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The MITF is back and ATA has got them!

The Midtown International Theatre Festival Returns to New York After Decade-Long Hiatus and the Landmark American Theatre of Actors will host the event.

AN HISTORIC EVENT AT AN HISTORIC LOCATION

The Midtown International Theatre Festival (MITF), a respected and influential platform for independent theatre, is set to make its triumphant return to New York City after an absence of nearly a decade. Founder and Executive Producer John Chatterton, a pivotal figure in the Off-Off-Broadway movement, is partnering with Jay Michaels, one of indie theatre’s most visible personalities, to bring the groundbreaking theatrical event back in June/July of 2026.

The new festival will encompass the entire ATA complex of three theatres starting June 15 through July 26, 2026

MITF is accepting applications for productions to be included in the festival until December 31, 2025. Please contact Jay Michaels at info@jaymichaelsarts.com for further details and an application form.

An Ambitious Return at a Historic Venue

The revived festival will be hosted by the prestigious American Theatre of Actors (ATA), marking an auspicious collaboration as the ATA celebrates its 50th anniversary.

“We’re thrilled this event could happen at our theatre—and especially during our 50th anniversary,” says Jessica Jennings, Executive Director of the American Theatre of Actors. The ATA was founded in 1976 by her father, James Jennings, who remains its President and Artistic Director.

The new incarnation of the MITF is planned to be the largest independent theatre festival in history. Already, more than two dozen projects and events have signed on, with plans underway to expand offerings to include:

  • A dedicated Cabaret Section.
  • A comprehensive One-Act Series.
  • A full-fledged Film Festival.

A Legacy of Innovation

Founded in 2000 by John Chatterton, the original MITF was established following the suggestion for a “Midtown Fringe” to complement the downtown scene. It ran for 18 successful seasons before its hiatus in 2018.

The festival quickly became a highly visible and respected launchpad for independent theatre artists. Notably, the MITF pioneered a festival model of theater rental and shared box office revenue that continues to influence theatre festivals worldwide today.

About the American Theatre of Actors (ATA)

The American Theatre of Actors, founded in 1976, is a vibrant repertory theatre company dedicated to fostering new talent. It consists of 50 actors, 15 playwrights, and 8 directors, providing a creative atmosphere for artists to develop their work without the pressures of commercial theatre.

ATA focuses on presenting new dramas and comedies dealing with the social and ethical problems of contemporary society. Over its history, ATA has:

  • Presented over 1,000 new works.
  • Employed over 11,000 actors, including notable alumni such as Dennis Quaid, Bruce Willis, Danny Aiello, Dan Lauria, Chazz Palminteri, Kevin O’Connor, William Fichtner, Edie Falco, and Kathryn Hahn.

The return of the MITF, in partnership with the ATA, promises to inject a significant burst of energy and opportunity into the New York independent theatre landscape.

Contact: Jay Michaels Global Communications     646-338-5472 // info@jaymichaelsarts.com

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.

Stage Whisper Celebrates Five Years as LeadingIndependent Arts Podcast

Stage Whisper, the celebrated podcast dedicated to independent artists of stage and screen, is proudly marking its fifth anniversary. What began as a “little show that could” has now firmly established itself as the #1 podcast in its category, achieving significant milestones and laying the groundwork for exciting future growth.

Over the past five years, Stage Whisper has become an essential platform for the independent arts community. The podcast has produced more than 1,300 interviews and episodes, with over 600 of those released in 2025 alone. Its commitment to showcasing diverse talent has resulted in over 100,000 content downloads and featured over 100 different festivals.

Reflecting its dedication to the local theatre scene, Stage Whisper staff attended over 1,000 productions in the New York City Area.

The podcast’s influence extends across digital platforms, having recently surpassed 10,000 followers across all social media platforms, generating more than 200,000 monthly interactions.

