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Jim at “Club 27” — One More Rider on the Storm
Club 27: A One Woman Confessional Cabaret Triumphs at the Inaugural Manifestival
A figure is slumped over a chair, apparently dozing. The room is filled with dazzling clothes, shoes, and accessories around a chessboard carpet; there is a stack of record albums, one from Amy Winehouse at the top.
Amy was 27. Kurt was 27. Janis was 27. Jimi was 27…
The woman (Faith Pasch) snaps awake at the sound of a ringing telephone, and her Pianist (Alex Parrish) asks, “Are you going to get that?”. The woman herself is, we will learn, a 27-year-old singer, and the significance of that hangs over her like a piano dangling from a high window on a flimsy string. She later muses she has about six months to decide if she’s going to join the club.
“Do I have to?” The Singer asks, re: getting the phone, which they cannot even locate. “Can we make it stop?”
“Why stop it when we can drown it out?” says The Pianist. “Don’t you want to drown?”
“You know I do.”
To the strains of “Paint it Black”, Club 27: A One Woman Confessional Cabaret begins, and it is nothing short of a modern masterwork from author Maeve Z. O’Connor, coupled with a tour de force from Faith Pasch.
Pasch proceeds to give an electrifying performance as she summons the ghosts of rock stars past, and her character wrestles with her own demons as they threaten to pull her into the same abyss. She captivates the audience throughout in a way that both echoes and honors the icons she invokes.
“Audiences like to see their blues singers miserable,” her unnamed character observes. “They like their blues singers to die.”
In addition to his excellent work at the keyboard, Alex Parrish is a compelling second, often contrarian voice, as he admonishes The Singer to set aside her philosophizing and her anecdotes about Janis and Amy.
“Do you hear yourself right now?” he scolds. “…All that waxing poetic, it’s going to catch up to you. You don’t have infinite time—you have here and now. And you’d better do something with it.”
And does she ever—Pasch puts on a tremendous show indeed, her powerhouse vocals perfect for the songs given to us by those much-loved icons. Her earth-rattling renditions of Joplin’s “Move Over” and “Piece of My Heart”, and Winehouse’s “You Know I’m No Good” are spine-tingling and celebratory, as if to balance out—or perhaps add an exclamation point to—the chaos and darkness at the heart of the proceedings. The already haunting “Riders on the Storm” has never felt more ominous than it did on this anonymous rock singer’s clothing-strewn stage.
“It won’t stop unless you stop it,” says The Pianist. “Sing, or tell them another story. Famous…or dead?” The description of Amy Winehouse’s last days that follows this is heartbreaking; and the observation about the possibly inseparable nature of artistry and addiction, chilling.
“You’re going to end up in a ditch,” says The Pianist.
“Doesn’t matter,” says The Singer, as long as you enjoy the ride there.” But as the phone keeps ringing, the singer wonders if there is another option.
Pasch and Parrish aren’t doing a jukebox musical here—they give every bit of themselves to the music, performing it with a passion and a purpose while honoring the ones who first brought these songs to the public conscience. There’s a desperation underneath the pounding of the keyboard and the banging of the tambourine and the searing vocals—a rage against the candle that burns extra bright and extra brief by the artist’s own design.
The unnamed singer chain smokes, chugs from a Jameson bottle, dances wildly and strikes classic rock star poses in an almost ritualistic, deliberate playing out of the rock and roll story that seemingly has only one resolution. Pasch fearlessly commands the stage and inhabits the character fully; and O’Connor makes sure that the very real people who inspired Club 27 are honored and remembered as human beings who lived, loved, and created, rather than just cautionary tales of the ever-more distant past. It is a remarkable tribute to these artists, an insightful look at the price of fame, and an outstanding piece of live theatre that is not to be missed.
Club 27: A One Woman Confessional Cabaret is presented as part of Diamond Mesh Inc.’s Manifestival. It is performed at the Paradise Factory Theatre through August 9, 2026.
Learn more about the Manifestival at diamondmeshinc.com.
Jim Catapano witnesses a Dream of An America for All of Us, Set to Jubilant Music by Kevin Davis
Kevin Davis’ One in a Million Cabaret Electrifies at the MITF
The Sargent Theatre at the American Theatre of Actors was the latest home of the cabaret consisting of highlights of Kevin “KD” Davis’ powerhouse Broadway World-nominated Musical, which has delighted audiences throughout NYC.
