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Jim Catapano reviews Richard Vetere’s Compelling “Poet on a String” which draws eerie parallels between 1939 and today
Creativity and Connection, Challenged in a Changing World
Richard Vetere’s Compelling Poet on a String Draws Eerie Parallels between 1939 and Today
As the 1930s faded and the reality of another World War loomed, the artists of the time were facing their own crossroads. Film was becoming the dominating medium, and the culture-changing era of Television was fast approaching. The poet Delmore Schwartz (Sam Cruz), only 26 but already studiously examining his “past”, rages against the new paradigm, mocking the very notion of a “screenwriter” as a meaningful pursuit.
Delmore’s wife of two years, Getrude Buckman (director Amber Brookes), is also a writer, but this means little to the narcissistic, dismissive Delmore. “I don’t think she has talent, but I love her just the same,” he confesses directly to the audience at play’s opening. But the “love” part is seriously in doubt as well, as it becomes evident that Delmore sees Getrude solely as the muse to fuel his own brilliance.
“I have a big ego because I’m a genius!” he bellows.
In the midst of the couple’s play-acting at a healthy partnership, they arrive at the home of friend and fellow writer James Agee (Joseph Monseur) to spend the summer weekend boozing and philosophizing. James is primarily a journalist and commentator who is doing a piece for Life magazine on Delmore. But in stark contrast to his friend and interview subject, James is planning to jump headfirst into the modern way of storytelling, aspiring to be one of the Hollywood screenwriters that Delmore scoffs at. In between drinking and flirting with Gertie, James likes to wander off and seek out the ghost of his father, who died very young, and according to James appears nightly on the grounds to have a chat.
Thus begins an intense 48 hours that examine the fragility of relationships as the tidal wave of global change on many fronts threatens to consume them. James is self-destructive, Delmore is paranoid and rigid; Getrude struggles to be seen as an individual with a creative voice that deserves to be heard.
“I don’t want to be his muse!” a defiant Gertrude proclaims to James. “I’m searching for my own.”
A passionate debate between Delmore and James illustrates the crux of the conflict. “When poets destroy other poets, they are falling into the hands of the Philistines,” seethes Delmore. “The people must read poetry, they must shun the movies, they must be allowed to learn and question life—not deny pain and suffering. Movies perpetuate fantasy: We are a culture of denial.”
“Let’s join the culture of denial!” responds James, urging Delmore to join him on the “dark side” by coming with him to Paramount to write movies together.
Vetere and Brookes have come together to create a production that not only gives a tantalizing fly-on-the wall-look at three real-life artists in the pivotal year of 1939, but also holds tremendous relevance up to those of us navigating the treacherous waters of 2026. The dawn of the Golden Age of Hollywood mirrors the rise of AI. When Delmore condemns film as an affront to genuine artistry and a catalyst in the diluting of audience intelligence, we can’t help but shudder at where we are now, as the even greater danger of Artificial Intelligence threatens to utterly destroy the human component so crucial to creativity. That said, Agee’s point of view must also be considered; if the creative world is changing and nothing can stop it, the only options are to ride or die. This conundrum, along with the tension among the characters, is presented with astonishingly strong dialogue, deft direction and terrific work by the cast. Many of the things the characters say are based on extensive research, with Vetere’s artistic flourish painting a realistic picture of what may have happened that fateful weekend. There are many witty, laugh-out loud moments to complement the dramatic intensity and powerful performances, making Poet on a String a modern classic and a must-see.
Note that the production features two rotating casts, allowing for audiences to enjoy different interpretations of these literary icons and this very relevant artistic dilemma: The second cast features Dustin Pazar as James, Elizah Hill as Gertrude, and Jake Minter as Delmore.
Poet on a String runs at The Sargent Theatre at The American Theatre of Actors through April 12, 2026.
Spotlight on Authors Domnica Radulescu and Carol Campbell
Domnica Radulescu and Carol Campbell are the creative duo behind the play Sappho’s Garden. Radulescu is a highly accomplished Romanian-American novelist, playwright, and educator, with numerous awards and accolades to her name, including three acclaimed novels and two volumes of original plays. She is also a two-time Fulbright scholar and the founding Director of the National Symposium of Theater in Academe.
Their partnership began over a decade ago when Campbell directed one of Radulescu’s plays. The collaboration deepened through a shared passion for feminist theater, ancient goddess culture, and eco-feminism. Their “riveting marriage of minds” has produced several theatrical works, with Sappho’s Garden being their “most luminous and accomplished.”
The Book: Sappho’s Garden
The play Sappho’s Garden was born during the COVID-19 pandemic after the authors received a collaborative art grant. The project was inspired by their rediscovery of the verses of the ancient poet Sappho and a shared obsession with ancient goddesses. The work tackles the intersection of violence against women and the destruction of Mother Earth.
The central message of the play is to “Cultivate your garden” in both a literal and a metaphorical sense. This means taking care of the Earth and believing in the power of art, poetry, and imagination to offer “intimations of a better world.” The authors hope the play will inspire audiences to strive for a more sustainable, peaceful, and just world.
Looking ahead, the authors plan to continue developing the play, with a staged reading scheduled in Virginia and the ultimate goal of a full production.
Carol Lee Campbell and Domnica Radulescu
A talkback, signing, and live podcast recording
Thursday, October 16 · 7:30 – 8:30pm EDT
The Drama Book Shop266 West 39th Street New York, NY 10018Get directions
The Drama Book Shop presents, in association with Jay Michaels Global Communications, “Sappho’s Garden” A talkback, signing, and live podcast recording.
An expansive, poetic play about the legendary poet, Sappho. A startling evocation of a feminist ethos.
