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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.
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.
Broadway Icon, LEN CARIOU to star in New York Premiere of RICHARD VETERE’s riveting new drama, ZAGŁADA
Broadway Icon, LEN CARIOUto star in New York Premiere of RICHARD VETERE’s riveting new drama, ZAGŁADA. Production directed by MAJA WAMPUSZYC
October 16 — November 2 The AMERICAN THEATRE OF ACTORS 314 W. 54th Street. New York City Contact info@jaymichaelsarts.com for further info
ZAGŁADA is a Polish word meaning annihilation used within Poland to refer to the HOLOCAUST, particularly in the context of the systematic, state-sponsored genocide of six million European Jews by the Nazi German regime and its allies and collaborators.
Journalist Danielle Hooper goes to interview 90-year-old Jerzy Kozlowski, in a quiet residential neighborhood in Queens for her book on World War II; he fires a gun at her, prompting his arrest. This gets the attention of Homeland Security Agent, Sonia Sokolow and NYPD Intelligence Bureau Officer, Frank Napoli.
Apparently, not only did Kozlowski lie on his immigration application when entering the United States after World War II; but he is suspected of collaborating with the Nazis at BUCHENWALD CONCENTRATION CAMP where he himself was a prisoner.
Agent Sokolow has 48 hours to prove Kozlowski’s collaboration so she can charge and extradite him to a country willing to try him for International War Crimes.
Sokolow must not only win the race against time but confront her own personal history through the mirror of Napoli’s mission to hunt down radical Islamic terrorists and White supremacists and Hooper’s righteous defense of the truth. What is a human being capable of doing to protect themselves and the ones they love and will justice prevail?
The play ZAGŁADA is inspired by history. All characters are fictional.
LEN CARIOU gained prominence for his Tony Award-winning title role in the original cast of Sweeney Todd: The Demon Barber of Fleet Street (1979). Prior to that, he earned nominations for Applause (1970) and A Little Night Music (1973). Cariou has had supporting roles in films such as The Four Seasons (1981), Thirteen Days (2000), About Schmidt (2002), Flags of Our Fathers (2006), Prisoners (2013), and Spotlight (2015). On television, Len was nominated for an Emmy for Into The Storm (2009) and is known for recurring roles in the shows Murder, She Wrote (1985–1992), Brotherhood (2005-2006), and Damages (2010) and his starring role in Blue Bloods (2010–2024).
RICHARD VETERE, a Lifetime and Current Member of the Writers Guild of America East since 2012. His prolific career allowed him the opportunity to work with Oscar, Emmy, Tony, Grammy and Golden Globe award winners and nominees like Francis Ford Coppola, Walter Matthau, Carol Brunett, Robert Forester, Phil Ramone, Agnieszka Holland, Ed Harris, Elisabeth Shue, Armin Mueller-Stahl, Danny Aiello, Len Cariou and Jason Alexander. Recently, his stage play, Black & White City Blues, had an extended run and recieved rave reviews some critics calling his play a “masterpiece” at the Amrican Theatre of Actors. His screenplay, Caravaggio won the Golden Palm Award for Best Screenplay at the Beverly Hills International Film Festival 2021. His adaptation of his own stage play The Marriage Fool is now streaming on Amazon starring Walter Matthau, Carol Burnett and John Stamos. Mr. Vetere co-wrote the screenplay adaptation of his own novel The Third Miracle which premiered at the Toronto Film Festival in 1999, produced by Francis Ford Coppola, directed by Agneiszka Holland and starring Ed Harris and Anne Heche. It is considered by critics to be one of the best movies about faith ever filmed.Mr. Vetere’s first feature film Vigilante is an original screenplay, starring Robert Forester and Fred Williamson. Vigilante, released in 1983, became a blockbuster movie overnight making it the 20th highest grossing picture in 1983 and was just now re-released in Blu-Ray. It was named “a cult classic” by critic David Denby in the New York Times and one of the “best indies of the 1980s” by BAM. Over the years Mr. Vetere has written screenplays and adaptations for Paramount, Warner Bros, New Line, Zoetrope and CBS. As a member of the PD Workshop Unit at the Actors Studio he has developed several plays including ZagŁada
