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Jim Catapano examines A Legend Restored with the ATA production of Kenthedo Robinson‘s The Lewis & Clark Expedition: The Story of York
Kenthedo Robinson‘s The Lewis & Clark Expedition: The Story of York Returns a Hero to His Rightful Place in American History
“If a man can become a slave, a slave can become a man.”

In 1804, a country in its infancy was determined to explore the uncharted land that would soon be part of its territory. The treacherous and dangerous journey was famously undertaken by Meriwether Lewis and William Clark, but few know of the man who accompanied them and was utterly essential to the success of the quest: York, an African-American enslaved by Clark.
York is portrayed with astonishing power and authenticity by Rommell Sermons, who we see discussing his being chosen for the expedition with his wife Reeva (Marsha St. Julien; portrayed later in the run by Zsay Moore). Reeva is deeply unhappy with the idea of York going into certain danger with his white oppressors. Though York is loyal to Clark (Nicholas Dodge) because “Clark is loyal to him”, Reeva is much more skeptical about the nature of the relationship, a foreshadowing that will lead to a devastating revelation at the end of the play. Indeed, Clark seems somewhat benevolent, especially in contrast to Lewis (Travis Bergmann). Lewis here is seen to be a raging bigot, seething with contempt for York and threatening him with the whip at every opportunity (despite not having the “authority” to do so), something his “master” Clark has never done. Lewis is out for fortune and glory while Clark purports to be more nobly motivated by the chance to grow and unite the young country.
“I hate you because you exist!” screams Lewis at York, forever paranoid that the slaves and the indigenous people they are about to displace will rise up against their oppressors. Though Clark appears to respect and even care for York, he still refers to him as property and refuses to agree to give him his freedom, only mumbling that he will “revisit” the notion upon their return. It becomes clear that Clark is only good to York because he needs him.

And York is indeed crucial to the treacherous journey, his intelligence, skills and strength proving indispensable. The indigenous tribes encountered are fascinated by York, having never seen a person of African descent before, astonished that his dark “paint” doesn’t wipe off. After a tense face-off with Chief Cameawaite (Kevin Leonard), it is shown that his very presence provides essential assistance to the expedition in their dealings with the Native Americans they encounter. The indigenous peoples are portrayed by a talented cast including Sebastian Arteta (Chief Anapae), James Oliver (Chief Tall Crow), LeeSandra Moore (Sonomo/Stage Manager) and Ms. D (Highshee/Assistant Stage Manager). As the journey continues, events are cleverly linked by Clark’s correspondence with his back-home brother John (Alex Silverman).
York saves the day at every turn, becoming an icon to the native tribes but taken for granted by his own team, who still see him as property. He cares for a very ill Clark; he looks after Sacagawea (Natasha Sahs), an indigenous teenager who assists the expedition and travels with them all the way to the Pacific Ocean; and even saves his nemesis Lewis from a bear attack, in a sequence that is fantastically realized through excellent choreography and sound design (Lighting/Sound Liam Riordan).
Lewis’ utter lack of gratitude and his doubling down on his profound hatred is a chilling reminder of the depths of white supremacy that are still in evidence over 200 years later.

York’s spiritual encounter with the One From The Mountain Top (Jimena Rosas) gives him agency, self-worth, and a sense of purpose that will prove crucial upon his return from the journey, as the play concludes in a sequence of horrifying but powerfully depicted events that reveal the fates of Lewis and Reeva, and destroy any notion of Clark being a good man—sometimes evil and bigotry is more subtle than that displayed by the raging Lewis (a fact that those watching in 2026 need to stay aware of). This is where the production is at its most moving, as York refuses to be dominated and oppressed any longer; his self-actualization as he rises from the horror around him creates a triumphant resolution.
Written and directed by Kenthedo Robinson (with assistant direction by Andre Minkins), The Lewis & Clark Expedition: The Story of York sets history right, putting the man who was known as “The Bear God” back into the narrative, pulled from the obscurity where the history books had unfairly but predictably relegated him. The three leads, and the always exceptional Leonard and Sahs, are a wonder to watch, abetted deftly by a supporting cast that gels beautifully and is clearly moved by the important story they’re here to tell.
“It is better to walk into freedom.”
The Lewis & Clark Expedition: The Story of York runs at the John Collum Theatre at the American Theatre of Actors through February 22. It is presented as part of the African American Playwrights Initiative at the ATA.
PHOTOS BY DAN LANE WILLIAMS
New Theatrical Production Company, Diamond Mesh Inc., Announces “The Manifestival:” A New Frontier for NYC Independent Theater
In a world increasingly defined by digital isolation and existential questioning, a new theatrical force is rising to reclaim the stage. Diamond Mesh Inc.Theatrical Productions, led by producers Matt Bader and Faith Pasch, is proud to announce the inaugural Manifestival, a new works festival running from July 16th to August 9th in New York City.

