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Music Among the Tumbleweeds: Jim Catapano reviews James Jennings’ New Dancing in the Meadow.

James Jennings’ New Dancing in the Meadow Brings Feel Good Vibes to the ATA

James Jennings, legendary Founder of the American Theatre of Actors, brings another rich character study to the Beckmann Theatre, along with “a little night music”. The setting of Dancing in the Meadow, his latest production, is the home of songwriter Hank Anderson (Rick Jordan) and his wife June (Ginger Kipps), during a New York snowstorm. Hank, now past retirement age but still wonderfully motivated to pursue his art, is working on new material. June, however, is not impressed with the snippets she hears Hank singing, and with his apparent inability to see any of his works in progress to completion.

“If I hear any more of that sh—t, I’m gonna get one of the kids over here to toss your a-ss out into the snowdrift,” snarks June. “Now just cut this crap.” (June’s language is delightfully colorful throughout the play.) Hank was once involved with the Whispering Tumbleweeds, a country band fronted by his old friend Marvin Swing (Ken Coughlin), and boasts of the song he got on their sixth album. But that was 40 years ago, and the two haven’t crossed paths since. June is troubled by what she sees as Hank’s delusions, and would rather he focus on shoveling the snow. But Hank feels sure that a reunion with Marvin is imminent.

“Hey, I got to get ready,” says Hank, “you never know when he might show up.”

Their daughter Lucy (Chiara Aiello), an aspiring singer who just played The Bitter End, arrives to hear her dad’s old stories and her mom’s scoffing. But then, Marvin does indeed appear on their doorstep, resplendent in leather jacket and guitar-emblazoned scarf. He tunes Hank’s 12-string guitar and announces he is indeed here to make music, but wants it to involve more than one Anderson…

Dancing in the Meadow is a lovely piece that shows how the power of music can reunite old friends and connect generations. The interactions among the characters are genuine, moving, and fueled by Jennings’ trademark sparkling dialogue and wisdom about what makes people tick. The veteran cast sparkles in the first act of the production, and then return to the stage for a delightful surprise: Harmony in the Meadow, a concert with Aiello and Coughlin dueting as their characters. Coughlin’s excellent work on the 12-string and rich singing are accompanied by Aiello’s utterly gorgeous vocals, and we are treated to a set of some of the most beloved songs of the 1960s and beyond. Gems such as Joni Mitchell’s “Both Sides Now,” Simon and Garfunkel’s “The Boxer,” and the Righteous Brothers “You’ve Lost That Loving Feeling” are given marvelous readings by the duo, who I’d certainly love to see again in a concert setting. “Send in the Clowns” from the aforementioned A Little Night Music provides one of the most poignant moments, and “(I’ve Had) Time of My Life” from Dirty Dancing is the most uplifting. The half-play, half concert is one of the more joyous experiences you’ll have at the theatre this season, and another feather in the cap of James Jennings and the ATA.

Directed by James Jennings, Dancing in The Meadow runs at the American Theatre of Actors.

“Are We Friends, and Were We Ever?” asks Jim Catapano at YEARS TO DATE’s New York Premiere

Allen Barton’s Masterpiece Years to the Day Takes a Hard Look at Modern Relationships

“How the hell do you live your life unless you know who you are?”

Jeff (Jeff LeBeau) and Dan (Peter Zizzo) met each other and their later partners at the very beginning of college and have been “best friends” ever since…and yet they haven’t seen each other in person in six years. They finally meet over coffee, and it’s the precise anniversary of their last get-together in the flesh. They are in their mid-fifties, a time when a certain “rigidity” can set in for a person in terms of habits and point of view, accompanied by a “this is who I am, deal with it” attitude.

JEFF LEBEAU & PETER ZIZZO — PHOTO CREDIT: KATERINA KIM PODELL

“You are the king of rudeness,” snarks Jeff as they settle in.

“You are the king of puerile, nanny-state intervention!” Dan claps back, but this “old buddy banter” is foreshadowing of the severe disconnection that is soon revealed. They discuss the “latest movie,” which Dan despises but Jeff saw twice; they debate about whether they’re middle-aged or old, and if “50 is the new 40” and how does that effect who they date.