“You’re not going to get the beginning, middle or the end,” noted Davis of the Cabaret version. “But what you are going to get are the themes that run throughout the musical.”
And those themes were driven home by the key scenes performed and by the dynamic score, assisted by the fantastic JazzCatz band and a lineup of magnetic singers and dancers giving life to the characters, telling a tale of greed vs giving, and evil vs good. The gist of the story is as relevant as ever, as we see a group of church friends win a shared lottery of $999 million, and quickly learn that happiness is not the result. Their struggles and conflicts are set against the backdrop of life in 2020s America, where the message of Matthew 25:40 appears to have been forgotten: “Whatever you did for one of the least of these brothers and sisters of mine, you did for me.”
Raquel Sciacca is an exuberant Little Red (Red for short), who urges us not to misconstrue her nickname. “No, not that kind of red. I’m so liberal the trees hug me”.
She acts as an observer and commentator for the proceedings, part Jiminy Cricket and part Ghost of Christmas, as she laments the collapse of the protagonists into selfishness and the cruelty of today’s USA.
Valerie Chamberlain reprises her lead role as Wanda, and Jillian Marzziotti dazzles in her spotlight dance sequence as Moriah (“because every show needs a bad girl.”) Karen Vigo, Rayvon Johnson, and J. Singh round out the cast, all tremendous vocalists who give their all to the emotional songs, and depth and humor to their parts.
The narrative yearns for an America that can return to true Christian values through a progressive perspective. It’s a reaction to a conservative movement that has coopted and corrupted the teachings of Jesus for years, literally doing the opposite—not feeding the hungry, not caring for the sick, hating the neighbor and rejecting the immigrant. A screen shows videos of recent incidents of extreme brutality committed in the United States by law enforcement, followed by clips from the film Judgment at Nuremberg, to drive home how far we haven’t come as a society. A disillusioned Red reveals that she is a DACA Dreamer whose parents have been banished from the country and are now missing.
But the sadness gives way to hope, which can be found in the lyrics of the songs and the glorious musicianship of the JazzCatz (Davis on sax and percussion, Hector Rodriguez Jr. on keyboards, Daniel Best on bass and Sound Designer Christopher Velazquez on percussion). It’s a terrific sampler that makes one eager to see the full production of One in a Million, and a great example of how music and theatre—and creation itself—can inspire, teach, and unify.
Directed by Davis, this run of One in a Million was presented as part of the Midtown International Theatre Festival in July 2026.
REWRITING HISTORY WITH A ROCK BEAT: JAY STEPHENSON’S STEAMPUNK MUSICAL ‘BEETHOVEN’S WRONG NOTE’ HEADLINES THE MITF COMÈBACK
NEW YORK, NY — The independent theater capital of the world is on the precipice of an unprecedented renaissance. Founder and Executive Producer John Chatterton, an iconic trailblazer in the Off-Off-Broadway movement, has officially announced the grand return of the Midtown International Theatre Festival (MITF). Following a decade-long hiatus, the festival returns from June 15 through July 26, 2026, transforming Manhattan into a massive crucible of creative innovation with ambitious plans to mount the largest independent theater festival in history.
Festival producers have officially named Beethoven’s Wrong Note, the sensational winner of the 2024 Perry Award for Outstanding Production of an Original Musical, as a premier headlining event of the comeback season. Written by acclaimed playwright and composer Jay Stephenson, this high-octane production will anchor the festival’s high-profile summer residency at the historic American Theatre of Actors (ATA) complex in Hell’s Kitchen.
The musical will run for four exclusive performances over the holiday weekend: Thursday, July 2 at 6:00 PM; Friday, July 3 at 10:00 PM; Saturday, July 4 at 6:45 PM; and Sunday, July 5 at 11:30 AM.
The Story: A Faustian Steampunk Rehearsal
Beethoven’s Wrong Note transports audiences to the Theatre an der Wien on the fated morning of February 11, 1804. In a Herculean effort to win the heart of his elusive “Immortal Beloved,” a severely hearing-impaired Ludwig van Beethoven enters into a dangerous, Faustian pact with the famed, eccentric Viennese impresario Emanuel Schikaneder (immortally known as Mozart’s librettist for The Magic Flute).