MAJA WAMPUSZYC has worked with Tony & Oscar Award winners. Film & TV credits include: The Immigrant (Cannes & NY Film Festival); Mona Lisa Smile; Going Shopping; The Knick; Madam Secretary; Search Party; and Law & Order: SVU. Broadway: Irena’s Vow. Off-Broadway, NYC, & regional credits include: Irena’s Vow; Lady Macbeth & Her Lover; House of Connelly; Foggy Bottom; An Oak Tree (Obie Award Winning Production); The Pearl Theatre; Precious Stones, and pool (no water) at The Barrow Street Theater. March 2020: Anna Akhmatova in Night Shadows Or: One Hundred Million Voices Shouting at Irondale. In 2021: Wampuszyc played the title role in Clytemnestra in Hades; and most recently played Ayn Rand in The Disciple for Thirdwing, LTD. PDW member of the Actors Studio, she has collaborated with Vetere as a director on developing six new plays; and with Lanie Robertson on his new play, a reimagining of the early years of Marie Curie, Unknown Objects of Desire. Member of The Actors Gym. Maja is Represented by Bret Adams, LTD.
The American Theatre of Actors, founded in 1976 by James Jennings, continues its mission of spotlighting socially and historically resonant works. The company has produced over 1,000 original plays and has been a creative home to actors such as Dennis Quaid, Edie Falco, and Chazz Palminteri.
Guest Writer, Manda Slew, discusses Miller’s A View From the Bridge at Modern Classics Theatre
Content Note:
While A View from the Bridge is a period piece set in 1950s Brooklyn, it explores themes that may be difficult for some viewers. The production includes depictions of immigration raids, which despite their historical contextcmay evoke distressing parallels to modern-day ICE activity. Additionally, the story involves emotionally charged dynamics of incest-adjacent longing, sexual jealousy, and homophobia, particularly directed toward one of the immigrant characters. These elements are central to the dramatic tension and are portrayed with seriousness and emotional weight. Audience members sensitive to these topics are encouraged to approach the production with awareness.
A View from the Bridge
Presented by Modern Classic Theatre
Walking into the BACCA Arts Center in Lindenhurst for A View from the Bridge by Arthur Miller, directed by Emily Vaeth, was quite a treat. The team transformed the venue into a black-box-style theater, seating roughly 50 patrons depending on the arrangement, and the intimacy of the space was used to full advantage.
Before a single line of dialogue was spoken, the world was already pulsing with life. In the center, Beatrice (Camille Arnon) moved about the apartment, humming along to Perry Como’s Chi-Baba, Chi-Baba while prepping dinner. Catherine (Jules Donahue) bounced between reading, dancing, sipping, and sighing bored, bright, and bursting with that specific teenage ache. Beyond the apartment walls, the community stirred: Louis and Mike (Kevin Russo and Thaddeus C. Plezia) made their rounds like neighborhood fixtures; Mrs. Lipari (Natalia Cotto) dominated the public phone with everyday urgency; and the silent shadow of the immigration officer (Alex Rich) drifted in and out, a subtle yet constant reminder of looming consequence.
This immersive pre-show tableau was a brilliant directorial move. In such a close space, it pulled the audience inward slowly and organically. You weren’t just watching a play you were already inside a Brooklyn neighborhood, witnessing the rhythms of daily life before the conflict ever cracked through.
Big praise is due to set designer Ian Freed for the thoughtful, minimal design. The perimeter of the playing space, with its suggestive dockside textures and city street grit, subtly framed the action. Streetlights glowed just enough to evoke Red Hook’s moody hush. One particularly smart touch was the elevation used to frame Alfieri’s (Derek McLaughlin) office a raised area that gave the narrator a quiet vantage point from which to observe and reflect. It gave his role both physical and emotional distance, reinforcing the sense that this was a memory being retold, a tragedy already written in the bones of the set.
