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The American Theatre of Actors invites you to join us for A REPERTORY OF TWO PLAYS from ground-breaking playwright, Anne L. Thompson-Scretching

The American Theatre of Actors invites you to join us for A REPERTORY OF TWO PLAYS from ground-breaking playwright, Anne L. Thompson-Scretching: A LONG WAY FROM HOME & RESURRECTION (American Theatre of Actors, 314 W. 54th Street, New York City)
A LONG WAY FROM HOME featuring Ms. D, Gina McKinney, Rommell Sermons, Joy Foster, Kevin Leonard, Laquan Hailey, and Phil Oetiker, A Long Way From Home is the second play in Ms. Thompson-Scretching’s “Blood Trilogy.”

Set in the 1960’s, and follows Shanna Taylor’s family, who has migrated from Macon, Georgia to Brooklyn, New York. They rent an old walk-up in an area called Brownsville.
Escaping from Jim Crow and the Klan in the south, the family realizes segregation and civil unrest is in the North too.
Luella, the daughter, is so disenchanted, she gets involved with the “Black Power Movement.” Jacob, her husband, is away from home carousing for women in the streets. His son, Willie, is duty bound to follow in his father’s footsteps.
Shanna is focused on keeping the family together while saving for her dream home and maintaining her Southern values. Jacob’s older brother, Chester, is a New York big shot. He’s employed as a broker at Falco & Son, who shows Shanna a worthless house that’s been redlined by the bank. Chester steals her money and blames it on her husband. Joe Falco is Chester’s boss, who has him blockbusting the neighborhood.
APAP Members, use code ‘APAP’ for a free seat. Use link or Book in APP under “PHYSICAL THEATRE” Contacts: Jessica Jennings at Conference: 917-773-2933 or Jay Michaels at 646-338-5472 / info@jaymichaelsarts.com
RESURRECTION Featuring Ms. D, Gina McKinney, Rommell Sermons, Joy Foster, Kevin Leonard, Laquan Hailey, and Phil Oetiker, A Long Way From Home is the second play in Ms. Thompson-Scretching’s “Blood Trilogy.” Set in the 1960’s, and follows Shanna Taylor’s family, who has migrated from Macon, Georgia to Brooklyn, New York. They rent an old walk-up in an area called Brownsville.

Escaping from Jim Crow and the Klan in the south, the family realizes segregation and civil unrest is in the North too.
Luella, the daughter, is so disenchanted, she gets involved with the “Black Power Movement.” Jacob, her husband, is away from home carousing for women in the streets. His son, Willie, is duty bound to follow in his father’s footsteps.
Shanna is focused on keeping the family together while saving for her dream home and maintaining her Southern values. Jacob’s older brother, Chester, is a New York big shot. He’s employed as a broker at Falco & Son, who shows Shanna a worthless house that’s been redlined by the bank. Chester steals her money and blames it on her husband. Joe Falco is Chester’s boss, who has him blockbusting the neighborhood.
APAP Members, use code ‘APAP’ for a free seat. Use link or Book in APP under “PHYSICAL THEATRE” Contacts: Jessica Jennings at Conference: 917-773-2933 or Jay Michaels at 646-338-5472 / info@jaymichaelsarts.com
American Theatre of Actors, Inc.
American Theatre of Actors, Inc. (ATA) was founded in 1976 by James Jennings to promote the development of new playwrights, directors and actors, and to provide them a creative atmosphere in which to work. The plays are dramas, comedies, and hybrids, dealing with the social and ethical problems of contemporary society.
12,000 actors have worked at ATA including Dennis Quaid, Bruce Willis, Dan Lauria, Chazz Palminteri, Danny Aielo, David Morse, Edie Falco and Kathryn Hahn. Our productions are sometimes grouped as ‘festivals,’ such as a Playwrights Festival or a Directors Festival. In 2016 we began an initiative to feature women in theatre as directors and playwrights, today this is our WIT! (Women in Theatre) program.
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
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.
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:
- Patreon: patreon.com/stagewhisperpod
- Venmo: @stagewhisperpod
- PayPal: https://www.paypal.com/ncp/payment/YVX5DQSAJWZXS
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
Absurdity, Activism, and the Authentic Self: Julie Lorson’s Vision for Five Lesbians Eating Quiche

