Home » Posts tagged 'reviews'
Tag Archives: reviews
THE BARD TAKES BROADWAY: SIXTH ANNUAL NEW YORK SHAKESPEARE AWARDS CELEBRATES RECORD-BREAKING 2025 SEASON
THE BARD TAKES BROADWAY: SIXTH ANNUAL NEW YORK SHAKESPEARE AWARDS CELEBRATES RECORD-BREAKING 2025 SEASON
The New York Shakespeare Awards has officially unveiled its list of winners for 2025, marking the sixth year of celebrating the most impactful contributions to the Bard’s legacy. The 2025 season represents a cultural “High Renaissance” for Shakespeare in Manhattan, defined by unprecedented commercial dominance on Broadway and a flourishing independent scene.
A BROADWAY JUGGERNAUT: SHAKESPEARE ON STAGE
The year 2025 will be remembered for the moment Shakespeare became Broadway’s most profitable leading man. The Shakespeare on Stage Award has been granted to the historic production of Othello, a production that redefined the financial and cultural ceiling of classical theater.
- The Power of the Production: Starring Denzel Washington and Jake Gyllenhaal, Othello became an absolute financial juggernaut. It shattered every standing box office record for a play in Broadway history, reaching a staggering $3.2 million single-week gross.
- A Masterclass in Producing: The production’s success was anchored by multi-time award-winning Broadway powerhouse Jim Kierstead. Kierstead has become the architect of modern Shakespearean commercial success, having also steered the 2024 hit Romeo + Juliet to similar acclaim. By bridging the gap between classical text and high-octane modern celebrity, Kierstead’s “industry-savvy” approach ensured Othello recouped its $9 million capitalization in a record nine weeks.
Complementing this Broadway surge was the Shakespeare in the Park production of Twelfth Night.
- Following the multi-million dollar renovation of the Delacorte Theater, the ensemble—featuring Lupita Nyong’o, Peter Dinklage, and Sandra Oh—was recognized as the year’s premier performing group, marking a triumphant return for the Public Theater.
LIFETIME ACHIEVEMENT: JAY MICHAELS
The 2025 Lifetime Achievement Award was presented to Jay Michaels, founder of Jay Michaels Global Communications (JMGC). Michaels is often referred to as the connective tissue for countless artists across the tri-state area.
- A Legacy of Influence: From his lwork in the 1990s with Genesis Rep to his recent launch of Channel Indie on ROKU and Independent Artists Movement TV, Michaels has spent decades championing independent theater and film.
- The Future of the Indie Scene: Michaels is on the teams of numerous theatre festivals happening this year. The 2026 revival of the Midtown International Theatre Festival; the inauguration of the Manifestival; the Mainstage of the Fresh Fruit Festival; the Below the Line Film Festival; and RiffRaffNYC’s New Works Festival, as well as his ongoing association with the landmark American Theatre of Actors, his tireless promotion of boutique artists have made him an indispensable titan of the industry.
- The Shakespeare Question: A leading proponent of the famed “Authorship Question,” Michaels has fostered discussions on stage and television examining the works of William Shakespeare from all angles.
2025 AWARD CATEGORIES AND WINNERS
Lifetime Achievement: Jay Michaels (JMGC)
Shakespeare On Stage: Othello (Produced by Jim Kierstead)
Shakespeare Performers: The Ensemble of Twelfth Night (The Public Theater)
Shakespeare on Film: Hamnet (Dir. Chloe Zhao; starring Jessie Buckley)
Scenic Design: Richard II (Arnulfo Maldonado / Red Bull Theater)
Shakespeare Adaptations: Nine Moons (Keith Hamilton Cobb / Blessed Unrest)
Shakespeare Music: “The Fate of Ophelia” (Taylor Swift)
Shakespeare Books: Kill Shakespeare: Romeo vs. Juliet (Anthony Del Col)
Solo Show: Conquering the Canon (Michael Hagins)
Videography: The Comedy of Errors (Shakespeare Sports Theatre)
ABOUT THE NEW YORK SHAKESPEARE AWARDS
Founded in 2020 by Shakespeare scholar Rodney Hakim, the New York Shakespeare Awards recognize excellence in the performance, study, and adaptation of William Shakespeare’s works within the New York metropolitan area. By honoring both legendary Broadway figures and emerging independent artists, the awards provide a comprehensive “Year in Review” of the city’s vibrant theatrical landscape. The awards are sponsored by one of the leading programs dedicated to the Bard, New York Shakespeare. Visit them on https://www.instagram.com/newyorkshakespeare/
American Theatre of Actors Announces 50th Anniversary Gala; Playwright LYLE KESSLER and TONY-winning actor, LEN CARIOU to Receive Lifetime Achievement Honors.