What follows is a high-stakes, chaotic dress rehearsal for a forgotten opera titled Vestal Flame. As the two creative geniuses repeatedly bump heads, the friction spirals far beyond the constraints of the physical stage in a mad, passionate quest to produce the greatest opera ever written.
Blending rock music, classical orchestration, sweeping drama, and intensive dance, the show operates as a bold, “Steampunk” historical fiction that completely shatters traditional, stuffy depictions of the classical master.
In the Rehearsal Room: An Interview with Jay Stephenson
To unpack the unique musical architecture and historical deviations of the script, Stephenson shared his creative vision for the production.
On Constructing the Show Around a Lost Masterpiece:
“It is widely believed Beethoven only wrote one opera, Fidelio,” Stephenson explains. “Upon discovering he had composed ten minutes of another, I made it my mission to make Vestal Flame the centerpiece of a larger production. We’ve even transcribed his music for rock instruments; you will be amazed at how well his genius suits the genre. Beethoven’s Wrong Note depicts two creative giants bumping heads during a dress rehearsal. Their operatic collaboration was lost and forgotten to the world and although the work itself may be historically insignificant, their shared passion for the art form makes it extraordinary.”
On Casting Broadway Heavyweight James Harkness:
“James Harkness is a true triple threat. His dynamic personality, along with his elite dance skills and his exceptional voice, make him an absolute gift to the Broadway scene. When I saw him starring in Ain’t Too Proud: The Temptations Story, I knew instantly he was the only person on earth who could embody this version of Beethoven. He is a magnificent performer who has found the exact right vehicle to showcase his talent.”
On the Artistic Philosophy of the Musical:
“In an age dominated by jukebox musicals, parodies, and endless film adaptations, Beethoven’s Wrong Note is intended as a gentle, fierce reminder of what the American musical was originally meant to be: a vibrant, dangerous, and completely original journey of emotional truths.”
A Cast and Creative Team of Elite Pedigree
The production features a jaw-dropping lineup of theatrical heavyweights that elevates the show far beyond standard indie festival fare:
- James Harkness (Ludwig van Beethoven): A celebrated Broadway veteran, Harkness commands the title role fresh off headlining runs in Ain’t Too Proud (as Paul Williams), Beautiful: The Carole King Musical, and the original company of The Color Purple. His casting is particularly historic; Harkness’s portrayal intentionally reflects contemporary historical accounts and cutting-edge DNA research surrounding Beethoven’s complex multi-ethnic ancestry, recontextualizing the maestro for a modern audience.
- Jay Stephenson (Playwright/Composer): A proud member of the Dramatists Guild, Stephenson is a former New York Times-acclaimed performer turned writer whose sharp, genre-bending sensibilities have made him a vital voice in modern musical curation.
- James Higgins (Musical Director): A 2018 New York Innovative Theatre (NYIT) Award nominee, Higgins brings a massive global pedigree to the pit, having famously conducted and performed across all seven continents.
A Triumphant Platform for Independent Vision
The return of the Midtown International Theatre Festival marks a seismic victory for independent performance art in New York City. To manage the massive logistical and promotional footprint of this historical comeback, John Chatterton has partnered with Jay Michaels Global Communications (JMGC) to coordinate global PR, marketing strategy, and media outreach.
By staging Beethoven’s Wrong Note across the holiday weekend inside the three-theater ATA complex—currently celebrating its own monumental 50th Anniversary—the festival provides the ultimate professional launchpad for large-scale, high-concept indie musicals to showcase their commercial viability near the theater district.
The expanded MITF 2026 framework is actively accepting submissions and rolling applications across multiple artistic categories, including full straight plays, boundary-pushing musicals, solo performance art, cabaret showcases, theater for young audiences, and 10-minute short plays for the popular MITF Short Play Lab.
