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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.
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
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.
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 |
“This is NOT A Drill” New Musical to Hold Private Industry Reading in NYC on Theatre Row
“This is NOT A Drill” New Musical to Hold Industry Reading in New York City
BY INVITATION ONLY event to be held on Theatre Row
BASED ON ACTUAL EVENTS
After numerous workshops and development, “This is NOT A Drill,” a new musical by Holly Doubet, is set to hold an exclusive by-invitation-only industry reading in New York City this March on Theatre Row.
This poignant work, inspired by a true event, has already garnered significant attention, including the prestigious 2021 Donald Fowler Theatre Arts Memorial Grant.
Following its acclaimed premiere in Dallas in 2021, “This is NOT A Drill” is taking the next step with this industry reading. The musical explores the lives of diverse characters who experience shock and panic upon receiving an emergency alert: “BALLISTIC MISSILE THREAT INBOUND TO HAWAII. SEEK IMMEDIATE SHELTER. THIS IS NOT A DRILL.”
Forced to confront their own mortality, they discover what truly matters. The show promises a suspenseful, yet warmhearted and funny journey, exploring love, relationships, and human nature under unimaginable circumstances. Doubet’s score is filled with undeniable emotion and soaring melodies.
The event will be the end of March on Theatre Row. Industry can contact Jay Michaels for further details.
“This is NOT A Drill” is based on a true event experienced by its conceptor, Holly Doubet. The musical follows the intertwined stories of individuals grappling with the reality of a potential missile threat. It’s a compelling exploration of human connection and the choices we make when faced with the unthinkable.
The production boasts an impressive team of talent:
- Director: Luis Salgado
- Grammy-Winning Musical Director: Paul Bogaev
- Grammy-Winning Guitarist: Jim “Kimo” West
- Broadway “Hamilton” Lead: Marc delaCruz
- Consulting Producer: Jack Lane
- Casting: Holly Buczek, Scott Wojcik – Wojcik Casting Team
- General Management: Evan Bernadin Productions/Hillel Friedman
- Attorney: Thomas Distler
Holly Doubet is a graduate of the Royal Academy of Music in London and holds a double major in classical piano and voice from a California university. Her diverse musical background spans from studio singing and songwriting to leading her own band and working as a backup singer in Los Angeles and Las Vegas. Doubet also served as a songwriter for the beloved children’s television show “Barney and Friends” and has achieved commercial success in the pop music world, including a CableAce Award nomination. “This is NOT A Drill” marks her exciting foray into musical theater.
Searching for Hope in a State of Decay: Jim Catapano reviews Black & White City Blues
Richard Vetere’s Powerful Black & White City Blues Opens the American Theatre of Actors’ 49th Season
It begins with a tragedy and gets ever sadder from there. 32-Year-Old Little Guy (Joseph Monseur), his younger brother John John (Sam Cruz), and their friend Bobby (Jake Minter) are high on heroin and high on a rooftop, deliriously plotting a drug deal that they think we take them to even loftier places. But this euphoria is a smack-fueled illusion, and reality strikes abruptly and violently. Now Little Guy is without a sibling and consumed with a guilt that competes with his addiction to destroy him.
Black & White City Blues depicts the Williamsburg Brooklyn of 1971, where the streets are mean and bleak. Weary Detective Lucy Cortez (Anita Moreno) is suddenly working solo after her partner had decided he’d seen enough despair and retired to Florida. As she investigates what happened to John John, she is shadowed by Village Voice reporter Burke (Wasim Azeez), who sees a great story; Burke becomes so obsessed with making a name for himself through the tragic circumstances that he dooms himself to becoming just another part of them.
