincing him that she is the one who can take him to the top. They dine, they banter, they party, and he foots the bills. She even gets the openly gay Evan to fall for her: Just when it seems like Alexa’s pretentious phoniness is getting too obvious, she “humanizes” herself with a tragic backstory that’s really too “bad” to be true, but reels Evan in anyway. “I love you,” he proclaims at her weepy suggestion that she is unlovable. Before long he is down thousands of dollars, alone, still not famous, and desperate to get revenge—or so he says. Does he hate Alexa, or is he still infatuated?
O’Shea gives a powerhouse performance as the conniving Alexa. She is at turns over-the-top, hilarious, irresistible, and even at times almost sympathetic, and it all comes together brilliantly. When Evan finds artist Mike (Kevin Russo), Alexa’s overall-clad ex-partner and the focus of her tallest tale, we see in a flashback that he was the first victim of her crime spree. (She even chillingly calls him “lamb” before their falling out, just as she would later dub Evan.) As with Anakin Skywalker/Darth Vader, this compelling prequel shows us how the “Alexa” persona came to be, down to the accent and the bizarre surname, and O’Shea is remarkable portraying the ordinary girl behind the curtain who slowly morphs into the supervillain.
Konsevich is sympathetic and very funny as the befuddled, relatable Evan. Brian DiRaimondo, Julie Lorson, and Ronni Schweitzer round out the cast wonderfully in multiple roles, including several of the other bees caught in Alexa’s honey whom Evan calls on in his plan to get even. It all makes for an entertaining and faithful rendering of Keane’s clever classic, a cautionary tale that is all the more relevant in this modern age of Social Media, Influencers, and the “almost famous” who will do anything to get to the top of the search engine.
As Bees in Honey Drown is deftly directed by Tarmo Kirsimäe. It runs through June 1 at the Bacca Arts Center in Lindenhurst, Long Island. For more information, go to https://modernclassicsli.booktix.com/dept/main/e/Bees
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 reviews (beyond) Doomsday Scrolling: A Timely Tale of Feminist Resistance
(beyond) Doomsday Scrolling Raises a Collective Voice Against Patriarchal Atrocities Past and Present
“One of the convenient afflictions of power is a lack of imaginative extension. For many men it begins in early childhood, with almost exclusively being read and given stories with male protagonists.” – Rebecca Solnit
AnomalousCo’s (beyond) Doomsday Scrolling is a production of protest against the male-led oppressive, destructive course of human history which continues to this very moment, told through the stories of women who were there. It was first realized in 2022, and now returns for a run at the American Theatre of Actors. In the early, frightening days of 2025, its re-imagining is not a moment too soon.
The play is the ever-evolving creation of an ensemble—AnomalousCo is a women-led collective of predominately queer-identifying feminist artists and performers. All the actors are descendants of people who lived through these events; they are literally portraying their ancestors. The actors developed their individual characters themselves, drawing on the stories and experiences of their own families. The reality that the historic horrors they depict are also happening to and around them, here and now, lends a palpable emotional poignancy. You can see it in the actors’ eyes, feel it in their voices. Their work is a unified cry of resistance against the horrors of war and subjugation, caused by a system perpetually run by men.
(beyond) Doomsday Scrolling imagines women from different times and places, taking sanctuary in a theater to escape the horrors they have all faced. We meet refugees of violent conflict and disaster from all over the world; from the Warsaw uprising of 1944 to the 2022 invasion of Ukraine, and right up to the current day horrors of the Altadena fires. It is a tense scene—a siren sound mixes with the pleading cries of a baby; news reports, read matter-of-factly, are heard throughout, depicting tragic historical events from the last two centuries. These reports heartbreakingly intertwine with news from just days ago, in the aftermath of the repressive actions of the new US administration, and the ongoing horrors of Gaza. Quotations from women writers, including Rebecca Solnit (as noted above) Evgeniya Byelorusets and Naomi Klein, appear on a screen to bear witness, and to warn.
Speaking in their native tongues, the women try to communicate; they compare weapons and pass around a bottle of rum. A Red Cross volunteer comes to the “rescue”. The women open his box of supplies only to find that it’s useless: it’s filled with burlesque-type outfits, glittering dresses and feather boas. Through it all the women argue, they bond, they sing (notably a beautiful “Bella Ciao,” an Italian resistance folk piece); they try to escape in sleep, in long stretches of ominous silence. United by their experiences, they ultimately rise above their language barriers and cultural differences to come together in solidarity and understanding.
The initial incarnation of the show debuted shortly after the Russian Invasion of Ukraine, and is as crucial and relevant as ever in the cloud of chaos and uncertainty that is the here and now. Sheets line the walls, and ultimately the women’s clotheslines, listing the historic, patriarchy-caused catastrophes that caused them to flee. They all note the year, and ultimately, about half of them say 2025. The mantra of “it couldn’t happen here” is proven painfully incorrect; and history repeats, and repeats.
It’s noted that shortly before this production, the Doomsday Clock was moved from 90 seconds to 89. As (beyond) Doomsday Scrolling powerfully demonstrates,art—and the voices of women everywhere, from across time and distance—play a large part in slowing that second hand.