But there’s a discomfort ever-present as the two try to slip into their old roles. The fiery Dan and the comparatively reserved Jeff come across like strangers that just happen to have known some of the same people and shared some experiences. We start to wonder immediately how these two came to be close, as their opposing energies and outlooks are brought to the table. Stunning revelations about each other’s lives come pouring out—important, life-changing, traumatic events that any close friend should have already known about. It’s clear that the notion of them having a deep connection is nonsense; their “friendship” is just a habit, and not one that they’ve cultivated in a healthy way. Jeff and Dan are on opposite sides of the political fence, but it’s never been a problem because Jeff used to downplay his beliefs; his refusal to take up the placating Avatar of old leads to a verbal explosion that nearly drives him out of the get-together. (The political climate is smartly kept vague and thus evergreen; we learn of an unnamed president that has somehow managed a third term, to Jeff’s delight and Dan’s horror.) Now that neither Jeff or Dan are “playing characters”, they find that the “actors” who brought them to life have little basis for a relationship. And yet somehow, their shared history and a genuine caring despite of all the differences just might be strong enough to lower the temperature and leave open the possibility of another meeting in the near future…maybe.

JEFF LEBEAU & PETER ZIZZO — PHOTO CREDIT: KATERINA KIM PODELL

Written and directed by Barton and produced by Mia Christou, Years to The Day first premiered in 2013 to great acclaim and now makes its New York debut in a time when its themes are ever more relevant. Emmy winners LeBeau and Zizzo disappear deftly into their characters, delivering Barton’s musical, witty, rapid-fire dialogue with tremendous skill yet always appearing spontaneous in their interaction. Their body language, tense and awkward, is like another character in the play; seeing these two “buddies” barely look at each other for most of the meeting is chilling. Their unconvincing promise to “call Brenda” after a sad event for the unseen character stuns the audience; we all have a Brenda in our lives we’ve neglected. Seeing Jeff and Dan’s supposed closeness exposed as simply the product of having been in the same place at the same time is devastating as it certainly reflects reality for many in the modern world. In a time of social media false personas, fishing for “likes,” and a phone addiction that allows us to retreat at the first sign of boredom or discomfort, it becomes too easy to not even bother to cultivate a deep connection.

Hilarious, heartbreaking, and thought-provoking, Years to the Day is a must-see and a triumph for Barton, LeBeau, Zizzo and Christou.

“One thing exists at a time,” observes Dan throughout the play; it’s a simple yet astonishing declaration that will stay with you once you realize what it truly means, and the ark of Years to the Day reveals it powerfully.

Years to The Day is performed at the American Theatre of Actors through February 28, 2026.

The MITF is back and ATA has got them!

The Midtown International Theatre Festival Returns to New York After Decade-Long Hiatus and the Landmark American Theatre of Actors will host the event.

AN HISTORIC EVENT AT AN HISTORIC LOCATION

The Midtown International Theatre Festival (MITF), a respected and influential platform for independent theatre, is set to make its triumphant return to New York City after an absence of nearly a decade. Founder and Executive Producer John Chatterton, a pivotal figure in the Off-Off-Broadway movement, is partnering with Jay Michaels, one of indie theatre’s most visible personalities, to bring the groundbreaking theatrical event back in June/July of 2026.

The new festival will encompass the entire ATA complex of three theatres starting June 15 through July 26, 2026

MITF is accepting applications for productions to be included in the festival until December 31, 2025. Please contact Jay Michaels at info@jaymichaelsarts.com for further details and an application form.

An Ambitious Return at a Historic Venue

The revived festival will be hosted by the prestigious American Theatre of Actors (ATA), marking an auspicious collaboration as the ATA celebrates its 50th anniversary.

“We’re thrilled this event could happen at our theatre—and especially during our 50th anniversary,” says Jessica Jennings, Executive Director of the American Theatre of Actors. The ATA was founded in 1976 by her father, James Jennings, who remains its President and Artistic Director.

The new incarnation of the MITF is planned to be the largest independent theatre festival in history. Already, more than two dozen projects and events have signed on, with plans underway to expand offerings to include:

  • A dedicated Cabaret Section.
  • A comprehensive One-Act Series.
  • A full-fledged Film Festival.