Little Guy longs for the existence that he saw depicted on TV in his childhood, where everyone was happy and any problems were solved in 30 minutes. “No one is lonely on TV,” is a mantra repeated through the play. This of course is a lie, as potent and damaging as the heroin he can’t kick. He alternates between trying to get clean (becoming one of the “straights”) and wondering if it might be better to succumb. The people he associates with are all living harrowing existences, while actively trying to make money off of them. Delilah (Amber Brookes, who also directs) is the addicted, broken prostitute haunted by memories of her toxic father; Bernice (Gary E. Vincent) is a barfly trying to find glimmers of joy and self-actualization amidst the dread. Piranha (Riyadh Rollins) is the most powerful and dangerous person in the neighborhood, a pimp and a drug dealer who the others try to stay on the good side of. Bobby and Delilah, in particular, are enablers on Little Guy’s road to destruction; he’s literally of more use to them as a junkie. But even as Little Guy searches for a way out, he continues to be literally haunted by John John, who even in death holds a devastating secret that just may lead to Little Guy’s breaking point.
As the only person actively trying to save Little Guy, Kevin Leonard is poignant as Mr. Wellman, a former addict now counseling him and helping him get clean. Wellman also has drug-related tragedy in his past, and like Little Guy, the guilt is always with him, affording no rest or peace.
We really get a sense of the world closing in on Little Guy and his doomed community, as any sign of hope is quickly cast aside by the false promise that heroin keeps dangling in front of them.
Though Little Guy is the focus, every character gets an aria, a moment in the spotlight to tell their story, and the cast collectively astonishes in bringing the heartbreaking tale to life. The actors give a brutally realistic depiction of addiction and withdrawal, while being utterly compelling and truly sympathetic to the very end.
The production is stylishly directed by Brookes and makes excellent use of the space to depict a city of ruins occupied by desperate people. (Of particular note is the clever use of a backlit door depicting the silhouettes of first sex, and then suicide.)
Brookes’ team includes Dustin Pazar as Assistant Director/Production Manager, and Jake Smith providing Lighting Design.
Black & White City Blues is an incredibly moving, impactful, and astute observation of the frailty of human existence that is not to be missed, and will stay with you long after the lights go out.
Note: This play portrays violence, scenes of intimacy, and drug use and paraphernalia.
Black & White City Blues runs at the American Theatre of Actors through January 19, 2025.
Jim Catapano dreams a little dream of three: Rich and Dale Baron’s Delightful Dream On, Baransky! Returns for an Encore
NYC millennial Jonathan Baransky (Archie Colville) is something of an accidental cad. He’s openly seeing Lyla (Julie Bausivoir); secretly seeing his best buddy Frank’s wife Suzie (Mecca Alexis); and considering getting back together with his ex-girlfriend Jennifer (Kaelin Phillips). The part of him that recognizes that this is extremely complicated (and wrong) is suffering anxiety, so he seeks therapy from the eccentric Doctor Samantha Smithson (Olivia Fairless). Forward, flirty, and dressed like she’s about to perform Burlesque, Smithson proposes an unconventional treatment, utilizing “Dreamacil, the Magic Pill,” in the opening song. The wonder drug will induce a dream-like state where Jonathan will confront his issues to the accompaniment of showtunes and with the help of the wacky people that live in his head.
Dream On, Baransky! is the name of the show and its rallying cry, and this tremendously entertaining production written by Rich Baron is in its third imagining. The music and lyrics that accompany Jonathan’s surreal journey are by Dale Baron, with contributions from Alex Baker and Dan DeVere.
Jonathan’s psychedelic mind journeys are populated by a fun cast of quirky and wonderfully costumed characters that form the “army” dedicated to helping him find his way. Justin Knapp is the trenchcoated Commander Ted; Bea Corkhill is the level-headed Irish girl Reagan O’ Reilly; Andraes Ktorides is the uncouth, leather-jacketed Kazz-Nova; Hera Güneş Barlowe is perky cheerleader Patsy Purity; Alisa Mironoff is the shimmering Darlene Winters; and Jadé Porciatti is Daniela Divine and a host of other quirky surprise personas. They are distinct archetypes that are fun, familiar, and memorable, all well-realized by the sterling cast. Under their watch the befuddled, stressed-out Jonathan navigates both reality and the dreamscape in an escalating adventure that is quite surreal, but also familiar to anyone who finds life and dating in the big city rather overwhelming.