The performers/creators are: Alina Mihailevschi (Moldova), Claudia Godi (Italy), Diana Zhdanova (Russia), Jeremy Goren (US), Kikki Lau (China), Lesya Verba (Ukraine), Merve Atabek (Turkey), Simona DeFeo (Italy), Tia Cassmira (US), Wilemina Olivia-Garcia (Cuba), Weronika Wozniak (Poland), Ylfa Edelstein (Iceland).
(beyond) Doomsday Scrolling is directed brilliantly by Kathryn Mederos Syssoyeva, with Dramaturgy by Rhiannon Ling. It runs at the American Theatre of Actors through February 9, 2025.
Content warning: Presence of gun prop, partial nudity, siren sound.
Charles Evered’s CLASS directed and starring Ben Atkinson with Eliza Banaszak comes to New York
GOTO GOTO Studio in association with Jay Michaels Global Communications llc bring to New York an industry presentation of the regional cast of Charles Evered’s CLASS directed and starring Ben Atkinson with Eliza Banaszak to Open Jar Studios, 1601 Broadway, New York City, on Wednesday, April 9 @ 1:30 and 5:00 p.m.
CLASS is in session: A mysterious young woman shows up in the studio of a prominent – yet jaded – acting teacher in NYC. Each armed with an agenda and an ego. What started as a battle of wills evolved into a unique and deeply moving relationship made up of love and respect. Surprise twists are presented with ingenious subtlety and razor sharp wit.
“Alluring … it is very clear that Mr Evered, a bi-coastal film director and playwright, knows a good deal about celebrity … Elliot is a fabulous character.” —The New York Times
“A lovely piece of theatre … a flawless experience that makes you realize just how much value theatre has in our lives … Evered’s CLASS truly is a class act … thoroughly absorbing entertainment.” —Broadway World
“Wonderful … Evered’s dialogue is sharp, witty, extremely funny and poignant … this is the show to see. Don’t miss it.” —LA Examiner
“Plenty of laughter and more. Expect to be surprised. Expect to be moved. What more can one ask for from an evening of theater?”—StagesceneLA.com
“Humorous and touching …” —OnStageLosAngeles.com
“A riveting emotional journey …” —EntertainmentToday.net
“Charles Evered has created a character in Elliot who I would eagerly follow through a 10 part series.” —NoHoArtsDistrict.com
“Masterful … superbly written.”—Tolucan Times
LEARN MORE HERE
Ben Atkinson could not be prouder to bring Class to the city where the play is set, and to return to the role of Elliot. Ben has performed on both coasts, with credits including Diana of Dobson’s and As You Like It with the Antaeus Theatre Company; the world premieres of Resolving Hedda at The Victory Theatre Center and An Actor’s Carol (also by Class’s playwright, Charles Evered) at the Hi-Desert Playhouse; and also worked alongside Class co-star Eliza Banaszak in Love and Information at Live Arts in Charlottesville. He is the founder and director of the Queen Charlotte’s Villeins Shakespeare troupe in Charlottesville. Film credits include a number of short films and online series, as well as starring in the feature film, Ripple (2015) directed by Christian Everhard. When not on stage, Ben also produces video content for various platforms and organizations with his company GOTO GOTO Studio.
Eliza Banaszak is thrilled to revisit Class: A Play as Sarah. A student living in Charlottesville, Virginia, Eliza has appeared in numerous productions, including Ella in Rodgers and Hammerstein’s Cinderella with Four County Players, Baker’s Wife in Into The Woods with Live Arts Theater, and Mya in You Don’t Know Jackshit About the Mothman at Live Arts Theater. In addition to acting, Eliza has directed Godspell at Albemarle High School, and The Rocky Horror Show at Piedmont Virginia Community College. They are particularly passionate about yoga, improvisation, and disability advocacy. When not on stage, Eliza enjoys working as a Party Princess with Character Connections, a character entertainment company in their hometown.
High Praise from Jim Catapano for SKYSCRAPER
The Skyscraper Rises Again
The 1960s Broadway Musical Is Gloriously Revived for the First Time.
The determined and spirited Georgina Allerton has two goals—to make her antique shop a success, and to save her Rutherford B. Hayes-era Manhattan brownstone from getting bulldozed in favor of the titular modern marvel. But she’s also a hopeless romantic, and her forays into flights of fancy threaten to impede her success in the real world, in a time when women had to fight to be seen and heard.
Skyscraper is the creation of legends James Van Heusen (music), Sammy Cahn (lyrics), and Peter Stone (book), based on the play Dream Girl by Elmer Rice. Today it is reborn, in its first-ever revival, as a vibrant production that blows welcome fresh air and a dose of cheer into uncertain modern times.
In the role originated by Julie Harris in 1965, Rachel Lauren James shines as Georgina, anchoring the show with a magnetic central performance. The shop owner fights/flirts with contractor Tim Bushman (Travis Murad Leland), who is competing with his brother Bert (Jeff Raab) to see which of the two can persuade Georgina to sell her property to make way for their towering behemoth (and its fittingly garish, pimply design). Tim, who has been spying on Georgina with a telescope (making him “a peeping Tim” as it is noted), takes a genuine liking to her, even as he conspires to cajole her for the sake of business.