This Eventbrite ticket is your reservation for the event. Please note that the purchase of “ Sappho’s Garden” ($10.00) is required for entry. Upon arrival, our team will direct you to the register to obtain your copy and complete your admission. The store will begin welcoming guests at 7:15 pm.
Double the Drama, Double the Daring: Sarah Vindigni and Amy Losi Unveil Thought-Provoking Plays at ATA
Written by Zara Solange
New York City’s American Theatre of Actors (ATA) is set to host a compelling “Laurie Rae Waugh Double Feature” this July, presenting two distinct yet equally impactful new plays: Sarah Vindigni’s “¡Poof!” and Amy Losi’s “Love’s a Thin Diet.” Both productions, guided by the experienced hand of director Laurie Rae Waugh, promise to ignite conversations and challenge perceptions on the Beckmann Stage from July 9th to 20th.
The ATA, a venerable institution founded in 1976 by James Jennings, has long been a nurturing ground for emerging playwrights, directors, and actors, fostering a creative environment free from commercial pressures. Its mission to explore “the social and ethical problems of contemporary society” resonates deeply with the themes tackled in this double bill.
“¡Poof!”: A Shocking Scenario and a Call for Connection
Sarah Vindigni, the playwright behind “¡Poof!”, introduces herself as a purveyor of the thought-provoking. Her inspiration for this audacious work? None other than the king of comedic absurdity, Mel Brooks. “Mel Brooks inspired me to think outside the box and that nothing is too ridiculous,” Vindigni shares, a sentiment that clearly permeates the premise of her play.
“¡Poof!” plunges audiences into a chillingly plausible scenario: Union Activists taking over Metro Energy in NYC, threatening to shut down the grid unless their demands are met. The play raises a vital question: “Will they succeed and could this happen globally?” Vindigni’s creative process, she states simply, involves “taking lots of notes,” suggesting a careful observation of societal anxieties and a dedication to crafting a narrative that resonates.
Beyond the dramatic tension, “¡Poof!” carries a profound message. When asked about the “scary thoughts” her play provokes and its real-world potential, Vindigni offers a hopeful vision: “I think the world can learn to share resources so that no one is in need, and everyone can live like a human being.” This suggests that beneath the thrilling premise lies a call for greater equity and human connection. As for what’s next for this insightful playwright, she reveals a shift towards “A romantic comedy,” a delightful contrast to the high-stakes world of “¡Poof!”.
“Love’s a Thin Diet”: Navigating the Murky Waters of Power and Consent
Amy Losi, a prolific actor, director, and playwright with ninety plays under her belt as an actor and nineteen festival acceptances for her own works, brings “Love’s a Thin Diet” to the stage. This play delves into the deeply sensitive and timely issue of power dynamics in relationships, particularly when a professor exerts influence over a student, even if that student is their ex-husband. The central question: “What is the line between seduction and consent…?”
Losi’s inspiration for this poignant play stems from a personal experience. “A college professor invited me to his private office. Like the women in the play, he offered me wine and asked personal questions. He asked me to return but I never did,” she recounts. This play, she emphasizes, is a powerful statement “for all the women who did return, and more importantly, for those who are about to.”
Losi’s creative process is driven by a desire to explore the female experience, focusing on “women at various stages of their lives and center around overcoming the past or pursuing their dreams.” She also notes her interest in showcasing “older people connecting or falling in love,” and drawing from “aspects of my own life.”
The play bravely tackles the complex interplay between seduction and consent. Losi’s stance is unwavering: “It is never permissible to control or take advantage of others — and in particular, for a professor or male in a position of dominance to seduce or harass women. Seduction is not equivalent with consent.” This clear articulation underscores the play’s vital contribution to ongoing conversations about ethical boundaries and individual autonomy.
A Shared Vision Under Laurie Rae Waugh’s Direction
Despite their distinct subject matters, both “¡Poof!” and “Love’s a Thin Diet” are intrinsically linked by the vision of their director, Laurie Rae Waugh. As Sarah Vindigni rightly points out, “The Director, Laurie Rae Waugh,” is the unifying force. Amy Losi further elaborates on this connection, stating that “The characters in both plays want to reverse injustice and are committed to achieving that.”
Laurie Rae Waugh, a seasoned theatre artist in New York since 1980, has garnered numerous accolades for her directorial work, including the Jean Dalrymple Award for Best Dramatic Director for various productions. Known for her “realistic and unapologetic takes on family and relationship dramas,” Waugh’s directorial style often involves giving actors the “freedom to explore their characters as we break down the script,” allowing for truth and vulnerability to emerge. Her ability to navigate diverse narratives and draw out powerful performances makes her an ideal choice to helm this thought-provoking double feature.
What’s Next for These Dynamic Playwrights
The future is bright for both Sarah Vindigni and Amy Losi. Vindigni looks forward to crafting a romantic comedy. Meanwhile, Amy Losi’s plate is overflowing with exciting projects: “Love’s a Thin Diet” is set for publication in October by Next Stage Press. In August, her newest play, a comedy about four older women, will be featured in the Gene Frankel Theatre Play Festival. September brings her full-length play, “To Feed the Roses,” to the Dream Up Festival at Theatre for the New City. And to cap off the year, a comedy by Losi will be part of the NY Theater Winterfest in December. Remarkably, Losi will also be acting in all these plays, all of which are being directed by Laurie Rae Waugh, showcasing a truly prolific and collaborative artistic partnership.
The “Laurie Rae Waugh Double Feature” promises an evening of compelling theatre, inviting audiences to confront timely social issues, ponder challenging ethical dilemmas, and perhaps even imagine a world where resources are shared and injustice is overcome. It’s a testament to the enduring power of new plays and the vibrant creative spirit fostered by institutions like the American Theatre of Actors.
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
Arts Independent 