James Ahn Brandfonbrener (Musical Director) provides exceptional keyboard accompaniment to the playful and memorable songs, all beautifully rendered by the cast. A standout is “I Met This Man,” which sees Lyla, Suzie, and Jennifer come together to lament their Baransky-shaped dilemma. The production is imaginatively staged with many amusing things happening, from Frank suddenly rising from his hiding spot on the balcony clad only in a towel, to Dr. Smithson whimsically riding her office swivel chair to center stage during scene transitions. It all makes for an incredibly entertaining and funny show that also has some insightful things to say about mental health and the anxiety epidemic, and how they affect modern relationships.
Dream On, Baransky! is stylishly directed by Luana Seu, with Assistant Director/Stage Manager Paul Grant. It is featured at the John Cullen Theatre at the American Theatre of Actors through December 22, 2024.
Moving Figures, Moving Hearts, … Jim Catapano was also moved
Two Shining Examples of Modern Dance from Alessandra Corona Performing Works
One of the bright lights of the New York City artistic scene in 2024 was showcased at the Theater at St. Jean on the Upper East Side in the Spring. Fervida and Status Quo join forces to depict where we are as people in a wounded, conflicted post-pandemic society, and use the ecstatic beauty of modern dance to express the emotions we often find so hard to convey through mere words.
In a turbulent time where we often struggle to find intimate connection, Fervida elegantly expresses this dilemma through movement. On a stark stage, performers clad in hues of black and gray reach for each other, forming a bond through movement, while others stand symbolically with their backs to the audience. Some of the music recalls “Nights in White Satin” by the Moody Blues, which is a fitting complement to the moody blue stage lighting. The music shifts to an elegiac Italian ballad as just two performers grace the stage, their bodies intertwining in a way that many people can sadly only dream of.
Status Quo interprets the necessity of evolution and adaptation in an ever-changing and challenging world. It begins to the howling sounds of nature, with a single performer on stage. They are joined by others, making full use of the space with fluid movements as intense wind instruments abound. The group of eight becomes just two; a third rejoins but dances alone as the other two pair bond. Finally, there is only one, moving in solitude as the music fades and is replaced by the resonant sound of trickling waters. A distant voice intones, “As we get bigger and bigger, the distance between ourselves and that other outside world becomes smaller and smaller, and this world that we are inside which seemed so huge in the beginning and so infinitely welcoming, has become very uncomfortable.” As she speaks, two dancers in flesh-colored attire move slowly as mournful piano music fades in, amidst a floor strewn with what appears to be fallen leaves. The others join them on stage, holding their hands in front of their eyes in a depiction of sadness as they try to shut out the ever-increasing harshness of the world. The entire ensemble re-emerges in flowing black skirts, symbolically accepting the changing nature of their environment, and deftly performing complex movements in unison as the soundtrack suggests a sense of peace and acceptance.
The coupling of these two pieces perfectly depicts the journey of the human spirit and the challenges people face from the world—and from each other—in an uncertain age, and both do so with a poignancy and beauty that makes the journey easier to bear.
The performers are Alessandra Corona, Maria Vittoria Villa, William Valles, Halle Augenstein, Lucia Flexer-Marshall, Nicolas Fiery, Juan Viveros, Madelyn Wansong, and
Madeline Burr. Fervida is choreographed by Alessandra Corona
in collaboration with the Company; Status Quo is choreographed by Simon Kuban. The music is by Jocelyn Pook, Max Richter, Ran Bagno, and Ólafur Arnalds. Original music by Thomas Lentakis, Olivia Sellerio, Franca Masu.