Production Summary
- What: Beethoven’s Wrong Note – The Perry Award-winning Steampunk Musical by Jay Stephenson
- Starring: Broadway Legend James Harkness
- Musical Direction: James Higgins
- Festival: The Midtown International Theatre Festival (MITF)
- When: Thursday, July 2 @ 6:00 PM; Friday, July 3 @ 10:00 PM; Saturday, July 4 @ 6:45 PM; and Sunday, July 5 @ 11:30 AM
- Where: The Main Stage at the American Theatre of Actors (ATA), 314 W 54th St, New York, NY
- ALL PERFORMANCE AVAILABLE TO THE PRESS — TICKETS FOR ALL SHOWINGS ON SALE NOW — CLICK HERE
Inside the Inaugural Diamond Mesh Manifestival at Paradise Factory Theatre
NEW YORK, NY — This summer, the NYC theater circuit gains a provocative new heartbeat. Diamond Mesh Incorporated — Theatrical Productions is proud to announce the inaugural Diamond Mesh Manifestival, running from July 16th to August 9th at the Paradise Factory Theatre. Harkening to the days of the original off-off Broadway movement, The Manifestival presents a curated slate of explosive productions paving the way for the “Next Great American Drama.”
At its core, the festival functions as an incubator for risk-taking storytellers. Reflecting on the grand scope of the event, festival co-founder Faith Pasch explains:
“The Manifestival is ultimately about why we feel alone — what creates such isolation when, as human beings, we share so many of the same intimate emotional struggles. Club 27 explores the pressure artists face around how they are “supposed” to create, and the dangerous idea that self-destruction is somehow tied to becoming legendary. It examines how we can fall deeper into our vices in order to maintain the image of being chaotic, exciting, and therefore interesting. While that narrative is often associated with artists of the ’70s, it remains just as relevant today. We hope the show resonates with artists, creatives, and anyone navigating their own personal journey. It’s also incredibly rare for a new work to debut with a 16-show run, and this festival has been instrumental in helping us share the show with far more people than we ever could have imagined,” says ManiFestival co-founder, Faith Pasch
The Mainstage Slate
The bedrock of the festival consists of three ambitious, full-run anchor productions challenging contemporary theatrical norms.
The Silly William Gambit
- Written by: Matt Bader
- Schedule: Thursday–Saturday (6:15 PM), Sunday (5:45 PM)
- Eccentric chess prodigy Silly William finds himself on a train bound for hell (or Philadelphia, as it is known in some circles). When a mysterious entity that only plays the 4-move Checkmate Attack hears of Silly William’s skill, it offers him his freedom if he can manage to defeat the entity in a series of chess matches. Silly William then narrates every move of the unfolding seven matches, which are played out on stage in real time, as he sets out to unravel the game, his past, and his very self.
piss.jpg (Working Title)
- Written by: Justin Jager & Michael Gardiner
- Schedule: Thursday–Saturday (8:00 PM), Sunday (7:30 PM)
- Subtitled by its creators as “The Next Great American Drama,” piss.jpg (Working Title) might be described as The Gen Z Waiting for Godot. It might not. There will be no further questions at this time. Co-creator Michael Gardiner remains unflinchingly optimistic about its trajectory:
“First stop: The Manifestival. Next: The Great White Way!” — Michael Gardiner
Club 27: A One Woman Confessional Cabaret
- Written by: Maeve Z. O’Connor
- Schedule: Thursday–Saturday (9:45 PM), Sunday (3:00 PM)
- Join your nameless (and fabulous) host in her liminal rock & roll nightmare as she deftly welcomes you to Club 27. Over the course of her set—and more than one argument with her enigmatic pianist—the host grapples with fame, death, legacy, and what it means to be an artist. When sex, drugs, and rock & roll convene, how do you make it out famous and alive?
The Signature Series
The Signature Series features extended-length independent works exploring deeply human, sometimes surreal landscapes.
FEATURED EVENT: My Ghosts
- Written by: David & Erica Laros
- Schedule: August 3 & 4, August 8 (3:30 PM)
- Step into the haunted clocktower to join us on a madcap journey against time with Cab Curio, famous writer, as he returns to his truest self while fending off his three zany inner critics, Shakespeare, Marlowe, and Jack Wilson, before his time runs out. Lenore, the clocktower ghost, helps Cab along the way as he re-discovers his passion for music. Sing and dance along with catchy, memorable songs and embrace characters you know and love.
The festival has proven to be a profoundly spiritual milestone for its creative team. When asked what the event means to them, co-creator Dave Laros shares: “My Ghosts” has been spiritually guided from the very start. We’re so grateful to be part of Manifestival. To us, Manifestival means complete alignment and true authenticity.