A Legacy of Innovation

Founded in 2000 by John Chatterton, the original MITF was established following the suggestion for a “Midtown Fringe” to complement the downtown scene. It ran for 18 successful seasons before its hiatus in 2018.

The festival quickly became a highly visible and respected launchpad for independent theatre artists. Notably, the MITF pioneered a festival model of theater rental and shared box office revenue that continues to influence theatre festivals worldwide today.

About the American Theatre of Actors (ATA)

The American Theatre of Actors, founded in 1976, is a vibrant repertory theatre company dedicated to fostering new talent. It consists of 50 actors, 15 playwrights, and 8 directors, providing a creative atmosphere for artists to develop their work without the pressures of commercial theatre.

ATA focuses on presenting new dramas and comedies dealing with the social and ethical problems of contemporary society. Over its history, ATA has:

  • Presented over 1,000 new works.
  • Employed over 11,000 actors, including notable alumni such as Dennis Quaid, Bruce Willis, Danny Aiello, Dan Lauria, Chazz Palminteri, Kevin O’Connor, William Fichtner, Edie Falco, and Kathryn Hahn.

The return of the MITF, in partnership with the ATA, promises to inject a significant burst of energy and opportunity into the New York independent theatre landscape.

Contact: Jay Michaels Global Communications     646-338-5472 // info@jaymichaelsarts.com

Stage Whisper Celebrates Five Years as LeadingIndependent Arts Podcast

Stage Whisper, the celebrated podcast dedicated to independent artists of stage and screen, is proudly marking its fifth anniversary. What began as a “little show that could” has now firmly established itself as the #1 podcast in its category, achieving significant milestones and laying the groundwork for exciting future growth.

Over the past five years, Stage Whisper has become an essential platform for the independent arts community. The podcast has produced more than 1,300 interviews and episodes, with over 600 of those released in 2025 alone. Its commitment to showcasing diverse talent has resulted in over 100,000 content downloads and featured over 100 different festivals.

Reflecting its dedication to the local theatre scene, Stage Whisper staff attended over 1,000 productions in the New York City Area.

The podcast’s influence extends across digital platforms, having recently surpassed 10,000 followers across all social media platforms, generating more than 200,000 monthly interactions.

Stage Whisper is distinguished by its core mission to remain an unbiased and independent voice, open to all shows and stories without reliance on corporate sponsors, reviews, or social media trends. This commitment to artistic freedom has earned high praise from the industry’s top professionals:

  • Award-winning playwright Marlin Thomas called his interview “a great experience.”
  • Author and artist Betti Franceschi exclaimed, “I LOVED our talk!”
  • Broadway performer Laura Shoop (Flying Over Sunset, She Loves Me) even dubbed the show “the NPR of Theatre Podcasts.”

Looking Ahead: 2026 and Beyond

Co-hosts Andrew Cortes and Hope Bird have announced ambitious plans for 2026 and beyond, designed to further increase visibility for independent artists:

  • Video Interviews launching via Channel Indie (ACW-TV).
  • Special Panels and Discussions.
  • Enhanced marketing efforts for increased visibility for guests.
  • Exclusive Live Events.

A Call to the Community: Listener-Sustained Fundraising Drive

In the spirit of being a listener-sustained program, and recognizing the precarious financial nature of the arts, Stage Whisper is launching a critical holiday fundraising campaign. The goal is to raise $5,000 before the end of 2025 to ensure the podcast can continue its mission without compromising its independent ethos.

“We are reaching out to all of our listeners, guests, and collaborators,” the co-hosts stated. “We understand that money and art are precarious, but we are asking anyone who values our work to make a $5 donation in honor of our fifth year. Your support, at any level, is crucial to keeping Stage Whisper free for both artists and audiences globally.”

Stage Whisper aims to not only help the independent arts community survive difficult times but to foster its growth and help it thrive in 2026, which they anticipate will be an exciting year for the arts.

Donations can be made through the following platforms:

Stage Whisper extends its warmest wishes for a Happy Thanksgiving, Happy Holidays, and a Happy, Healthy, and Prosperous New Year to its entire community.