The Search for Connection
Diamond Mesh is more than a production company; it is a response to the modern human condition. Launching with a provocative philosophical inquiry, the company’s mission centers on the “why” behind our collective loneliness.
“You did not stumble upon these questions. You found them. Just like you found this,” says the company’s statement. “We are Diamond Mesh. We have been looking for you too.”
The Manifestival: A Call for Submissions
The Manifestival is currently seeking digital submissions of new, 60–75 minute plays designed for intimate, character-driven production. Designed to strip theater down to its rawest, most impactful form, the festival emphasizes storytelling over spectacle.
Submission Guidelines & Opportunities:
- The Format: Scripts must feature a cast of five actors or fewer.
- The Aesthetic: Adaptable to minimal design (sparse set: one table, two chairs).
- The Series:
–The Signature Series: a Group of productions having a limited three performances during the festival.
–One Night Only Series: A high-impact, single-evening performance.
The MODEL: In a rare move for the NYC festival circuit, selected productions keep 100% of their ticket sales, providing a sustainable platform for playwrights & creators. Playwrights are encouraged to submit their work via the Official Manifestival Submission Form. Slots are assigned on a first-come, first-served basis.
Meet the Founding Executive Producers:


Faith Pasch — A New York City-based powerhouse, Pasch is an actress, singer, and producer with credits ranging from the I Was a Teenage She-Devil UK Premier to the Disney Cruise Line. A champion for marginalized voices, Pasch recently founded Faith Pasch Productions and co-founded Fate Productions, a company dedicated to highlighting female and non-binary voices in the cabaret circuit.
Matt Bader — A versatile actor, writer, and producer hailing from Milford, CT, Bader brings a wealth of international experience to Diamond Mesh. His past producing credits include The Silly William Gambit at the Edinburgh Fringe Festival. As a performer, he is known for his work in The Mystery of Edwin Drood (Connecticut Repertory Theater), the series The Startup, and his ongoing work with The Dinner Detective.
Join the Movement
- Website: diamondmeshinc.com
- Instagram: @diamondmeshinc
- Email: Mattbader@diamondmeshinc.com | Faithpasch@diamondmeshinc.com
“YEARS TO THE DAY” Makes Highly Anticipated New York Debut at American Theatre of Actors: Emmy Award Winners, Jeff LeBeau and Peter Zizzo, Star in Allen Barton’s Searing “Shaw for the 21st Century”

Renaissance man Allen Barton brings his critically acclaimed play, YEARS TO THE DAY, to the landmark American Theatre of Actors (314 W. 54th St.) for its New York City premiere. Opening February 25, the production stars Emmy Award winners Jeff LeBeau and Peter Zizzo in a play named one of the “10 Best New Plays” by LA Weekly.
First premiering in 2013, YEARS TO THE DAY has become a global phenomenon, performed in a dozen cities across three continents. The play utilizes the spare construct of a single conversation between two old friends to dissect marriage, social media, the delicate relationship between parents and children, politics, and gay rights. It is a raw, timely exploration of whether friendship can survive the calcification of middle age.
“After meeting an old friend, four years to the day from our last get-together, it struck me that though we knew what phones and computers we were using, we had no clue about each other’s lives,” says playwright Allen Barton. “The script was written to be ‘evergreen’—a timeless treatise on how friendship survives a world that changes more quickly every year.”