Co-creator Erica Elsa Laros echoes this sentiment regarding the developmental momentum: “Everything about ‘My Ghosts’ has been green light–green light–green light. The music flowed effortlessly after the idea. I had a recurring dream about Manifestival before it happened, then the universe breathed life right into the script. Before it was always just Dave and me. Now we’re building a team of talented and creative minds to collaborate on our show!”
The mirror reality of staging the piece has also fueled deep personal artistic growth. Erica notes:
“Watching my story of the artist and the inner critics come alive on stage, I feel like I am literally watching my own story play out about the crushing nature of self criticism and how it can be changed.”
Dave adds his perspective on pulling double duty behind the scenes and under the lights:
“To me, growing as an artist means exploring the different parts of the self and I’ve been able to do that in preparation for the Manifestival, not only as composer and lyricist but also as a performer in our musical.”
FEATURED EVENT: How Not to Fund a Honeymoon
- Written by: Stephanie Greenwood
- Schedule: July 27 & 28 (7:45 PM), August 1 (2:00 PM)
- The problem: Gwen and Charlie are strapped for cash. Their wedding is coming up and they have no way to pay for the honeymoon of their dreams. The solution: Break into Aunt Robyn’s house and steal the mysterious treasure that she is always bragging about but no one has ever seen. This is how Charlie and Gwen find themselves outside Aunt Robyn’s house holding a rock, wondering if they should throw it through her window and really hoping that she is definitely on holiday.
OTHER EVENTS IN THE SERIES:
The Ballad of Bonder Thrashman Fitzqualudes
- Written by: Fletcher Michael
- Schedule: July 20 (7:45 PM), July 21 (9:15 PM), July 25 (2:00 PM)
- A comedy that follows professional apartment ball player Bonder Thrashman Fitzqualudes as he attempts to navigate his way through an esteemed MFA playwriting program despite never having written a play. After receiving a full scholarship as a prize for winning the apartment ball world championship, Bonder avoids expulsion by agreeing to have his brain swapped with the recovered brain of Renaissance playwright Christopher Marlowe in a plan overseen by a secretly-sinister, Tony Award-winning faculty member who may have sold his soul to the devil.
Fletcher Michael, the founder and artistic director of Infinite Monkey Theater Company, values the festival’s willingness to embrace artistic vulnerability:
“At Infinite Monkey Theater Co., we see the ManiFestival as an opportunity to stage boundary-pushing, genre-defying, original, and truly downtown-y new work that might not otherwise find a home. Our show, The Ballad of Bonder Thrashman Fitzqualudes, required a festival willing to take a chance on what is certainly our most outrageous production to date, and in the ManiFestival, we have found that bold and brilliant support.”
Selkie Woman
- Written by: Zoe Stanton-Savitz
- Schedule: July 27 & 28 (9:15 PM), August 2 (1:00 PM)
- Layla and JJ navigate the complications of girlhood and friendship as they determine what it is to love and be loved. From age twelve to age eighteen, they hurt each other both physically and emotionally while clinging to the love they have for each other and the protection this friendship provides.
A Humorless Exploration of Humanity
- Written by: Ryan Sickles (Contact: rysick05@gmail.com)
- Schedule: August 3 & 4 (6:00 PM), August 8 (2:00 PM)
- A grief-fractured reality star invites cameras into her living room and accidentally lets something else in: an alien. Everyone is watched, no one is understood, and the red light never really turns off. It’s about loneliness. And aging. And maybe coughing.
Playwright Ryan Sickles looks forward to standing alongside his peers in the festival lineup:
“As emerging theater artists, we are very grateful to the Manifestival for the chance to share our work. Alongside the other productions involved, we plan to make this the best first Manifestival ever.”
One-Night-Only Events
The Manifestival packs its calendar with sharp, fast-paced, single-evening engagements that promise high theatrical stakes.
FEATURED EVENT: Ruff Ruff Ruff Ruff I’m a Dog
- Written by: Atlas Kazan
- Schedule: July 21 (7:45 PM)
- Plato has a reputation to uphold. As a former student of Socrates, the inventor of Western philosophy, he likes to think he’s as wise, intelligent, and virtuous as his mentor. However, Diogenes disproves that time and time again, humiliating him every chance he gets to show what real virtue and wisdom look like. As Diogenes and Plato squabble, Aristotle and Alexander try to make sense of philosophy itself.