Stage Whisper is distinguished by its core mission to remain an unbiased and independent voice, open to all shows and stories without reliance on corporate sponsors, reviews, or social media trends. This commitment to artistic freedom has earned high praise from the industry’s top professionals:

  • Award-winning playwright Marlin Thomas called his interview “a great experience.”
  • Author and artist Betti Franceschi exclaimed, “I LOVED our talk!”
  • Broadway performer Laura Shoop (Flying Over Sunset, She Loves Me) even dubbed the show “the NPR of Theatre Podcasts.”

Looking Ahead: 2026 and Beyond

Co-hosts Andrew Cortes and Hope Bird have announced ambitious plans for 2026 and beyond, designed to further increase visibility for independent artists:

  • Video Interviews launching via Channel Indie (ACW-TV).
  • Special Panels and Discussions.
  • Enhanced marketing efforts for increased visibility for guests.
  • Exclusive Live Events.

A Call to the Community: Listener-Sustained Fundraising Drive

In the spirit of being a listener-sustained program, and recognizing the precarious financial nature of the arts, Stage Whisper is launching a critical holiday fundraising campaign. The goal is to raise $5,000 before the end of 2025 to ensure the podcast can continue its mission without compromising its independent ethos.

“We are reaching out to all of our listeners, guests, and collaborators,” the co-hosts stated. “We understand that money and art are precarious, but we are asking anyone who values our work to make a $5 donation in honor of our fifth year. Your support, at any level, is crucial to keeping Stage Whisper free for both artists and audiences globally.”

Stage Whisper aims to not only help the independent arts community survive difficult times but to foster its growth and help it thrive in 2026, which they anticipate will be an exciting year for the arts.

Donations can be made through the following platforms:

Stage Whisper extends its warmest wishes for a Happy Thanksgiving, Happy Holidays, and a Happy, Healthy, and Prosperous New Year to its entire community.

Media Contact: Jay Michaels / info@jaymichaelsarts.com / 646-338-5472

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 ProductionSocial Theme Explored
POTUSPolitical and gender dynamics
A View From The BridgeImmigration and moral dilemmas
The Laramie ProjectLGBTQ+ rights and hate crime
The Shadow Box, Curious Incident, Of Mice & MenPowerful human, mental health, and social struggle stories

MCT’s continued dedication to “diversity, equity, and inclusion” under Lorson’s influence cements its position as a vital, purposeful theatre company on Long Island.


What’s Next

Following the closing of Five Lesbians Eating Quiche, Julie Lorson will immediately dive into her own annual tradition:

  • Acting Festival: She will be performing in the MCT’s annual one minute play festival, appearing in 13 out of the 46 plays submitted this year, showcasing her versatile talent across many short-form pieces.

Jim Catapano goes to the Other Side of Sondheim with Barry Joseph’s New Book

Around 2016, an 86-year-old Stephen Sondheim participated in his first Escape Room in Midtown New York City. The lifelong lover and prolific creator of games of all kinds was in his element. The director of the actors who were working there that day say that he even crawled through the tunnel that was an optional part of the game, emerging to see a puzzle that he himself had designed in 1968 with Anthony Perkins.

Sondheim was said to have grinned with glee. The puzzle was a built-in regular feature of the Escape Room; the surprise appearance of Sondheim himself was an unanticipated, delightful coincidence. (Sondheim continued to participate in Escape Room Adventures with famous friends like Mia Farrow and Bernadette Peters.)

Writer, Sondheim expert, and cofounder of the Games for Change Festival Barry Joseph recounted this in a Drama Book Show podcast recorded at the Drama Book Shop, as part of a talk and Q&A discussing his new book, Matching Minds with Sondheim. Joseph appeared before a rapt audience alongside acclaimed playwright and songwriter Michael Mitnick (whose works include Fly by Night, the Drama Desk-nominated Best Musical, Playwrights Horizons). Mitnick is also a Sondheim authority, whose insights contributed greatly to the book.