NEW YORK, NY — The American Theatre of Actors (ATA), a cornerstone of the New York theatrical landscape since 1976, is proud to announce ATA 50, a golden anniversary celebration and awards ceremony. The black-tie evening will honor five decades of artistic excellence and community impact, headlined by the presentation of the Lifetime Achievement Award to legendary playwright and director Lyle Kessler and TONY-winning actor, Len Cariou..
The gala will take place at the lavish Penn Club at 30 West 44th Street in New York City, beginning with a VIP Admission at 6:30 PM, followed by a formal dinner and the awards presentation at 7:30 PM.
The ceremony will also feature the Hell’s Kitchen Awards, acknowledging the gritty, vibrant excellence of the local artistic community that has called the ATA home for fifty years.
DETAILS:
Event Date: Tuesday April 7th
Tix levels: ($35 OFF through MARCH 15)
6:30pm VIP $325 ~ includes photoshoot and open bar hour + Dinner & Award
7:30pm General $290 ~ Dinner & Awards, only.
Address:
The Penn Club
30 W. 44th St.
Honoring Legends:
Lyle Kessler
Recognized for his monumental contributions to American letters and stage, Mr. Kessler is best known for his masterwork Orphans—which received two Tony nominations for its Broadway revival and has starred luminaries such as Al Pacino, Alec Baldwin, and Jesse Eisenberg—Kessler’s career spans the Actors Studio, the Sundance Screenwriter’s Lab, and prestigious foundations like Rockefeller and NYSCA.Kessler other works include The Watering Place (premiered on Broadway and starred Shirley Knight and William Devane); Perp, premiering at The Barrow Group in March 2019, directed by Lee Brock; House on Fire (2018) which premiered at Palm Beach Dramaworks, directed by Bill Hayes; and Robbers (1987) which has been performed at the Long Wharf Theatre in New Haven, Connecticut starring Judd Hirsch. Kessler’s play Orphans has been made into a film of the same name. Directed by Alan J. Pakula, the film version of Orphans starred Matthew Modine and Albert Finney. Beyond his creative output, the award celebrates his humanitarian work with The Imagination Workshop, the world’s longest-running arts and mental health program serving veterans with PTSD.
Len Cariou
Len is an internationally recognized, Tony Award-winning, Emmy-nominated actor whose career spans sixty-five years on regional stages, Broadway, off-Broadway, film and television. A member of the Theatre Hall of Fame, he is known best for his legendary performance as the title character in Sweeney Todd: The Demon Barber of Fleet Street. In 2024 he was honored with the John Willis Award for Lifetime Achievement in the Theatre by the Theatre World Awards. Cariou remains highly regarded for his extensive classical repertoire, including King Lear which he assayed twice. His one-man show Broadway and the Bard re-visited some of the best dramatic and musical elements of his robust career. Len became a beloved figure as Reagan over 14 seasons on CBS Blue Bloods. Last year, he distinguished himself once again off-Broadway in the role of Morrie Shwartz in the award-winning Seadog Theatre production of Tuesdays With Morrie, and in the role of Kozlowski in ATA’s acclaimed production of Zagłada. Look for him in the new year on MGM+ as Linus Bean in the new series American Classic, in which he co-stars with Kevin Kline, Jon Tenney and Laura Linney. Len is a Mets fan, an inveterate gin rummy player, and loves the game of golf. He is an adored and adoring father, husband and grandfather, a member of the Order of Manitoba, and an Officer of the Order of Canada.
The Jean Dalrymple Award — In a tradition established in 1985, Founder and Artistic Director James Jennings, alongside Vice President Jane Culley and Executive Director Jessica Jennings, will present the Jean Dalrymple Awards. Named for the “First Lady of City Center” and a founding member of the American Theatre Wing, the Dalrymple Awards honor exceptional talent at the Off-Off and Off-Broadway levels. Jean Dalrymple, who mentored James Jennings for over a decade, was a visionary producer who worked with icons ranging from Cary Grant (whom she famously discovered) to Orson Welles and Uta Hagen. Previous recipients of this flagship honor include Ginger Rogers, Patricia Neal, and Danny Aiello.
The ceremony inaugurates the Hell’s Kitchen Awards, acknowledging the gritty, vibrant excellence of the local artistic community that has called the ATA home for fifty years.
The American Theatre of Actors was founded in 1976 by James Jennings, who continues as its President and Artistic Director. It is a repertory theatre company whose purpose is to promote the development of new playwrights, directors, and actors and provide them a creative atmosphere in which to work without the pressures of commercial theatre.