Playwright Atlas Kazan emphasizes that self-producing via the festival layout is a vital tool for independent creatives:
“I had recently come to the conclusion that if I wanted to get my work produced, I gotta do some of the producing myself. I tackle subject matters that are rarely touched upon in contemporary theatre, so I understand why theatre companies would hesitate to produce my work if they don’t know how an audience is going to react to it. Fortunately, I know how an audience is going to react to it. Ruff Ruff Ruff Ruff I’m a Dog has gone through a long journey. Audiences went from liking it to loving it, and each time it was presented as a workshop or a reading, I refined it more and more. To me, the ManiFestival means an opportunity for theatre artists to prove to the theatre industry that they have the skill and the motivation to create great art, and in this specific instance, it has given me the opportunity to prove that my work is not only entertaining, but insightful.”
OTHER EVENTS IN THE SERIES:
The Adventures of Leo
- Written by: Dominic Sahagun
- Schedule: July 28 (6:00 PM)This play follows a childless married couple, Leo and Julia, on the Upper West Side. The jokester Leo is a security manager at Dick’s Sporting Goods, and Julia is a burnt-out ER nurse. When Leo’s father suddenly passes away, can he continue his routine? Or is all lost…?
Dominic Sahagun, an Assistant Professor of Voice at Berklee College of Music, found solace in the festival’s welcoming community structure:
“On the first webpage of Diamond Mesh Inc., home of The Manifestival, it reads ‘Why Do We Feel Alone?’ …And I’m not sure I can answer that. But I do know that if I write a play, and then stuff the script into the back of my closet, I sure would feel alone. The Manifestival allows me to do the opposite, present my work ‘The Adventures of Leo’ for the first time, and to just sit back and watch alongside a New York audience. Not alone at all. Thank you, Dominic.”
Songs I Sing in the Shower
- Written by: Danielle MacMath
- Schedule: July 27 (6:00 PM)In this comedic solo show[er], Danielle MacMath
- (Fragments with F. Murray Abraham, SantaCon The Play with Richard Kind, Eric Bogosian’s 1+1 Off-Broadway) manifests her childhood dreams and the catharsis of a hot shower. MacMath notes:
“Songs I Sing in the Shower will premiere at the inaugural MANIFESTIVAL. It’s so exciting to launch this journey with such a vast group of artists!”
Fingers Crossed
- Written by: Stacy Cancelarich | Directed by: Michael Gardiner
- Schedule: July 21 (6:00 PM)
- After a fateful car accident on Thanksgiving Eve, Stacy’s beloved father gets diagnosed with heart failure…. and then lung cancer…. oh, and Alzheimer’s too. Yikes. In this outrageously funny and darkly poignant solo show, Stacy attempts to care for her dying father while colliding with the COVID-19 Lockdown, her severely obsessive-compulsive mother, and her rehabilitated cult-member sister in a rollicking hospice care story. Director Michael Gardiner states:
“Fingers Crossed has been in development for a number of years, and we’re so excited to share with an audience and we couldn’t be in more esteemed company than with our fellow Manifestivalites!”
The March Hare
- Written by: Amanda DeLalla
- Schedule: August 4 (7:45 PM)
- This contemporary fairytale follows the day-to-day of Andra, a neurodivergent woman who works at a Manhattan teahouse. Although her interactions are “by the book,” it becomes apparent that all is not what it seems for the soulful bookworm as she faces a frustrating truth about love and memory. Writer and arts administrator Amanda L. DeLalla celebrates the script’s return to the stage:
“After its debut staging last year, the Manifestival is a terrific avenue for my script to get revived at the Paradise Factory with a brand-new cast and director. This will also be the first production of the play since its publication with 1319 Press, so I’m really excited that the audience can take a piece of The March Hare home from the show.”
Additional One-Night Engagements:
The Rosary Through Which We Talk to the God We (Don’t) Share (Alejandra Cepeda Batiz |
July 20 @ 6:00 PM):
Victoria wrestles with whether to tell her deeply religious grandmother about her sexuality
It’s Five O’Clock Somewhere (Justin Jager & Friends
July 20 @ 9:15 PM:
A staged reading of a collection of one-act plays written by chronic jackass Justin Jager and cohorts while horribly inebriated.