“This project started in April 2022, a few months after Sondheim passed away,” noted Joseph. “…I had just read three books (on Sondheim)…and I learned this idea that he once said he wanted to go into video game design. And that got me to start exploring.” Joseph spent two years doing research, “…contacting research institutions and finding out if they had anything related to his games and puzzles; talking to people who played games with Sondheim; who party-managed some of the events that he was at; and people who had co-designed some with him.”

As this was just a few months after Sondheim passed away, it was a time when the legend was on everyone’s minds as they both mourned the loss and celebrated his life and their connection to him.

“It meant saying ‘hi, you don’t know me, but would you be willing to open up your memory box and trust me with this piece?” said Joseph. “You can imagine many of these people had been spending months talking about, ‘this is what it was like to work with Stephen Sondheim’…but no one was asking what I was asking: ‘What was it like to play with Stephen Sondheim? And so for many of them, it was an opportunity to explore an aspect of their relationship that they never had a chance to do publicly—and maybe not even privately—for years.”

Joseph explained that once they got going, the recollections of Sondheim’s colleagues became joyfully vivid. “Not only would their memories flood back, but the memories would overwhelm them in a way where they were so excited and passionate to share them, and so that created not only an honor for me, but also a responsibility to own those stories until I could shape them together for the book.”

The search for examples of Sondheim’s game and puzzle design work became a hunt for treasure in itself. “Someone who was in the cast of A Little Night Music had saved her winning sheet from a treasure hunt that Sondheim designed—from 1973; people who had party-managed his last treasure hunt at City Center still had all the print materials and could make them all available.”

And as Joseph noted, though the book is now complete and available, the research continues today. He revealed that Mitkin had brought him a new piece of literal treasure right before the event—from Sondheim’s 1998 musical Putting it Together. “The stage manager had prepared as the opening night gift, a collection of logic puzzles,” explained Joseph. “It traces the narrative and production of the show, but all in puzzle form.” Thus, Sondheim’s two greatest passions are now seen to dovetail beautifully. And in a sense, both musical theatre and game playing have the same intent—to create among people, as Joseph put it, those “moments of connection” that are so integral to the human experience.

Case in point: The game Among Us, which became a sensation as it brought people together on Zoom during the 2020 pandemic, was based on Sondheim’s own murder mystery design. In Rian Johnson’s film Glass Onion (2022), Sondheim is seen playing Among Us with (fittingly) Murder She Wrote’s legendary Angela Lansbury. (Fun fact: Sondheim’s username is “FleetST,” while Lansbury’s is “MSheSolved” (Funner Fact: Lansbury was in a 1980’s production of Sondheim’s Sweeney Todd as well. It all comes together. Add to this Sondheim’s time as a cryptic crossword master for New York Magazine in the late 60s; the story of the two board games he developed in the ‘50s that were presumed lost, and the collection of jigsaw puzzles found after a half-century, and the journey just gets more compelling.

“When I started looking up where (the games) fell in his life, they actually had a chronology,” said Joseph. “As I started structuring the order of those chapters, they actually had an organic feel to them…you have a sense that you’re moving through the eras of Sondheim’s life.” Joseph exclaimed that the majority of the book is indeed a biography of Sondheim, but told through looking at his games.” “I study games, that means I’m a ludologist; this is a ludological biography.”

The rest of the book spotlights the creations themselves—“the games and puzzles of Stephen Sondheim that you can do yourself, and—more interesting to me as a ludologist—the design values. What are the things that we can learn from Stephen Sondheim’s game designs and puzzle designs?”

Matching Minds with Sondheim does even more than the title suggests. It actually allows the reader to live inside the mind of the icon and live through the eras marked by the games he was passionate about at the time. It takes them on an adventure through puzzles and parlor games, crosswords and anagrams, murder mysteries and escape rooms, giving them a fascinating glimpse into the thought process that leads to joyful creation.

Joseph noted that there is a structure to the book—and tantalizingly, that there are two puzzles hidden in the book related to that structure. Good luck solving!