More well-deserved praise for the lighting and sound design by Dan Caney. The pre-show playlist Peggy Lee, Perry Como, Sarah Vaughan rooted the show in time and place before a single line of Miller’s text was spoken. The use of “practical” streetlamps, apartment lights, Alfieri’s office lamp was especially effective in establishing tone and texture. That said, during scenes staged on the far leg of the thrust (where one row of the audience was seated), lighting occasionally failed to fully illuminate the actors during key monologues. While these moments didn’t erase the emotional clarity of the scenes, they were noticeable. Still, given the challenges of lighting such an intimate, three-sided space, Caney’s work achieved a rare balance: immersive mood and respectful shadow that allowed the audience to observe, not intrude.
A special shout-out is due to the ensemble the so-called “smaller” roles that were anything but. Mr. and Mrs. Lipari (Leo Pompeo and Natalia Cotto), Mike and Louis (Thaddeus C. Plezia and Kevin Russo), and the Immigration Officers (Plezia and Alex Rich, pulling double duty) each brought thoughtful, grounded performances to the stage. Nothing felt phoned in or filler. Mike and Louis’ roughhousing camaraderie added humor and heart, while Mrs. Lipari’s no-nonsense phone habits brought real texture to the neighborhood. And Mr. Lipari? With his bloodstained apron and commanding stillness, Leo Pompeo exuded strength a figure you didn’t want to cross. Every glance, every shrug, every entrance had intention. This was an ensemble that knew how to build a world.
Derek McLaughlin’s Alfieri the narrator, conscience, and weary moral anchor was another standout. He brought a quiet, almost grandfatherly presence to the role, the kind of man who’s seen too much but still hopes for better. His lines were delivered with calm clarity and deep empathy, grounding the narrative in reflection and grief. Though a lawyer by trade, McLaughlin’s Alfieri radiated heart. You never doubted he wanted to do right by everyone involved, even as the story slipped through his fingers like sand.
Tim Smith as Eddie Carbone delivered a powerhouse performance. At first, he was the everyman: likable, steady, the guy who’d give you the shirt off his back. But as the undercurrent of possessiveness and jealousy surged, Smith didn’t miss a beat. His descent into emotional torment was layered and fully believable. One minute, you felt for him this man losing the only world he’s known. The next, you recoiled as the truth of his desires surfaced. He made Eddie both monster and man, and it was riveting.
Camille Arnone’s Beatrice was a masterclass in restraint and heartbreak. With every glance and carefully timed outburst, she built a woman trying to hold her world together while watching it slip away. Her keeping her jealousy of Catherine from boiling over was never cartoonish; it was human. She gave Beatrice dignity, fire, and unbearable sorrow all at once. You just want to hug her.
Jules Donahue’s Catherine was precise and technically strong never a line dropped, never a mark missed. Her portrayal leaned slightly more self-aware than one might expect for such a sheltered character, which occasionally made her feel more rehearsed than raw. Still, she captured Catherine’s central confusion especially in scenes with Eddie beautifully. You saw the girl trying to define love, identity, and independence in a world that hadn’t given her a language for any of it.
Andrew Accardi’s Marco brought big brother gravity in a small frame. With solemnity, strength, and just the right amount of quiet threat, he made it clear this man had crossed oceans for his children and would not be disrespected. The iconic chair-lift moment landed like thunder. Accardi’s Marco was no con artist, no passive guest. He was a protector. A man of few words but boundless integrity.
And then John McGowan. Rodolpho.