The Modern Classics Theatre Company of Long Island (MCT), the 501(c)(3) non-profit organization in residence at the BACCA Arts Center, is distinguished by its commitment to staging challenging, innovative, and socially relevant theatre.1 With a core mission to produce works “seldom seen on Long Island” and championing non-traditional casting, MCT ensures its repertoire actively engages with contemporary issues.2 Leading this effort is Director Julie Lorson, whose selection and staging of the comedy Five Lesbians Eating Quiche exemplifies the company’s purposeful artistry.
Article by guest writer, Anya Kai
The Production: Five Lesbians Eating Quiche (November 2025)

The production, running from November 8 to November 23, 2025, is a staging of the 2012 New York International Fringe Festival Winner, written by Evan Linder & Andrew Hobgood.3 Set in 1956, the play centers on the Susan B. Anthony Society for the Sisters of Gertrude Stein, whose annual quiche breakfast is interrupted by the chilling reality of nuclear war.4
The Dual Message
Director Julie Lorson’s insightful Director’s Note reveals the play’s depth, moving beyond mere farce:
“Beneath the laughter lies a powerful story about five women who long for freedom in a world that tells them who they should be… In this play, our war widows gather to celebrate community, sisterhood, and courage.”
Lorson observes a troubling resonance with the present: “It is disheartening to see echoes of that same repression returning under the current administration. Rights once fought for are being questioned again.” She frames the production as an act of resistance, calling on the audience to “laugh loudly. Cheer boldly. And as you do, remember the bravery of those who came before us.”
Spotlight on the Director: Julie Lorson 🌟
Julie Lorson is a true “jack of all trades” in the Long Island theatre community. Beyond her directorial role, she is a producer, stage manager, and actor, and serves on the board of directors for both Modern Classics Theatre and Bellport Playcrafters.5
The Selection Process: Serendipity and Social Relevance
Lorson’s initial interest in the play was rooted in the need for a production that fit MCT’s criteria (5+ cast, one setting) and her personal inclination toward comedy. The choice of Five Lesbians Eating Quiche was serendipitous:
“I went on Concord Theatricals, put in the criteria and because it’s sorted by alphabetical order 5 Lesbians came up first. Obviously, intrigued by the title, I found the PDF of the script online and I FELL IN LOVE!“
This initial spark of intrigue quickly evolved into a realization of the play’s profound thematic fit within MCT’s mission.
The Obstacle: An Innovative Casting Challenge
A significant directorial choice that shaped this production was Lorson’s solution to working with a large ensemble while preserving the core dynamic of the five main characters:
- Non-Traditional Casting: Rather than a simple ‘A’ vs. ‘B’ cast structure, Lorson intentionally created “8 different casts” by mixing the performers.
- The Goal: This innovative approach was designed to make “each show… a unique experience and give the actors a challenge,” while also preventing competition and forcing the entire company to “work together to create a great show which feels in the spirit of the show.”
This intricate scheduling and creative mixing demonstrate Lorson’s commitment to prioritizing the actors’ collaborative development and the unique immediacy of live performance.
MCT’s Mandate: Theatre That Matters
Lorson is proud to align this production with MCT’s history of impactful storytelling, citing recent works that tackle pressing social topics:
| Theatrical Production | Social Theme Explored |
| POTUS | Political and gender dynamics |
| A View From The Bridge | Immigration and moral dilemmas |
| The Laramie Project | LGBTQ+ rights and hate crime |
| The Shadow Box, Curious Incident, Of Mice & Men | Powerful human, mental health, and social struggle stories |
MCT’s continued dedication to “diversity, equity, and inclusion” under Lorson’s influence cements its position as a vital, purposeful theatre company on Long Island.
What’s Next
Following the closing of Five Lesbians Eating Quiche, Julie Lorson will immediately dive into her own annual tradition:
- Acting Festival: She will be performing in the MCT’s annual one minute play festival, appearing in 13 out of the 46 plays submitted this year, showcasing her versatile talent across many short-form pieces.
John Stillwaggon & Carolyn Dellinger celebrate the works of BERNARD J. TAYLOR with a special private showing of TENNESSEE WILLIAMS: PORTRAIT OF A GAY ICON
John Stillwaggon & Carolyn Dellinger celebrate the works of BERNARD J. TAYLOR with a special private showing of TENNESSEE WILLIAMS: PORTRAIT OF A GAY ICON plus other presentations. This event is dedicated to the EMERGENCY FUND OF SAVE THE CHILDREN (All donations go to Save the Children) and the 50th anniversary of the AMERICAN THEATRE OF ACTORS, the host venue of the original New York production. Doors open at Noon; Program begins at 12:30 p.m. on Monday, November 3, 2025 at the Jerry Orbach Theatre, 210 West 50th Street on Broadway, New York City.