ALL-OUT ARTS honors NYC Councilman Erik Bottcher and Communications Professor Jay Michaels
Now in its 23rd year of presentation, All Out Arts is proud to announce the 2024 Fresh Fruit Festival Award WINNERS for Outstanding Productions in Playwrighting, Directing, Performances, and Technical Achievement.
Monday, December 2: Reception: 6:15 p.m. and Event: 7:00 p.m. at The Wild Project – 195 East 3rd St [btwn Ave. A and B]. The full list of winners can be found HERE and Tickets can be secured HERE. Seating is limited so you must reserve/purchase your seats in advance.
Edge Media called us “the most inclusive expression of LGBT arts ever held in the City of New York.” We present work that is fresh, exciting and insightful. Performers of all racial, religious, and ethnic backgrounds, sexuality, and gender orientations fill our stages. African-, Caribbean-, Chinese-, East Indian-,Filipino-, Hispanic-, Japanese-, Korean-, Native-, and even un-hyphenated Americans are among groups represented in our 20+ years of festivals.
HARRY WIEDER AWARD FOR COMMUNITY SERVICE
An individual or group that has worked extensively for Arts and LGBTQ Community. It is named in honor of Harry Wieder, a founding Fresh Fruit Board member and advocate for LGBTQ and disabled New Yorkers.
Erik Bottcher is a dedicated public servant and activist who has devoted his life to progressive causes and to the betterment of the community the loves.
In 2021, he was elected to represent New York City Council District 3, which includes the neighborhoods of the West Village, Chelsea, Hell’s Kitchen, Times Square, Hudson Square, Flatiron, and the Garment District. He sees his mission as simple yet vital: making New York City a better place to live.
Growing up in a small town in the Adirondack Mountains as the only gay person he knew, Erik’s personal struggles with depression sparked in him a lifelong dedication to helping the most marginalized members of our society. His career in public service began in 2009 as the LGBTQ & HIV/AIDS Community Liaison in the City Council’s community outreach unit, where he organized grassroots campaigns on issues including hate crimes, transgender rights, housing for people with HIV/AIDS, and marriage equality.
Erik then served as the statewide LGBTQ Community Liaison in the governor’s office, where he helped organize the fight for marriage equality in New York State, working with activists from Buffalo to Montauk in an unprecedented grassroots campaign to garner support for the Marriage Equality Act. New York State made history as the largest state to legalize same sex marriage.
From 2015 to 2021, Erik served as Chief of Staff to his predecessor, Council Member Corey Johnson. In this role he gained an encyclopedic knowledge of every block of Council District 3 while providing constituent services to tens of thousands of residents and working alongside tenant associations, block associations, community boards, PTAs, parks groups and others to make our community a better place to live.
Erik has established a citywide reputation as one of the most active and effective members of the New York City Council, leading on critical issues such as the crises of mental health, housing, sanitation, sustainability, and more. He is working to reverse decades of failed policies and disinvestment in mental healthcare, authoring and passing landmark legislation that requires family homeless shelters to provide on-site mental health services, requiring the Department of Education to provide suicide prevention resources to students, fighting for adequate inpatient psychiatric treatment capacity, and more.
Recognizing the importance of clean and healthy neighborhoods, Erik has been at the forefront of sanitation improvement efforts in the city, leading the way on reforms such as the containerization of garbage, reduced usage of single-use plastics, increased corner basket service, and other initiatives to enhance the city’s cleanliness.
Few elected officials have been more vocal than Erik about the affordable housing crisis that poses an existential threat to New York City. With the lowest rental apartment vacancy rate since 1968 and the highest levels of homelessness since the Great Depression, Erik believes that an abundance of housing is needed to bring down housing costs. He has worked with his local community boards to create a pipeline of thousands of affordable housing units in Council District 3.