Georgina also must battle the common, dismissive perception of her, which is either as “that stupid woman next door” or “the girl with the sensational legs and thighs.” Complicating things further is Georgina’s own vivid imagination, which propels her at inopportune moments to disappear into a dreamworld where she is romanced by her assistant Roger (Brian C. Veith.) “Everyone daydreams, it’s part of the human condition!” protests Georgina, oblivious to how much it is interfering with her life
(“Occasional Flights of Fancy”). The dream sequences are delightful as Georgina conjures up moments and dialogue from Gone with The Wind, and forays into Parisian-style passion.
Katryna Marttala excels as Stanley, tough-talking head of the construction crew, who leads them in singing “Local Four Oh Three.” Adding comic flair are Sydney Michele Castiglione as Georgina’s pestering but well-meaning mother, Shea Pender as her “can’t-be-bothered” father, and Abby Scalici as her “still-single” sister Charlotte.
As crafted by the masters, the songs are expectedly joyful and memorable, and the dance sequences beautifully crafted by director and choreographer Avital Asuleen, and guided by ensemble member Katherine Winter as Dance Captain. (Among the stunning sequences is a winning tap dance number.) “Haute Couture” is a particularly fun set piece, with the guys and gals singing the praises of 60s fashion and flair in their thick NYC accents.
The song and dance sequences, combined with the witty book, perfectly recreate the playful fun of early 60s Broadway while being an overall love letter to the theater and to New York City. The costumes by Michael O’ Herron are suitably bright, from the orange hats of the building construction workers, to the red, pink and green coats, shirts, and dresses of the ensemble at large. The inventive set design by Hannah Tarr beautifully brings it all together.
This newly built Skyscraper is a triumph for the actors and creative team, and it makes for the perfect, refreshing theatrical escape of the season.
Skyscraper is presented at Urban Stages through November 17, 2024.
Jim Catapano explores the 21st Century Dating Scene with his review of “He’s Different”
Love Will Find You
He’s Different Takes a Witty and Insightful Look at Contemporary Dating
“It was just a party…a normal Halloween party, smack in the middle of Bushwick, when everything changed.”
So proclaims Liv, a contemporary dancer, who toasts the holiday with her roommate Naomi as the intriguing tale of He’s Different unfolds.
The two friends watch the costumed revelers, scoping for someone worth flirting with like they’re picking lobsters from a tank. (Their choices this evening include Scooby-Doo and Jeffrey Dahmer.)
“I haven’t had sex in six months!” laments a frustrated Naomi. She is overheard and approached by Hugh, resplendent in a boat captain’s hat, silk red robe, and conspicuously zero pants—the walking example of everything the women don’t want.
Liv is also single and adrift, noting that “most men are trash.” She’s holding out for someone suitably enlightened, feminist—and dare we say, woke. “All these guys are cute, but most of them probably don’t know the difference between Greta Thunberg and Greta Gerwig,” she observes. She points out a new arrival to the party, Travis, as a likely example. “How do I know that he wouldn’t skip our wedding for a football game?”
But then she spies a “Trans Lives Matter” sticker on his water bottle, and it piques her interest. “I got this from a cute little store in Brooklyn, owned by a trans activist,” Travis explains. “They make cute little merch like this to fund gender reassignment surgery for homeless teens.” The cynical Liv wonders if this is just the latest pickup line, but Travis keeps passing her tests, impressing in every way imaginable (Exhibits A-C: He works at a Senior Center, loves the aforementioned Greta Gerwig, and finishes Lynn’s sentences).
Liv is all-in: she grows not only intrigued, but smitten in a way she never thought possible, as her weary skepticism morphs into teenager-like infatuation. “What if he doesn’t text me back?” she whines, followed by a squealed, triumphant “HE TEXTED ME!” when he actually does, under the wary gaze of Naomi. And so the mystery begins—is this guy the real thing or the ultimate poser? Is this “smart and sweet” persona a disguise, no more real than the other costumes at the party? The question sets off a gripping journey, with a very amusing twist, and in the end, a poignant message about where real love can be found.
He’s Different is an insightful treatise on relationships in the here and now—taking a microscope to our desires, insecurities, turn-ons and offs, green flags and dealbreakers. It does so with a sharp, knowing wit that will keep you laughing and nodding in recognition. The sight of the previously grounded and Bechdel-test passing Liv melting into limerent obsession tells a truth about the malleability of the human psyche that is undeniable, and well worth exploring. The actors bring the story to life deftly, creating recognizable archetypes with warmth and humor. It all comes together to make He’s Different an enjoyable and satisfying experience.
He’s Different is written by Arianna Wellmoney. It was showcased at the Chain Theatre in the summer of 2024, as directed by Bradly Valenzuela, with Wellmoney as Liv, Kiamba Doyling as Travis, Megan Catalina as Naomi, and James Nash as Hugh.
Arts Independent 