This event is produced by JAY MICHAELS GLOBAL COMMUNICATIONS, LLC (Contact Jay Michaels at info@jaymichaelsarts.com for further info or to RSVP)
Tennessee Williams: Portrait of a Gay Icon an exploration of playwright Tennessee Williams’ “private” life.
After acclaimed national performances, Bernard J. Taylor’s play made its NYC debut to sold-out showings at the historic American Theatre of Actors before garnering the same kudos in the United Kingdom.
Join us for one last showing tributing playwright Taylor and raising funds for the Emergency Fund of the
Save the Children Foundation.
PLOT: Williams is chatting with “old friends” in his home and becomes increasingly inebriated during the course of the visit. The author launches into myriad diatribes about life, love — or the lack and abuse of it, his viciously cruel father, his sister — who received the brunt of that cruelty, and his work in the theatre — or more likely — his work with actors.
Mr. Stillwaggon and Ms. Delinger appear courtesy of The Theatre Authority

Playwright Bernard J. Taylor had more than 100 worldwide productions of his plays and musicals in more than a dozen countries. His early works were chronicled in the Encyclopedia of Film and Stage Music. In 2013, he was made an Honorary Fellow by the Victoria College of Music and Drama for “services to music and the performing arts.” Recent years have been the most prolific. Six productions of his stage works in San Antonio won eleven awards at the 2015, 2016 and 2017 ATAC awards (San Antonio’s version of New York’s Tony Awards).
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 asks “Wherefore Art Thou, Dromio?”
Michael Hagins Knocks It Out of the Park with an Early Farce from the Bard
Aptly named, The Comedy of Errors is a product of Shakespeare’s early period. Sharply plotted and wonderfully absurdist, it draws heavily on misunderstandings, wordplay, physical comedy, and puns. In other words, perfect for a revisit in 2025. Shakespearean Master Michael Hagins has brought the circa-1594 work roaring into the present with a series of summer outdoor performances produced by the Shakespeare Sports Theatre Company, including two at Central Park’s Summit Rock, a perfect venue if there ever was one for this type of production.

The Comedy of Errors takes place in Greece, and concerns not one, but two sets of twins who had been separated at birth. Antipholus of Syracuse (Vic Gitre) brings his servant Dromio of Syracuse (Emily Glaser) to Ephesus—unbeknownst to them, the city where their respective twin brothers, Antipholus of Ephesus (Charlie Keegan James) and his own servant Dromio of Ephesus (Jennifer Kim) reside. Thus begins a madcap, hilariously chaotic adventure of mistaken identity that is a delightful precursor to the tropes of hundreds of modern film and TV comedies. (The misunderstanding between a goldsmith and the wrong Antipholus, involving an impressive piece of bling, is a particular hilarious highlight.)
Director/choreographer Hagins brings his expert hand to an accomplished production, which incorporates the traditional half-masks of Renaissance Comedia—very handy (or face-y?) in depicting our two sets of befuddled twins. The staging is exceptional and the costumes elegant, and it is a treat to see the performers donning them in the charming park setting, giving a sense of true timelessness to the experience. Props are used to great comedic effect—from finger puppets, to a Sith lightsaber, to a giant swirly lollipop that doubles as a paddle when a certain character gets “out of line”. A red curtain held in place at appropriate junctures makes for some amusing entrances and exits. As evidenced at Summit Rock, the performers use the vast space wonderfully, making entrances from the surrounding trees; running, hopping, and skipping into the scene as they navigate the elevated grass, rocks, and steps. The ensemble possesses an astonishing physicality that is deftly choreographed and well-serves the tone of the play. It adds another level of free-spiritedness to the already deliciously zany piece, which eventually escalates to a hysterical climax that finally features both Antipholuses and Dromios with all the other (comically confused) characters. It makes for an incredibly enjoyable afternoon of classic theatre, beautifully realized by a great director and his expert team. It’s a text that the entire company clearly adores, and that joy is palpably felt by the audience. The Comedy of Errors is an entertaining and enjoyable tale told in an economical 80 minutes, and another positive triumph for Hagins and the Shakespeare Sports Theatre Company.