Princess Fantasy! (Alexandra Brokowski
July 26 @ 1:00 PM):
The journey of a long-dormant princess whose kingdom awaits her coronation. Will her fantasies shake her deep sleep, or will she remain our resident sleep paralysis demon?
Occupation Housewife (Abigail Tilly
Aug 3 @ 7:45 PM):
In 1955 Iowa, five housewives meet for their weekly brunch to escape monotony until life-changing news upsets the status quo.
Special Events & Screenings
The Manifestival expands beyond standard live theatre, incorporating mixed-media events, industry-facing showcases, and musical tributes.
- The Vampire (Written by Alec Silberblatt | July 22 @ 7:00 PM): A pulpy horror story mixed with club beats and Adderall-induced fights that serves as a potent metaphor exploring modern masculinity.
- “Interface” Screening with Umami (Justin Tomchuk) (July 29, Time TBD): An intimate screening of the 24-part web series turned 2-hour animated sci-fi epic. Includes an appearance by Tomchuk and a post-screening talkback.
- Front and Center (Aug 5 @ 5:00 PM): A showcase revealing the creative talents of the festival’s box office pros, ushers, and concessions staff working as playwrights and directors.
- Clowning Around (After Hours) (Curated by Faith Pasch Productions | Aug 5 @ 6:30 PM): A lively showcase where past and present clown performers step out of their big shoes to reveal their offstage artistry in dance, music, and theatre.
- Rumours: In the Room (A Fleetwood Mac Tribute) (Produced by Faith Pasch Productions | Aug 5 @ 8:30 PM): An acoustic, theatrical reimagining of the iconic album Rumours, set inside an intimate recording session where personal relationships unravel in real time right in front of the audience.
Ticket & Venue Details
All performances take place at the Paradise Factory Theatre. For performance schedules, full ensemble credits, and box office ticket reservations, visit the official Diamond Mesh Manifestival online portal.
ALL THE WORLD IS THIS STAGE: Jay Michaels and New York Shakespeare Launch “The Global Bard Initiative”
NEW YORK, NY — In a world increasingly driven by digital synthesis, two titans of the theatrical community are returning to the raw power of the human voice. Jay Michaels Global Communications (JMGC) and New York Shakespeare are proud to announce the launch of The Global Bard Initiative, a worldwide search for seasoned professional, untapped talent, and the next generation of classical performers.
“This isn’t just a contest,” says Rodney Hakim, founder of New York Shakespeare, “it’s a movement to democratize the works of William Shakespeare. By stripping away the barriers of geography and language, the Initiative seeks to prove that the Bard’s 400-year-old insights remain the heartbeat of the modern global stage.”
THE CHALLENGE: HUMAN VS. ARTIFICIAL
In a bold stand for artistic integrity, the Sponsor has issued a strict “Human-Only” mandate. While technology is used to broadcast the event, the performances themselves must remain pure.
“We are looking for soul, not software,” says Industry notable, Jay Michaels. “At a time when AI can mimic almost anything, we are seeking the irreplaceable spark of a live performer.”
HOW TO ENTER: FROM SCREEN TO STAGE
The Global Bard Initiative is open to independent artists and theatrical institutions worldwide. The journey from digital submission to a New York spotlight follows a rigorous three-phase path:
- Phase I (The Digital Call): Actors may submit up to five (5) Shakespearean soliloquies via video (MP4 or YouTube link).
- Phase II (The NYC Call-Backs): Selected finalists will perform live at a New York City venue in August 2026 (possible telecast opportunities for international artists).
- Phase III (The Global Finals): The best of the best will compete in a grand finale in September 2026, which will be simulcast to a worldwide audience and recorded for Channel Indie TV.
Submission Requirements at a Glance
Exclusively William Shakespeare (Solo Monologues) in any language (Non-English performances must include subtitles) of a Maximum of 5 minutes per video.
No fees to enter
Deadline: July 1, 2026
SEND ENTRIES TO info@jaymichaelsarts.com
GLOBAL REACH & MEDIA IMPACT: The Global Bard Initiative is designed to provide massive exposure for participating artists.