Over 2000 new works have been presented and more than 12,000 actors have worked at A.T.A., including Dennis Quaid, Bruce Willis, Danny Aiello, Dan Lauria, Chazz Palminteri, Kevin O’Connor, William Fichtner, Edie Falco and Kathryn Hahn.
President: James Jennings
Vice President: Jane Culley
Exec Director: Jessica Jennings
Secretary: Joseph Krawczyk Treasurer: Jacqueline Pace
Board of Directors: Gil Ancowitz, Ted Baehr, Courtney Everette, Joseph Krawczyk, Suzanne McGrath, Terrence Fergus, McMillan Johnson
Honorary Board: Robert De Niro, Barbara Bel Geddes, James McManus, Peter Masterson, Vincent Sardi, Paul Sorvino, Joseph Stein, Madeline Thornton Sherwood, Andrew Stein
“Are We Friends, and Were We Ever?” asks Jim Catapano at YEARS TO DATE’s New York Premiere
Allen Barton’s Masterpiece Years to the Day Takes a Hard Look at Modern Relationships
“How the hell do you live your life unless you know who you are?”
Jeff (Jeff LeBeau) and Dan (Peter Zizzo) met each other and their later partners at the very beginning of college and have been “best friends” ever since…and yet they haven’t seen each other in person in six years. They finally meet over coffee, and it’s the precise anniversary of their last get-together in the flesh. They are in their mid-fifties, a time when a certain “rigidity” can set in for a person in terms of habits and point of view, accompanied by a “this is who I am, deal with it” attitude.
“You are the king of rudeness,” snarks Jeff as they settle in.
“You are the king of puerile, nanny-state intervention!” Dan claps back, but this “old buddy banter” is foreshadowing of the severe disconnection that is soon revealed. They discuss the “latest movie,” which Dan despises but Jeff saw twice; they debate about whether they’re middle-aged or old, and if “50 is the new 40” and how does that effect who they date.
But there’s a discomfort ever-present as the two try to slip into their old roles. The fiery Dan and the comparatively reserved Jeff come across like strangers that just happen to have known some of the same people and shared some experiences. We start to wonder immediately how these two came to be close, as their opposing energies and outlooks are brought to the table. Stunning revelations about each other’s lives come pouring out—important, life-changing, traumatic events that any close friend should have already known about. It’s clear that the notion of them having a deep connection is nonsense; their “friendship” is just a habit, and not one that they’ve cultivated in a healthy way. Jeff and Dan are on opposite sides of the political fence, but it’s never been a problem because Jeff used to downplay his beliefs; his refusal to take up the placating Avatar of old leads to a verbal explosion that nearly drives him out of the get-together. (The political climate is smartly kept vague and thus evergreen; we learn of an unnamed president that has somehow managed a third term, to Jeff’s delight and Dan’s horror.) Now that neither Jeff or Dan are “playing characters”, they find that the “actors” who brought them to life have little basis for a relationship. And yet somehow, their shared history and a genuine caring despite of all the differences just might be strong enough to lower the temperature and leave open the possibility of another meeting in the near future…maybe.
Written and directed by Barton and produced by Mia Christou, Years to The Day first premiered in 2013 to great acclaim and now makes its New York debut in a time when its themes are ever more relevant. Emmy winners LeBeau and Zizzo disappear deftly into their characters, delivering Barton’s musical, witty, rapid-fire dialogue with tremendous skill yet always appearing spontaneous in their interaction. Their body language, tense and awkward, is like another character in the play; seeing these two “buddies” barely look at each other for most of the meeting is chilling. Their unconvincing promise to “call Brenda” after a sad event for the unseen character stuns the audience; we all have a Brenda in our lives we’ve neglected. Seeing Jeff and Dan’s supposed closeness exposed as simply the product of having been in the same place at the same time is devastating as it certainly reflects reality for many in the modern world. In a time of social media false personas, fishing for “likes,” and a phone addiction that allows us to retreat at the first sign of boredom or discomfort, it becomes too easy to not even bother to cultivate a deep connection.
Hilarious, heartbreaking, and thought-provoking, Years to the Day is a must-see and a triumph for Barton, LeBeau, Zizzo and Christou.
“One thing exists at a time,” observes Dan throughout the play; it’s a simple yet astonishing declaration that will stay with you once you realize what it truly means, and the ark of Years to the Day reveals it powerfully.
Years to The Day is performed at the American Theatre of Actors through February 28, 2026.
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.
Arts Independent 