If there was a show-stealer, it was him. McGowan’s boyish charm was undeniable. He made it crystal clear why Catherine might fall for this wide-eyed Italian dreamer. He was goofy and elegant, sweet and proud. And when the accusations came, when his future was questioned, McGowan showed us the urgency and reason for the dream. This was a man who wanted to become something not just escape something. Even after the show, the audience was buzzing. Rodolpho was unforgettable, and McGowan lit up the stage with every step.
If there was one element that didn’t fully land, it was the larger fight choreography. While the boxing scene between Eddie and Rodolpho was sharp and brilliantly executed tense, clean, and full of subtext the ensemble fight sequences near the end felt a bit chaotic. With action happening so close to the audience on all sides, clarity was occasionally lost. That said, it never dulled the emotional impact of the story, nor the performances within it.
In all, A View from the Bridge was a stunning piece of theater. Intimate, emotionally charged, and brimming with heart. The performances were grounded. The design was intentional. The direction was brave. If you have the chance to catch it, do. The show runs one more weekend: Friday, Saturday, and Sunday at the BACCA Arts Center in Lindenhurst.
Support local theater. Let it break your heart and feel things.
Playwright J. Bernard Taylor & Jay Michaels take JOHN STILLWAGGON as TENNESSEE WILLIAMS to LONDON
Wednesday, August 20 @ 7:00 pm at Old Diorama Arts Centre, Regents Place 201 Drummond Street, London NW1 3FE UK
Saturday, August 23 @ 7:00 pm at The Audition House, 129A Whitfield Street, London W1T 5EQ UK
TENNESSEE WILLIAMS: Portrait of a Gay Icon
Tennessee Williams: Portrait of a Gay Icon is a one man play about the playwright Tennessee Williams.
After a sold-out run at the historic American Theatre of Actors in New York, this one-man exploration of the private life of one of the 20th century’s greatest authors travels to London for a limited run.
The play will be part of the Camden Fringe
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. The play had a wildly successful try-out in San Antonio, TX; a sold-out run Off-Broadway (NYC) and now, arrives here in London with John Stillwaggon returning to the role of Tennessee Williams.
John Stillwaggon has been a member of the professional theatrical community for more than a dozen years. His credits include Off & Off-Off-Broadway theater as well as national tours with the Magik Theater. In 2011, ReviewFix named him “one of the top 10 off-off B’way professionals in New York City.” Stillwaggon’s acumen runs the gamut from classical (the titular role in Shakepspare’s Hamlet and Mercutio in Romeo & Juliet) to new works like Christina Hemphill’s A Symphony for Portland (off-B’way premiere).
Playwright Bernard J. Taylor has had more than 100 worldwide productions of his shows – musicals and non-musical plays – 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 creative period he has known. 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).
Award-winning director, Angie Kristic, founder and Artistic Director of The KBO Theatre Company has been invited back to The Camden Fringe Festival in London, England to present three new plays, “Tennessee Williams: Portrait of A Gay Icon”, “Music Between Us” and “The Dealers ” (playwright). She serves as co-producer of Tennessee Williams and producer of the latter two under her theatre company, directing as well, featuring John Stillwaggon in all three and Will Barton (West End’s “The Last Temptation of Boris Johnson). All will be presented inNYC prior to the London run as staged readings on Aug 24th at the new theatre, Arches Lane, in Battersea.
Jay Michaels is a prominent figure in the theater as a producer and promotional executive, known for his extensive work with independent artists and productions. Jay Michaels Global Communications (JMGC), is a boutique firm dedicated to creating visibility for independent theater, film, music, and literature. JMGC — through a diverse internal multi-media platform, can supply coverage to artists and their productions while growing its external network of promotional sites and groups. JMGC has clients on and off-Broadway, in film and television, across the country and around the world. Jay Michaels worked on the production teams for Broadway shows; served as a national tour manager for major productions such as Cats and Les Misérables; and as associate producer and on-air commentator for stage and screen on Spectrum Cable’s “Hi Drama” and ACW-TV’s “JayWatch.”
Arts Independent 