To learn more and get your game on, go to matchingmindswithsondheim.com

Star Power and Seasoned Talent: The Cast Bringing Richard Vetere’s “ZAGŁADA” to the ATA Stage

Richard Vetere’s new psychological crime thriller, ZAGŁADA, is set for its New York City premiere at the American Theatre of Actors (ATA), supported by a powerhouse team of Broadway veterans, acclaimed character actors, and an experienced director. The production, running from October 16 to November 2, features the formidable talent of Tony Award winner Len Cariou, leading an electrifying cast to confront a chilling piece of history.

The play, which centers on the arrest of an elderly Maspeth resident—a former kapo in a Nazi concentration camp—demands a cast with the gravitas and skill to navigate the story’s dense layers of historical trauma, moral ambiguity, and high-stakes confrontation.

The Headliner: Len Cariou as Jerzy Kozlowski

Leading the cast is the internationally recognized, Tony Award-winning, and Emmy-nominated Broadway icon, Len Cariou.

Cariou is perhaps best known for his legendary, Tony-winning performance as the title character in Stephen Sondheim’s Sweeney Todd: The Demon Barber of Fleet Street. His extensive, 65-year career spans regional stages, Broadway, off-Broadway, film, and television, earning him membership in the Theatre Hall of Fame. A master of the classical repertoire, he has twice assayed the title role in King Lear.

While his stage career is monumental—recently honored with the 2024 John Willis Award for Lifetime Achievement in the Theatre—Cariou is also a beloved figure on television. For 14 seasons, he played the patriarch ‘Pop’ Reagan on CBS’s hit show Blue Bloods. His recent work includes the award-winning off-Broadway role of Morrie Shwartz in Tuesdays With Morrie.

In ZAGŁADA, Cariou takes on the central and challenging role of Jerzy Kozlowski, the 90-year-old former kapo arrested for shooting a journalist. His casting ensures the character, though morally dark, will be portrayed with a depth and humanity that forces the audience to grapple with the play’s central questions of justice and self-preservation.

The Electrifying Supporting Cast

The veteran performers joining Cariou are charged with portraying the three New Yorkers who must confront Kozlowski and his past: Danielle Hooper (the journalist), NYPD Officer Frank Napoli, and Homeland Security Officer Sonia Sokolow.

Jes Washington

A New York actress, writer, and singer, Jes Washington brings a compelling resume of stage and screen work. A Lifetime Member of the Actors Studio, her dedication to in-depth character work is clear. Her stage credits include off-Broadway productions such as Coping Mechanism and White Woman, Black Boy, and her acclaimed international one-woman show Who Will Sing for Lena. Washington is also known for her television appearances on HBO’s The Gilded Age and CBS’s The Equalizer. Her involvement in workshops directed by figures like Estelle Parsons and Steve Broadnax III further speaks to her commitment to developing challenging new work.

Salvatore Inzerillo

Salvatore Inzerillo is a respected New York-based actor, director, and artistic director, with deep roots in the city’s theatre scene. A member of both LAByrinth Theater Company and The Actors Studio, Inzerillo has worked extensively at The Public Theater and developed over a hundred new plays with leading American playwrights. His stage credits include originating roles in early works by Stephen Adly Guirgis, all directed by Philip Seymour Hoffman, such as In Arabia We’d All Be Kings and Jesus Hopped the ‘A’ Train. He also appeared in The Iceman Cometh with Nathan Lane and Brian Dennehy at BAM. On screen, he is recognizable from roles in Boardwalk Empire, The Deuce, and various Law & Order franchises. Inzerillo’s history with gritty, character-driven material makes him an ideal fit for this psychological thriller.

The Creative Vision: Director Maja Wampuszyc

Guiding the production is director Maja Wampuszyc, who has a close working relationship with playwright Richard Vetere, having directed the development process of ZAGŁADA at the PDW at The Actors Studio.