Media Contact: Jay Michaels / info@jaymichaelsarts.com / 646-338-5472

A Delightful Double Feature at the Delightful American Theatre of Actors, reviewed by the Delightful Jim Catapano

A Delightful Double Feature at the American Theatre of Actors

Tango in the Rockies and The Rubber Band Company Bow at the Beckmann

The 50th year of the American Theatre of Actors continues to go from strength to strength, as evidenced by the coupling of two compelling new works to kick off November. Tango in The Rockies is written and directed by ATA Artistic Director James Jennings, while The Rubber Band Company is written and directed by Meny Beriro.

Following the strains of Marty Robbins’ classic ballad “El Paso,” Tango begins as a two-hander, as mature couple Albert (Tom Crouch) and Millie (Ginger Kipps) seek refuge in a cabin from an as-yet unseen adversary that has been following them in a car after Albert’s initial evasion of them. “They want us to sign some papers,” is all Albert knows, revealing that they had come to the house and “tried to force me to do it there”. Millie’s imagination regarding their identity runs from bill collectors, to CIA, and even ICE “They’re certainly trying to get something from us,” says Albert, “and I don’t know what the hell that can be.” When Millie realizes that the cabin is the one they used for a family trip years ago, some emotional memories come to the surface—skiing with the kids, cooking them eggs, and Albert’s time as a baseball player.

“Time slipped by so fast,” she says sadly, noting that their time with family is now near non-existent.

“And now here we are, trapped in a cabin,” Albert sighs. “Victims of the current times.”

“Victims of our age,” Millie adds.

“Maybe victims of some AI program that we’ve had nothing to do with,” Albert speculates ominously, grounding their dilemma in the here and now.

Crouch and Kipps display fantastic chemistry as they go from reminiscing wistfully to raging against the forces outside their makeshift sanctuary. Their depiction of a decades-long relationship facing perhaps its greatest crisis is stunningly genuine. The sound design is well utilized to create the sense of impending doom, until Millie bravely goes outside and returns with Charles (Josh Bartosch), an amiable real estate agent who reveals what he needs from the couple. The denouement of the tense situation is well played and functions as a deep exhale followed by a laugh of relief. The three actors deftly deliver Jenning’s witty dialogue, and it’s all held together by his expert direction.

The Rubber Band Company is heralded by the sound of the Spinners’ hit “The Rubberband Man”, setting a very different mood in a very different setting, but continuing the darkly humorous vibe. It’s the office of the company revealed in the title, and it opens on veteran rubber band salesman Bill (Ken Coughlin) shooting samples of their product across the room. He’s having no luck getting them in the cup he hs placed to catch them, which he dismisses as “too small.” He later decides to blame the rubber bands instead: “They don’t stretch like they used to.”

The losing streak is interrupted by Ann (Stephanie Andujar), a young go-getter who is trying to make her way up the ladder and feels she has the perfect idea to propel her.

“I knew when I walked in here that rubber bands was the reason God put me on this earth,” Ann announces with a very amusing earnestness.

The uneasiness of the reluctant colleagues makes for some very funny dialogue; equally humorous is the varied types of rubber bands the company boasts about. There are the 540s, that are supposed to glow in the dark (but don’t, according to a customer Bill speaks to on the phone). “They just ruined some family’s whole camping trip,” Bill tells Ann, explaining that he sent them a free box of the renowned “1280s” as an apology.

“That was a bit extravagant on your part!” says Ann.

She suggests that Bill pick up the dozens of rubber bands on the floor as their boss Connors (Derek Donnellan) is coming to give an important presentation on a “whole new concept” that she expects will be a game-changer. The agitated (and apparently unwell) Bill dismisses the notion: “He wouldn’t know a 1280 from a 1690! The only knew concept he’s going to introduce to this company—is Chapter 11.”

The tension is further escalated when Tom Luke DiCostanzo arrives as Gary, the slimy lead salesman trying to get his Westchester territory back from Ann (despite having famously remarked “f—ck Westchester” in a previous rant). His kid has asked for free rubber bands for his whole class, but to Gary’s sadness a “new policy change” makes this impossible.

The slick and money-minded Connors finally arrives to give his presentation. After announcing the new line of “industrial-strength super-sized outdoor rubber band—the 2559,” he adds that he wants to give the brand an identity by selling rubber bands in only one color—but it’s not the one that Ann envisioned, to her hilarious chagrin.