Finalists will have their performances reviewed by accredited professionals and featured on global streaming platforms. By participating, artists join a prestigious roster of talent showcased by JMGC and New York Shakespeare, gaining a non-exclusive, worldwide platform for their craft.
READY TO TAKE THE STAGE?
Digital submissions and biographies should be directed to: INFO@JAYMICHAELSARTS.COM.
About Jay Michaels Global Communications & New York Shakespeare:
Dedicated to the promotion of independent artists and the preservation of classical theater, these organizations collaborate to bring high-caliber performance art to diverse audiences across the globe.
Jim Catapano reviews Richard Vetere’s Compelling “Poet on a String” which draws eerie parallels between 1939 and today
Creativity and Connection, Challenged in a Changing World
Richard Vetere’s Compelling Poet on a String Draws Eerie Parallels between 1939 and Today
As the 1930s faded and the reality of another World War loomed, the artists of the time were facing their own crossroads. Film was becoming the dominating medium, and the culture-changing era of Television was fast approaching. The poet Delmore Schwartz (Sam Cruz), only 26 but already studiously examining his “past”, rages against the new paradigm, mocking the very notion of a “screenwriter” as a meaningful pursuit.
Delmore’s wife of two years, Getrude Buckman (director Amber Brookes), is also a writer, but this means little to the narcissistic, dismissive Delmore. “I don’t think she has talent, but I love her just the same,” he confesses directly to the audience at play’s opening. But the “love” part is seriously in doubt as well, as it becomes evident that Delmore sees Getrude solely as the muse to fuel his own brilliance.
“I have a big ego because I’m a genius!” he bellows.
In the midst of the couple’s play-acting at a healthy partnership, they arrive at the home of friend and fellow writer James Agee (Joseph Monseur) to spend the summer weekend boozing and philosophizing. James is primarily a journalist and commentator who is doing a piece for Life magazine on Delmore. But in stark contrast to his friend and interview subject, James is planning to jump headfirst into the modern way of storytelling, aspiring to be one of the Hollywood screenwriters that Delmore scoffs at. In between drinking and flirting with Gertie, James likes to wander off and seek out the ghost of his father, who died very young, and according to James appears nightly on the grounds to have a chat.
Thus begins an intense 48 hours that examine the fragility of relationships as the tidal wave of global change on many fronts threatens to consume them. James is self-destructive, Delmore is paranoid and rigid; Getrude struggles to be seen as an individual with a creative voice that deserves to be heard.
“I don’t want to be his muse!” a defiant Gertrude proclaims to James. “I’m searching for my own.”
A passionate debate between Delmore and James illustrates the crux of the conflict. “When poets destroy other poets, they are falling into the hands of the Philistines,” seethes Delmore. “The people must read poetry, they must shun the movies, they must be allowed to learn and question life—not deny pain and suffering. Movies perpetuate fantasy: We are a culture of denial.”
“Let’s join the culture of denial!” responds James, urging Delmore to join him on the “dark side” by coming with him to Paramount to write movies together.
Vetere and Brookes have come together to create a production that not only gives a tantalizing fly-on-the wall-look at three real-life artists in the pivotal year of 1939, but also holds tremendous relevance up to those of us navigating the treacherous waters of 2026. The dawn of the Golden Age of Hollywood mirrors the rise of AI. When Delmore condemns film as an affront to genuine artistry and a catalyst in the diluting of audience intelligence, we can’t help but shudder at where we are now, as the even greater danger of Artificial Intelligence threatens to utterly destroy the human component so crucial to creativity. That said, Agee’s point of view must also be considered; if the creative world is changing and nothing can stop it, the only options are to ride or die. This conundrum, along with the tension among the characters, is presented with astonishingly strong dialogue, deft direction and terrific work by the cast. Many of the things the characters say are based on extensive research, with Vetere’s artistic flourish painting a realistic picture of what may have happened that fateful weekend. There are many witty, laugh-out loud moments to complement the dramatic intensity and powerful performances, making Poet on a String a modern classic and a must-see.
Note that the production features two rotating casts, allowing for audiences to enjoy different interpretations of these literary icons and this very relevant artistic dilemma: The second cast features Dustin Pazar as James, Elizah Hill as Gertrude, and Jake Minter as Delmore.
Poet on a String runs at The Sargent Theatre at The American Theatre of Actors through April 12, 2026.
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
Arts Independent 