Wampuszyc is an accomplished actress herself, known for her appearances on Broadway in Irena’s Vow, as well as off-Broadway and regional productions. Her film and TV credits include The Immigrant (with Marion Cotillard), Mona Lisa Smile, The Knick, and Madam Secretary. As a director, her work is recognized for its bold approach, having previously helmed productions in Krakow, Poland, and throughout the U.S. Her deep familiarity with the script and Vetere’s writing ensures an interpretation that is both true to the playwright’s intent and dramatically compelling.

The Creative Home: The American Theatre of Actors (ATA)

The production is staged at the American Theatre of Actors, a venue founded in 1976 by James Jennings. The ATA continues its mission of spotlighting socially and historically resonant works, having produced over 1,000 original plays and served as an artistic home for figures like Dennis Quaid, Edie Falco, and Chazz Palminteri early in their careers. The ATA’s legacy provides the perfect institutional support for a drama that grapples with weighty historical and moral questions.

John Stillwaggon & Carolyn Dellinger celebrate the works of BERNARD J. TAYLOR with a special private showing of TENNESSEE WILLIAMS: PORTRAIT OF A GAY ICON 

John Stillwaggon & Carolyn Dellinger celebrate the works of BERNARD J. TAYLOR with a special private showing of TENNESSEE WILLIAMS: PORTRAIT OF A GAY ICON plus other presentations. This event is dedicated to the EMERGENCY FUND OF SAVE THE CHILDREN (All donations go to Save the Children) and the 50th anniversary of the AMERICAN THEATRE OF ACTORS, the host venue of the original New York production. Doors open at Noon; Program begins at 12:30 p.m. on Monday, November 3, 2025 at the Jerry Orbach Theatre, 210 West 50th Street on Broadway, New York City. 

This event is produced by JAY MICHAELS GLOBAL COMMUNICATIONS, LLC (Contact Jay Michaels at info@jaymichaelsarts.com for further info or to RSVP)

Tennessee Williams: Portrait of a Gay Icon an exploration of playwright Tennessee Williams’ “private” life.

After acclaimed national performances, Bernard J. Taylor’s play made its NYC debut to sold-out showings at the historic American Theatre of Actors before garnering the same kudos in the United Kingdom.

Join us for one last showing tributing playwright Taylor and raising funds for the Emergency Fund of the

Save the Children Foundation.

PLOT: Williams is chatting with “old friends” in his home and becomes increasingly inebriated during the course of the visit. The author launches into myriad diatribes about life, love — or the lack and abuse of it, his viciously cruel father, his sister — who received the brunt of that cruelty, and his work in the theatre — or more likely — his work with actors.

Mr. Stillwaggon and Ms. Delinger appear courtesy of The Theatre Authority

Playwright Bernard J. Taylor  had more than 100 worldwide productions of his plays and musicals in more than a dozen countries. His early works were chronicled in the Encyclopedia of Film and Stage Music. In 2013, he was made an Honorary Fellow by the Victoria College of Music and Drama for “services to music and the performing arts.” Recent years have been the most prolific. Six productions of his stage works in San Antonio won eleven awards at the 2015, 2016 and 2017 ATAC awards (San Antonio’s version of New York’s Tony Awards).

Jim Catapano notes that the Prince Clowns so the Bat Can Fly: Joshuah Patriarco’s Brilliant Merging of Shakespeare and Batman Rises at the ATA.

“I am vengeance.

I am the night.

I am…HAMLET!”

Thus proclaims the “Prince of Arkham” (Joshuah Patriarco) as he prepares to avenge his father’s murder at the hands of his “Penguin”-like Uncle Claudius (Thomas Annunziata), who wears his stolen crown over a top hat and brandishes an umbrella. The ghost of the slain king (also Annunziata) prowls the night, with a bat cowl over his skull face, looking for revenge. Hamlet is alerted to the presence of his father’s spirit by his faithful sidekick, the yellow-caped Horatio (Jett Hernandez), and the trench-coated “commissioner” (Joe DeAngelo).