The situation escalates to a series of fight sequences, initially comedic and of course involving some of the company’s famed product. These are fantastically executed by the cast under the excellent direction of Fight Director Juan Carlo Castillo. Then it takes an unexpected very dark turn that will you leave you gasping, and yet is the perfect ending to the piece and a strong indictment of power-grabbing and greed. You’ll neber look at a rubber band the same way again.

It all makes for enjoyable evening (or afternoon) of theatre and is another triumph for the ATA in its golden anniversary year.

Tango in the Rockies and The Rubber Band Company run together at the American Theatre of Actors through Nov 16, 2025.

Jim Catapano goes to the Other Side of Sondheim with Barry Joseph’s New Book

Around 2016, an 86-year-old Stephen Sondheim participated in his first Escape Room in Midtown New York City. The lifelong lover and prolific creator of games of all kinds was in his element. The director of the actors who were working there that day say that he even crawled through the tunnel that was an optional part of the game, emerging to see a puzzle that he himself had designed in 1968 with Anthony Perkins.

Sondheim was said to have grinned with glee. The puzzle was a built-in regular feature of the Escape Room; the surprise appearance of Sondheim himself was an unanticipated, delightful coincidence. (Sondheim continued to participate in Escape Room Adventures with famous friends like Mia Farrow and Bernadette Peters.)

Writer, Sondheim expert, and cofounder of the Games for Change Festival Barry Joseph recounted this in a Drama Book Show podcast recorded at the Drama Book Shop, as part of a talk and Q&A discussing his new book, Matching Minds with Sondheim. Joseph appeared before a rapt audience alongside acclaimed playwright and songwriter Michael Mitnick (whose works include Fly by Night, the Drama Desk-nominated Best Musical, Playwrights Horizons). Mitnick is also a Sondheim authority, whose insights contributed greatly to the book.

“This project started in April 2022, a few months after Sondheim passed away,” noted Joseph. “…I had just read three books (on Sondheim)…and I learned this idea that he once said he wanted to go into video game design. And that got me to start exploring.” Joseph spent two years doing research, “…contacting research institutions and finding out if they had anything related to his games and puzzles; talking to people who played games with Sondheim; who party-managed some of the events that he was at; and people who had co-designed some with him.”

As this was just a few months after Sondheim passed away, it was a time when the legend was on everyone’s minds as they both mourned the loss and celebrated his life and their connection to him.

“It meant saying ‘hi, you don’t know me, but would you be willing to open up your memory box and trust me with this piece?” said Joseph. “You can imagine many of these people had been spending months talking about, ‘this is what it was like to work with Stephen Sondheim’…but no one was asking what I was asking: ‘What was it like to play with Stephen Sondheim? And so for many of them, it was an opportunity to explore an aspect of their relationship that they never had a chance to do publicly—and maybe not even privately—for years.”

Joseph explained that once they got going, the recollections of Sondheim’s colleagues became joyfully vivid. “Not only would their memories flood back, but the memories would overwhelm them in a way where they were so excited and passionate to share them, and so that created not only an honor for me, but also a responsibility to own those stories until I could shape them together for the book.”

The search for examples of Sondheim’s game and puzzle design work became a hunt for treasure in itself. “Someone who was in the cast of A Little Night Music had saved her winning sheet from a treasure hunt that Sondheim designed—from 1973; people who had party-managed his last treasure hunt at City Center still had all the print materials and could make them all available.”

And as Joseph noted, though the book is now complete and available, the research continues today. He revealed that Mitkin had brought him a new piece of literal treasure right before the event—from Sondheim’s 1998 musical Putting it Together. “The stage manager had prepared as the opening night gift, a collection of logic puzzles,” explained Joseph. “It traces the narrative and production of the show, but all in puzzle form.” Thus, Sondheim’s two greatest passions are now seen to dovetail beautifully. And in a sense, both musical theatre and game playing have the same intent—to create among people, as Joseph put it, those “moments of connection” that are so integral to the human experience.

Case in point: The game Among Us, which became a sensation as it brought people together on Zoom during the 2020 pandemic, was based on Sondheim’s own murder mystery design. In Rian Johnson’s film Glass Onion (2022), Sondheim is seen playing Among Us with (fittingly) Murder She Wrote’s legendary Angela Lansbury. (Fun fact: Sondheim’s username is “FleetST,” while Lansbury’s is “MSheSolved” (Funner Fact: Lansbury was in a 1980’s production of Sondheim’s Sweeney Todd as well. It all comes together. Add to this Sondheim’s time as a cryptic crossword master for New York Magazine in the late 60s; the story of the two board games he developed in the ‘50s that were presumed lost, and the collection of jigsaw puzzles found after a half-century, and the journey just gets more compelling.