The Comedy of Errors is stage-managed by Adam Sherwin and also features Melissa Meli as Adriana, wife of the Ephesus Antipholus; Erica Gerold is Adriana’s sister Luciana; along with Katie Freimann (Angelo), Lila Ashley Meyers (2nd Merchant), Anna Behrmann (The Duke), Hayley Berketa (Aegeon), and Molly Feisher (Amelia/Dr. Pinch/1st merchant).
“The Interlude of Youth”: A 16th-Century Morality Play Resurrected by Dr. Jeff Dailey, Featuring David Ezell
The American Theatre of Actors (ATA) is currently presenting a rare revival of “The Interlude of Youth,” a captivating morality play from the early 16th century, as part of its Classical Showcase. Directed and co-produced by Dr. Jeff S. Dailey, this production breathes new life into a forgotten piece of dramatic literature, offering audiences a blend of entertainment and timeless moral lessons. Actor David Ezell, a prominent figure in the New York theatre scene, takes on a significant role in this historical staging.

The Play: “The Interlude of Youth”
“The Interlude of Youth,” by an unknown playwright, is a verse-based morality play that charts the journey of a young man’s transformation from a “crude rogue” to a “serious member of society.” True to the morality play genre, its characters bear names such as Riot, Pride, and Lechery, embodying the vices and virtues that guide or corrupt the protagonist. Despite its antiquity, dating back to at least 1514, the play is renowned for its considerable comedic elements, making it one of the most entertaining surviving examples of its kind. The term “interlude” in the early modern period simply referred to a short play.
The play’s enduring message, encouraging viewers to abandon destructive behaviors like gambling, excessive drinking, promiscuity, and the pursuit of money, remains strikingly relevant in contemporary society.
Dr. Jeff S. Dailey: Bringing History to the Stage

Dr. Jeff S. Dailey, with a PhD in theatre from New York University, has dedicated over 30 years to directing plays at the American Theatre of Actors. His extensive experience has allowed him to delve into and explore a wide range of dramatic works from the past.
Dr. Dailey emphasizes that while medieval theatre is often associated with religious themes, “The Interlude of Youth” stands out as a morality play that, though not overtly religious, aims to inspire a better lifestyle through engaging entertainment. He invites audiences to experience this historical work, which has been captivating people for over 500 years.
David Ezell: A Deep Connection to Classical Theatre
David Ezell, a writer and actor based in Midtown East, brings a profound personal and academic connection to his role in “The Interlude of Youth.” Holding a graduate degree in European history, Ezell was already familiar with the play before auditioning. His English heritage and intensive study of Shakespearean performance at institutions like Soho Shakespeare and the Royal Academy of Dramatic Art further deepen his appreciation for classical works.
Ezell describes his surprise and excitement upon seeing the audition notice for “The Initiation of Youth” (an alternative title), having just completed a run of “Little Women.” He notes that scholars widely believe Shakespeare himself was influenced by this play as a teenager, and to Ezell’s knowledge, “The Interlude of Youth” had never been staged in New York, though it continues to be performed in England. This unique opportunity thrilled him, offering the chance to perform in a foundational work of English theatre.