The ghost reveals the truth to Hamlet. But before the prince takes up his cowl for good, he dons clown makeup and a purple coat, in order to make both friends and foes think he’s mad as he plots the downfall of Claudius and his complicit mother Gertrude (Elizabeth Dimon), who slinks about in a latex catsuit and is counting on those other 8 lives.

Hamlet: The Clown Prince, a production of the Epiphany Shakespeare Company,is the astonishingly clever, superbly entertaining brainchild of Joshuah Patriarco. In a tour-de-force, he gives a magnificent performance as the title character, who has the personality of both Batman and the Joker, as well as directing the production and adapting the Shakespeare classic to blend perfectly into the DC Universe. The text and story of Hamlet is all here, from “To Be or Not to Be” to “The Rest is Silence”, but is here joined by “Why So Serious?” “Have You Ever Danced with The Devil…” and “Let’s Get Nuts!”. The quotes are taken from across the Batman Movie and TV Universe and skillfully added to the Bard’s text (almost as if they were always intended to be). And Horatio/Robin does indeed exclaim “Holy___!” with hilarious frequency. His “bring the house” down moment is when he yells, “Holy Nostalgia!” at the site of the late jester Yorick’s skull. And Frozencrantz is quick with the “ice” puns famously delivered by Arnold Schwarzenegger in Batman and Robin.

Hamlet’s duality works beautifully with the notion of the Dark Night and his greatest adversary being two sides of the same coin (and speaking of which, Two-Face appears in the role of Laertes (John Schmitz). The Riddler is also present, fittingly in the persona of the wordplay-loving Polonius (David Bunde). DeAngelo returns as the amusingly named “Frozencrantz” (Mr. Freeze as you might have guessed). Laura Ruth is the orange-haired, top hat wearing Guildenstern (Mad Hatter).

Hamlet’s transformation into a Joker-like figure disturbs the whole kingdom, but none more than his lover Ophelia (in an incredible performance by Epiphany co-founder Samantha Mileski). Ophelia is traumatized by the behavior of her “Puddin’” but remains devoted to him; after he kills her father Polonius she cracks entirely, becoming Harley Quinn in both demeanor and dress.

The soundtrack features Danny Elfman’s stirring 1989 score for the first Tim Burton Batman film, as well as the theme to the 60’s Batman TV show, and even Seal’s haunting “Kiss from a Rose” from Batman Forever. In addition, the tortured Ophelia sings a heartbreaking, appropo “I Started a Joke,” by the Bee Gees. And then there are the fight scenes. Bat-Hamlet and Horatio-Robin take care of the villains in a scene right out of the Adam West series, and the climactic swordfight of the Dark Prince/Knight with Laertes/Two-Face is magnificently realized. Special shoutout to Fight Choreographer Erin Hebert for crafting these stunning sequences.

Overall, the mashup of the deeply serious Hamlet and the grim world of Batman works much better than anyone might have expected; even the addition of elements from the campier versions of the Caped Crusader fit amazingly into the narrative. A smart, winning concept elevated by great performances, it all makes for a can’t-miss masterpiece that will delight both Batman Buffs and Shakespeare Students.

Goodnight, Sweet Bat!

Hamlet: The Clown Prince is performed at the American Theater of Actors through Sept 28 2025.

Jim Catapano attends A Majestic Production in Celebration of 50 Great Years

King Lear Rises Again to Mark the Golden Anniversary of The American Theatre of Actors

As the curtain opens on its 50th year, the ATA has turned to a signature piece to mark the very special occasion. King Lear, itself enjoying its 420th anniversary, returns to the John Cullen stage after a great run last year, and featuring faces familiar and new.

Alan Hasnas reprises the role of the titular tragic monarch in this energetic rendering, directed with panache by ATA president and founder James Jennings. In a special presentation after the show, Hasnas noted he is celebrating his own anniversary, having debuted at the ATA in the role of Claudius in a production of Hamlet 20 years ago.