Environmental sustainability is also a key priority for Erik. He has funded the planting of hundreds of new street trees in Council District 3. His legislation creating the Urban Forest Master Plan aims to increase the tree canopy coverage to 30% by 2030. He has championed universal curbside composting, reduced renovated parks and playgrounds, [remove space here]waged war against single-use plastics, and promoted cycling as a form of transportation by creating new protected bike lanes on Tenth Avenue and Lower Sixth Avenue.
Erik is Co-Chair of the Council’s Manhattan Delegation and the LGBTQIA+ Caucus. He serves on the following City Council committees: Mental Health, Disabilities, and Addition; Public Housing; Small Business; Technology; Economic Development; Civil Service and Labor; Contracts; Higher Education; and Immigration.
PASSION FRUIT AWARD
To a person or organization in the arts “whose passion has led them to a life’s work that serves our community and enlarges our world.” Award Reads: “Serving the Community & Enlarging Our World.”
Jay Michaels began his career during the original off-off Broadway and underground movements in New York City and has become one of indie theatre and films’ most visible personalities.
Beginning as a special events assistant at the New York Daily News and PBS, he moved on to positions including promotional staff for The Joyce Theater’s Drama Desk Award-winning American Theater series; national tour manager for Cats, Edwin Drood, and Les Miserables; a television media buying associate; senior event marketing executive for international galas and fundraisers including speechwriting for the Weissler, Nederlander and Shubert organizations, James Earl Jones, Jon Stewart, Vera Wang, Mayors Lindsay and Dinkins; and Hillary Clinton to name a few. Michaels also managed promotional events for Broadway shows, Guys & Dolls (1992) Damn Yankees (1994), Vagina Monologues (2005) and Beginnings (2018) as well as Audra McDonald at Broadway’s Town Hall (2019). As a general manager, Michaels ran the events for Genesis Repertory Ensemble, Inc., The Jan Hus Playhouse, The Chelsea Opera Theater, The Mazer Theater in the Lower East Side, Queens’ Greek Cultural Center, and Brooklyn’s Block Arts Center. Michaels is a recipient of the Jean Dalrymple Award; the Robin H. Miller Award; the Federation’s Marketing STAR Award; the Performing Arts Society Award; an honorary board member of Pace University; a Directing Fellow with former Pearl Theater Company; and Fearcon‘s Film Festival‘s HOST Award two years in a row.
As a stage and film producer, Michaels has helmed productions as some of New York most respected theatres and worked with Daryl Roth, Jim Kierstead, Ken Davenport, Bill Oberst, Jr., David Canary, and Tovah Feldshuh. Michaels served as on-air film and classic TV commentator for Sun Television Studios; Octane Media; and currently, star of ACW-TV’s Jay Watch. He is also host of Under the Influence and In the PassionPit podcasts and the Classic Cinema Challenge. And also host of on-air events for the Boston Sci-Fi Film Festival’s channel.
Michaels serves as a professor of communications for over 20 years at several universities including Fordham, Kingsborough, Yeshiva, Staten Island, Berkley, and DeVry. He has a Masters in Communications and Public Relations and Certification from The Hollywood Film Institute.
His boutique PR firm, Jay Michaels Global Communications, services a vast array of independent international talent and their projects including some of New York’s most prominent indie stage companies and all of the NYC theatre festivals: the Midtown International, the Fringe, Planet Connections, the Downtown Urban Arts, NYTheatreFest, and his favorites: Spotlight-On and — of course — the Fresh Fruit Festival.
The Fresh Fruit SPIRIT Award will also be featured at the event and awarded to
When a Faggot Finds a Flower – A fable about a boy who’s sick of his bent wrist, and what he stands to lose by straightening it out. -by Jude Cramer, directed by Lucy Harrington
“The spirit of pride and survival, of history and progress, of a freedom and creativity that allows for respect and equality for all people.” Everything and anything in the arts that gets us closer to that world is: the Fresh Fruit Spirit“
Arts Independent 