The Powerhouse Trio
The production features a unique collaboration of top-tier talent:
Allen Barton (Playwright): A Los Angeles-based “Renaissance man,” Barton is a playwright, director, Steinway Artist classical pianist, and owner of the renowned Beverly Hills Playhouse. His previous works include Circling, Disconnection, and Engagement.
Jeff LeBeau (Jeff): An Emmy Award winner with extensive credits including the Geffen Playhouse (Hurlyburly), Circle Rep, and film/TV roles in The Practice and Life as a House.
Peter Zizzo (Dan): An Emmy and Grammy Award-winning songwriter and producer who has sold over 100 million records with artists like Celine Dion, Jennifer Lopez, and Avril Lavigne.
Critical Acclaim
- “A social satire that’s simply George Bernard Shaw for the 21st century… an hour and a half of delight.” — LA Weekly
- “David Mamet meets Bret Easton Ellis… dialogue fit for massive adult human consumption.” — Joe Straw Theatre Blog
- “Insightful dissection of some big ideas about life and how to live it.” — The Public Reviews, Edinburgh
- What: YEARS TO THE DAY by Allen Barton
- When: Opening February 25. (Full schedule to be announced).
- Where: American Theatre of Actors, 314 W. 54th St., New York City.
- Tickets: To be announced shortly.

About ALLEN BARTON (Writer/Director) is a Los Angeles-based playwright/author, director, teacher and classical pianist. As Playwright: OUTRAGE (2023), CIRCLING (2020), DISCONNECTION (2015), YEARS TO THE DAY (2013), and ENGAGEMENT (2010). YEARS TO THE DAY was named one of Los Angeles’ 10 Best New Plays by LA Weekly, and has since been performed in ten cities across three continents. As Supervising Director for Beverly Hills Playhouse: SEX WITH STRANGERS, THE PURPLE LOUNGE, LOST LAKE, BELLEVILLE, AN INFINITE ACHE, A DOLL’S HOUSE. Allen earned many years’ worth of L.A. stage, television and film credits as an actor, and he is also active as a classical pianist – he was a prizewinner in the 2002 Los Angeles Liszt Society Competition, has recorded five compact discs, and performs solo recitals on both coasts. In 2010 he was made a Steinway Artist. A native of the Boston area, a graduate of Harvard University and longtime student of the late Milton Katselas, Allen is currently owner and principal teacher at the renowned Beverly Hills Playhouse acting school. A compilation of his work as a playwright, ALLEN BARTON: FIVE PLAYS, has just been released and is available at Amazon.


The Bard in the Boroughs: Rodney Hakim and the Digital Renaissance of “New York Shakespeare”

In a city where the theater is often synonymous with the bright lights of Broadway, Rodney Hakim is carving out a vital, digital niche for the classics. As the owner, writer, and host of New York Shakespeare, Hakim has transformed his lifelong expertise into a premier multimedia platform. Through his popular IGTV series and a sprawling social media presence, he has created a central nervous system for the Shakespearean community in the New York metro area and beyond.
A Renaissance Man for the Modern Era
Rodney Hakim is not just a commentator; he is a veteran of the very boards he discusses. His background is a tapestry of performance and production, spanning:
- Acting & Comedy: A freelance actor and stand-up comic, Hakim’s experience ranges from stage plays and musicals to independent films, voice-overs, and TV industrials.
- Directing & Producing: His creative vision has graced venues like the Queens Theater in the Park and various Off-Off-Broadway stages. Notably, he founded and directed a monthly Shakespeare reading group in partnership with Barnes & Noble, bringing the Bard to the public in accessible, communal spaces.
- Education & Writing: As an acting coach and freelance writer for theater review sites, Hakim bridges the gap between the “how-to” of performance and the critical analysis of the art form. He is currently developing new concepts for screenplays and books.
“New York Shakespeare” on IGTV: The Digital Front Row
At the heart of Hakim’s work is the New York Shakespeare brand. Designed to be a “central resource for all things Shakespeare in New York,” the program serves as a bridge between the stage and the audience, documenting current productions and providing deep-dive intellectual access.
Upcoming Special Event: “Speak the Speech” Winners