Amber Brookes returns as the icy, scheming Regan, oozing malevolence in every scene, such as when she puts her cigarette out on the ill-fated Earl of Gloucester (a heartstring-pulling Tom Corciari in his ATA debut). Dramaturge Jane Culley is grand in her reprise of Regan’s sister Goneril, who tops her sibling’s villainy by tampering with Regan’s ubiquitous goblet. Sam Hardy, who recently excelled as Henry V, brings his powerhouse voice and presence to Edgar. Jake Minter returns to bring a powerful intensity in the role of the villainous Edmund, a part he also played in a recent film adaptation. Dustin Pazar shines, a dashing figure in the pivotal role of Kent. Karolina Larion takes on the role of Cordelia, whose actions at the top of the play start a chain reaction leading to her father’s descent into madness and despair. Larion’s expressive face and performance beautifully portray the punished daughter’s sadness and her later resolve to make things right and attempt to rescue her betrayed father. Sam Cruz is a dynamic Fool, providing the levity to balance out the dark events. However, he is not the only source of mirth—moments of humor are drawn from the text through clever interpretations of the dialogue by the actors, while never betraying the solemnity of the piece. The ensemble’s love of the play is palpable, and they work as a collective to bring it alive with astonishing skill.

The entire production is an incredibly engaging, high-energy rendering of the classic material; completely unabridged, the three-plus hours of King Lear are continuously riveting as well as moving. The space of the elegant John Cullen theatre is fully utilized, from its balcony to its stairs to its wings. The Fool hovers on the balcony watching events unfold; the increasingly mad Lear strides past the audience to command center stage; Edgar leads his blinded father down the winding staircases. Backdrops showing castle grounds and interiors, the sea, the hovel, an eclipse, and the famous thunderstorm provide a dynamic sense of place and time. The swordfights are beautifully coordinated and executed, and the relationships among the characters well realized, leading to the unforgettable, heartbreaking climax that will break your heart no matter how well you know the story. It’s another terrific success for the ATA, and the perfect way to start its milestone year.

The performance of King Lear on September 14th was followed by a rousing celebration of a half-century of the American Theatre of Actors, and of all who have honed their craft there.

King Lear runs at the ATA through September 21, 2025.

ATA kicks off the 50th Season with the revival of their acclaimed production of Shakespeare’sKING LEAR. September 10 – 21 with a special 50th Season Kick-off Event, Sunday, September 14 after the performance. Refreshments will be served.

King Lear begins as the Earl of Gloucester introduces his illegitimate son, Edmund, to the Earl of Kent. Lear, King of Britain, enters with his court. Now that he is an old man, Lear has decided to divide his kingdom between his three daughters. The division will depend on the quality of each princess’ declarations of love for her father before the court. Goneril, Duchess of Albany, and Regan, Duchess of Cornwall, both speak enthusiastically and earn their father’s praise. But Cordelia, the youngest, says nothing because she cannot voice her deep love for Lear. Misunderstanding his daughter, Lear disowns and banishes her from the kingdom. He also banishes the Earl of Kent, who had taken Cordelia’s side against the King.

Despairing for his daughters, and deeply regretting rejecting Cordelia, Lear goes mad at the height of a great storm. He and the Fool run wild on the heath until Gloucester takes them into a hut for shelter. He then seeks the aid of Kent to get them away to the coast, where Cordelia has landed with a French army to fight for her father against her sisters and their husbands. 
In this family drama, greed is a driving force and remorse comes too late.
Alan Hasnas returns to the title role Featured in the cast is Josh Bartosch, Amber Brookes, Tom Ciorciari, Sam Cruz, Jane Culley*, Oliver Figueroa, Adonis Guzman, Sam Hardy, Karolina Larion, Emery Lawrence, Paul Maurizio, Jake Minter, Dustin Pazar, Alex Silverman, and Reese Villiger.*Ms. Culley appears courtesy of Actors Equity Association

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 consisting of 50 actors, 15 playwrights and 8 directors. Its 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.The plays deal with the social and ethical problems of contemporary society. Over 1,000 new works have been presented and more than 11,000 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.

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