“When I started looking up where (the games) fell in his life, they actually had a chronology,” said Joseph. “As I started structuring the order of those chapters, they actually had an organic feel to them…you have a sense that you’re moving through the eras of Sondheim’s life.” Joseph exclaimed that the majority of the book is indeed a biography of Sondheim, but told through looking at his games.” “I study games, that means I’m a ludologist; this is a ludological biography.”

The rest of the book spotlights the creations themselves—“the games and puzzles of Stephen Sondheim that you can do yourself, and—more interesting to me as a ludologist—the design values. What are the things that we can learn from Stephen Sondheim’s game designs and puzzle designs?”

Matching Minds with Sondheim does even more than the title suggests. It actually allows the reader to live inside the mind of the icon and live through the eras marked by the games he was passionate about at the time. It takes them on an adventure through puzzles and parlor games, crosswords and anagrams, murder mysteries and escape rooms, giving them a fascinating glimpse into the thought process that leads to joyful creation.

Joseph noted that there is a structure to the book—and tantalizingly, that there are two puzzles hidden in the book related to that structure. Good luck solving!

To learn more and get your game on, go to matchingmindswithsondheim.com

BRAVO to Parmeet Singh in Sense & Sensibility

Parmeet Singh delivers a charismatic and nuanced performance as John Willoughby in Hudson Classical Theatre Company’s adaptation of “Sense and Sensibility.” Singh’s portrayal stands out for its depth and complexity, successfully transforming the widely known villain of Jane Austen’s novel into a “grey antihero.” His performance is described as charismatic, intelligent, and electric, capturing the audience’s attention from his “bombastic and robust” entrance.


A Masterclass in Character Transformation

What distinguishes Singh’s performance is his ability to create a fully realized human being, rather than a one-dimensional character. He moves beyond the archetype of a villain, crafting a version of Willoughby that we initially want to love but ultimately end up despising, though not without a hint of pity. This depth is a testament to his artistry and his philosophy of acting, where he aims to have “abundant discoveries with limitless exploration and complete surrender.”


Versatility and Craft

Singh’s talent is further highlighted by his impeccable command of received pronunciation (a British accent), which adds authenticity to his classical performance. The provided text also emphasizes his versatility, noting his seamless transitions between vastly different roles. His recent work includes playing Romeo in “Romeo and Juliet” and Lysander in “A Midsummer Night’s Dream” with The Shakespeare Theatre of New Jersey, as well as a lead role in the premier of “Haunt Me” and an indie film. His diverse background, which includes training at both The American Musical and Dramatic Academy and the National School of Drama, India, and work in both classical Western and contemporary Indian productions, underscores his commitment to nurturing his artistry as a whole.

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Hudson Classical Theater Company unlocks the vitality of Classical theater. It is our mission to delight our diverse audiences with intimate and accessible interpretations of classical literature.

In addition, our Education and Outreach Programs provide performances and theater training to audiences who don’t usually have access to theater, including the Incarcerated, Veterans, Seniors, and Community and Educational Centers.

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.”

CALL FOR SUBMISSIONS: Midtown International Theatre Festival, July 2026. 

CALL FOR SUBMISSIONS Midtown International Theatre Festival, July 2026. 

The Largest NY Independent Theatre Festival

Contact info@jaymichaelsarts.com for further info

The New MITF is currently accepting submissions for its inaugural festival, scheduled for July 2026.

CLICK HERE for info and application

Set to take place over three weeks in July 2026, the revived MITF promises a diverse and dynamic lineup of theatrical experiences.

The MITF will showcase a wide spectrum of performances, including plays, musicals, cabaret acts (now named in honor of the late Vickie Phillips), and solo shows encompassing stand-up comedy. Discussions are underway to add a film festival in the series. Productions of all lengths are welcome, from concise one-minute pieces to full-length shows up to 120 minutes. Excitingly, discussions are also underway to potentially include an indie film festival and an art exhibition, further enriching the festival experience.