Highlighting the program’s commitment to excellence in classical performance, Hakim’s next episode features a powerhouse lineup. The broadcast will showcase the winning Shakespeareans of Channel Indie’s inaugural “SPEAK THE SPEECH” competition.
This exclusive session brings together a unique blend of rising stars and established masters, including:
- Joe Staton
- Sean Gregory Tansey
- Sam Hardy
- Michael Hagins (Classical theater luminary)
This episode promises an insightful look into the mechanics of Shakespearean delivery and the future of classical performance in the digital age.
A Global Community with Local Roots
While the focus is firmly on the “happenings taking place in and around New York City,” the reach of New York Shakespeare is global. By leveraging Instagram, Facebook, YouTube, LinkedIn, and WordPress, Hakim has built a digital archive of the city’s classical heartbeat.
Perhaps most impressively, these resources—including live interviews and online discussion groups—are offered free of charge. This mission of accessibility ensures that “supporting your local Shakespeare” is an invitation open to everyone, regardless of their proximity to a physical theater.
Connect with New York Shakespeare
Whether you are a seasoned actor looking for coaching, a scholar seeking fresh discussion, or a fan wanting to know what’s playing in the park this weekend, Rodney Hakim’s platform is the definitive guide.
- Website: www.nyshakespeare.com
- Email: info@nyshakespeare.com
- Watch: Follow @NewYorkShakespeare on Instagram to catch the latest IGTV broadcasts and live interviews.
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.
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.
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.
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
Star Power and Seasoned Talent: The Cast Bringing Richard Vetere’s “ZAGŁADA” to the ATA Stage
Richard Vetere’s new psychological crime thriller, ZAGŁADA, is set for its New York City premiere at the American Theatre of Actors (ATA), supported by a powerhouse team of Broadway veterans, acclaimed character actors, and an experienced director. The production, running from October 16 to November 2, features the formidable talent of Tony Award winner Len Cariou, leading an electrifying cast to confront a chilling piece of history.
The play, which centers on the arrest of an elderly Maspeth resident—a former kapo in a Nazi concentration camp—demands a cast with the gravitas and skill to navigate the story’s dense layers of historical trauma, moral ambiguity, and high-stakes confrontation.

The Headliner: Len Cariou as Jerzy Kozlowski
Leading the cast is the internationally recognized, Tony Award-winning, and Emmy-nominated Broadway icon, Len Cariou.
Cariou is perhaps best known for his legendary, Tony-winning performance as the title character in Stephen Sondheim’s Sweeney Todd: The Demon Barber of Fleet Street. His extensive, 65-year career spans regional stages, Broadway, off-Broadway, film, and television, earning him membership in the Theatre Hall of Fame. A master of the classical repertoire, he has twice assayed the title role in King Lear.
While his stage career is monumental—recently honored with the 2024 John Willis Award for Lifetime Achievement in the Theatre—Cariou is also a beloved figure on television. For 14 seasons, he played the patriarch ‘Pop’ Reagan on CBS’s hit show Blue Bloods. His recent work includes the award-winning off-Broadway role of Morrie Shwartz in Tuesdays With Morrie.
In ZAGŁADA, Cariou takes on the central and challenging role of Jerzy Kozlowski, the 90-year-old former kapo arrested for shooting a journalist. His casting ensures the character, though morally dark, will be portrayed with a depth and humanity that forces the audience to grapple with the play’s central questions of justice and self-preservation.
The Electrifying Supporting Cast
The veteran performers joining Cariou are charged with portraying the three New Yorkers who must confront Kozlowski and his past: Danielle Hooper (the journalist), NYPD Officer Frank Napoli, and Homeland Security Officer Sonia Sokolow.
Jes Washington
A New York actress, writer, and singer, Jes Washington brings a compelling resume of stage and screen work. A Lifetime Member of the Actors Studio, her dedication to in-depth character work is clear. Her stage credits include off-Broadway productions such as Coping Mechanism and White Woman, Black Boy, and her acclaimed international one-woman show Who Will Sing for Lena. Washington is also known for her television appearances on HBO’s The Gilded Age and CBS’s The Equalizer. Her involvement in workshops directed by figures like Estelle Parsons and Steve Broadnax III further speaks to her commitment to developing challenging new work.
Salvatore Inzerillo
Salvatore Inzerillo is a respected New York-based actor, director, and artistic director, with deep roots in the city’s theatre scene. A member of both LAByrinth Theater Company and The Actors Studio, Inzerillo has worked extensively at The Public Theater and developed over a hundred new plays with leading American playwrights. His stage credits include originating roles in early works by Stephen Adly Guirgis, all directed by Philip Seymour Hoffman, such as In Arabia We’d All Be Kings and Jesus Hopped the ‘A’ Train. He also appeared in The Iceman Cometh with Nathan Lane and Brian Dennehy at BAM. On screen, he is recognizable from roles in Boardwalk Empire, The Deuce, and various Law & Order franchises. Inzerillo’s history with gritty, character-driven material makes him an ideal fit for this psychological thriller.
The Creative Vision: Director Maja Wampuszyc
Guiding the production is director Maja Wampuszyc, who has a close working relationship with playwright Richard Vetere, having directed the development process of ZAGŁADA at the PDW at The Actors Studio.
Wampuszyc is an accomplished actress herself, known for her appearances on Broadway in Irena’s Vow, as well as off-Broadway and regional productions. Her film and TV credits include The Immigrant (with Marion Cotillard), Mona Lisa Smile, The Knick, and Madam Secretary. As a director, her work is recognized for its bold approach, having previously helmed productions in Krakow, Poland, and throughout the U.S. Her deep familiarity with the script and Vetere’s writing ensures an interpretation that is both true to the playwright’s intent and dramatically compelling.
The Creative Home: The American Theatre of Actors (ATA)
The production is staged at the American Theatre of Actors, a venue founded in 1976 by James Jennings. The ATA continues its mission of spotlighting socially and historically resonant works, having produced over 1,000 original plays and served as an artistic home for figures like Dennis Quaid, Edie Falco, and Chazz Palminteri early in their careers. The ATA’s legacy provides the perfect institutional support for a drama that grapples with weighty historical and moral questions.
Et Alia Theater presents a limited engagement of Blood Orange, a horror play by Abigail Duclos
“One of the most intense plays you will see this season!”