Ezell’s primary goal for the audience is to help them “get past the language” – true Middle English – and discover the abundant humor within the work. He continuously uncovers new layers of comedy in the text, which are not immediately apparent. Participating in this production has significantly boosted Ezell’s confidence in performing classical theatre, as over 98% of his prior acting experience was in modern works. He credits Dr. Dailey’s “very patient instruction” for this growth.
The American Theatre of Actors: A Home for Developing Talent
Founded in 1976 by James Jennings, who serves as its President and Artistic Director, the American Theatre of Actors (ATA) is a vital repertory theatre company. Comprising 50 actors, 15 playwrights, and 8 directors, ATA’s core mission is to foster the development of new talent in playwriting, directing, and acting, providing a nurturing, creative environment free from the pressures of commercial theatre.
ATA is known for presenting plays that tackle contemporary social and ethical issues. Over its history, the theatre has premiered more than 1000 new works and has hosted over 11,000 actors, including many who went on to achieve significant fame, such as Dennis Quaid, Bruce Willis, Danny Aiello, Dan Lauria, Chazz Palminteri, Kevin O’Connor, William Fichtner, Edie Falco, and Kathryn Hahn.
Upcoming Performances and Future Endeavors
“The Interlude of Youth” is running at The American Theatre of Actors complex, located at 314 W 54th St, New York City, from August 6 to August 17.
Beyond “The Interlude of Youth,” David Ezell plans to continue honing his classical acting skills. He has an upcoming reading for a piece connected to another part of his cultural heritage – Agatha Christie – and hopes to be involved in several upcoming Shakespearean productions, including at least two stagings of “Hamlet.” Ezell is also the co-owner of Camelback Films, whose first film, “Occam’s Beard,” is set to premiere in September, and their second project, “Paper Moon Rise,” is scheduled to begin production in Kansas in approximately two months. Camelback Films has also entered several major competitions, adding to Ezell’s exciting opportunities.
CHAZZ PALMINTERI will appear Saturday, August 2 ONLY for a talkback after the performance of LIGHTHOUSE REPERTORY THEATRE’s production of A BRONX TALE, the musical
CHAZZ PALMINTERI will appear Saturday, August 2 ONLY for a talkback after the performance of LIGHTHOUSE REPERTORY THEATRE’s production of A BRONX TALE, the musical running Friday, August 1 thru Sunday, August 10 AT The Bellmore Showplace, 222 Pettit Ave.Bellmore, NY TICKETS

Based on the critically acclaimed play that inspired the now classic film, this streetwise musical will take you to the stoops of the Bronx in the 1960s—where a young man is caught between the father he loves and the mob boss he’d love to be. Book by Academy Award nominee, Chazz Palminteri, music by Oscar, Grammy, and Tony Award winner Alan Menken, and lyrics by Grammy Award winner and Oscar and Tony Award nominee Glenn Slater, A Bronx Tale is a story about respect, loyalty, love, and above all else… family.
AUGUST 2nd ONLY – your ticket includes an after-show talk back with CHAZZ PALMINTERI.

Bronx-born and raised Chazz Palminteri was a natural choice to continue the Italianate tradition set forth in the 1970s by such icons as director Martin Scorsese and actors Robert De Niro, Al Pacino, John Cazale and Joe Pesci.In 1988 he wrote for himself a play entitled “A Bronx Tale,” a powerful one-man stage commentary in which he depicted his bruising childhood in great detail, which included witnessing gangland slayings. Palminteri brought each and every character to life (18 in all) in this autobiographical piece — his friends, enemies, even his own family. He showcased for years in both Los Angeles and New York, finally sparking the interest of his film idol, Robert De Niro. DeNiro, wanting to direct for the first time, saw the potential of this project and brought both it and the actor/writer to the screen. Palminteri played one of the flashier roles, Sonny, a gangster, in the movie version. An unknown film commodity at the time, Chazz had stubbornly refused to sell his stage property (the offers went into the seven figures) unless he was part of the package as both actor and screenwriter. DeNiro, who became his mentor, backed him up all the way, and the rest is history. A Bronx Tale (1993), which featured his actress/producer/wife Gianna Palminteri, earned strong reviews.
He received a well-deserved Oscar nomination the following year for his portrayal of a Runyonesque hit man in Woody Allen‘s hilarious jazz-era comedy Bullets Over Broadway (1994). He was on the right side of the law in both The Perez Family (1995), his first romantic lead, and then the classic crimer The Usual Suspects (1995). He played the ill-fated brute in Diabolique (1996) and wrote a second screenplay, Faithful (1996), in which he again plays a hit man, terrorizing both Cher and Ryan O’Neal.
Parental Advisory: Contains adult language and mild violence.