The original MITF, established in 2000 by John Chatterton to complement the downtown scene and ran for 18 successful seasons. MITF quickly became a respected and highly visible platform for independent theatre, even pioneering a festival model of theater rental and shared box office revenue that continues to influence theatre festivals today.

Participating in the MITF offers numerous benefits for producers, often at a more affordable rate than producing independently. The participation fee (PF), a down payment against a share of the gross, covers essential amenities such as:

  • Publicity: Led by Jay Michaels and his team, ensuring broad exposure for all productions.
  • Rehearsal Time: Allocated technical rehearsal and run-through time.
  • Storage Space: Limited backstage storage provided at each venue.
  • Performance Space: Rental of the venue for all contracted performances, including setup and strike.
  • Technical Director: On-site support during rehearsals and performances.
  • Lighting Designer: Professional lighting plot setup for each theatre.
  • Equipment: Access to necessary festival-provided equipment, including an 88-weighted key electronic keyboard.
  • Air Conditioning: Guaranteed comfort in all performance spaces.
  • House Management: Staff to manage audiences.
  • Box Office: Professionally managed ticketing services.
  • Venue Management: Staff to ensure smooth operations and adherence to schedules.
  • The Festabill: A full-color program guide for patrons, with advertising opportunities for shows.
  • Insurance: General liability coverage provided by the festival.

An application form is available online HERE.

Please contact info@jaymichaelsarts.com for further info.

The festival anticipates announcing its partner theatre venues before the end of 2025.

SHELLEN LUBIN to helm CAROL LEE CAMPBELL’s musical play, “Chicks In Heaven”

Director/Writer/Performer and Coach, SHELLEN LUBIN to direct Carol Lee Campbell’s new play with music, “Chicks In Heaven” CAROL LEE CAMPBELL’s musical play about family and faith will have an industry presentation, in May at Open Jar Studios, 1601 Broadway, New York City.

A fractured coven of four women discovers that their strength lies not in their spells but in each other.

Contact info@jaymichaelsarts.com for further info

 Chicks In Heaven enjoyed a wildly popular production at the Creative Cauldron in Virginia last year emboldening the decision to come to New York.

CHICKS IN HEAVEN takes us on a transformative journey, centered around a 30-year reunion in southwestern Virginia of friends who once shared a sacred bond fueled by feminist ideals. In their youth, these women experimented with magic as a means to challenge societal norms and fight against the oppressive forces of the patriarchy. Can the same magical activism that forged their early sisterhood bring them together now at a time when the fight is needed most?

Chicks In Heaven Book and Lyrics by CAROL LEE CAMPBELL

Shellen Lubin graduated from and then taught at Bennington College with a triple major in Drama, Music and Dance. During her time there, she appeared in Miloš Forman‘s first film in America, ‘Taking Off’ which featured two songs she wrote (“It’s Sunday” and “Feeling Sort Of Nice.”)

In her many years in the New York theatre and cabaret scene, she has directed work by Susan Merson, Pamela Weiler Grayson, Elliot Meyers, and ten Bistro Awards shows. Her plays and songs have been performed at the Public Theatre, Manhattan Class Company, Here Arts Center, Henry Street Settlement, 92nd Street Y, and more. She is in the Playwright Directors Workshop and the Directors Unit at The Actors Studio, where she has developed and presented work by numerous playwrights, including Lanie Robertson, Stuart Warmflash, and Anel Carmona. 

Her professional theater directing career continues with Chicks in Heaven — in tandem with a successful voice teaching and coaching practice.

Carol Lee Campbell is an award-winning writer, musician and professor.

Here is Carol chatting with Andrew Cortes, the host of STAGE WHISPER PODCAST

She is the creator of Crone Stones, a widely popular divination oracle that includes thirty-three porcelain stones and an accompanying book, Return to Wellness: The New Book of Crone Stones. Chicks In Heaven, her first play with music, premiered in April 2024 at The Creative Cauldron in Virginia. A book launch of her newest fiction, Rebel Rose debuted in May 2024 by Rebel Satori Press. Carol teaches Women and Gender Studies and Greek Mythology at several Virginia community colleges and travels regionally as a performance artist and a lecturer.