Et Alia Theater presents a limited engagement of Blood Orange, a horror play by Abigail Duclos, at The Jeffrey & Paula Gural Theatre of A.R.T./New York, 502 West 53rd Street, New York City, ADA accessible. Previews begin: 11 September (Invitation Only); Opening: 13 September; Closing: 27 September TICKETS

Performed in Repertory: September 11, 13, 14, 19, 21, 22, 27: Luísa Galatti as Faye, Ana Moioli as Eden, Maria Müller as Georgia
September 12, 15, 18, 20, 25 and 26: Maria Müller as Faye, Ana Moioli as Eden, Giorgia Valenti as Georgia
Doreen Oliver as Mariah for all showings

Blood Orange, by Abigail Duclos and produced by Et Alia Theater, tells the story of Faye, a teenage girl who — feeling abandoned by God and her mother in the wake of her father’s violent death — turns to a nightmarish roadkill creature for salvation. Faye then draws her awkward friend, Eden, into a strange religion filled with prayer, blood, and budding love.
The play delves deeply into grief and depicts it as an ugly, intricate, and biting experience, examining the complexities of modern teenage girlhood and sexuality. The play asks, “how do young women navigate a culture that hypersexualizes them while demonizing their desires?” “What happens when the hunt for pleasure intertwines with pain?”

Production Directed by Vernice Miller with Amelia Estrada as Associate Director/Choreographer; Scenic and Property Design by Ningning Yang; Costumes Designed & Associate Props Design by Whitney Fabre; Sound Designed by Laura Pereira; Lighting Designed by Hayley Garcia Parnell; Fight and Intimacy Direction by Leana Gardella.
For Et Alia Theater: Production and Box Office Management by Covi Loveridge Brannan; Stage Management by Isabel Criado; Deck Management by Thais Fernandes.
The play runs about 90 minutes with no intermission.
CONTENT WARNING: explicit scenes of violence and of self harm.
Production design support provided by the Edith Lutyens and Norman Bel Geddes Design Enhancement Fund, a program of the Alliance of Resident Theatres/New York (A.R.T./NY).
Established in 1972 by an innovative collective, A.R.T./New York has matured into an indispensable cornerstone for over 475 theatres and more than 150 individual producers and artists throughout all five boroughs of New York City and across the state. As the singular membership organization dedicated to encompassing New York’s entire not-for-profit theatre sector, A.R.T./New York’s reach extends from playwriting collectives and developmental labs to producing organizations and pioneering independent artists. A.R.T./NY continues to serve the field through four essential service areas — Funding, Space, Professional Development and Advocacy — in order to help theatremakers put their creative ideas on stage.