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THE RETURN OF THE FESTIVAL GIANT: Midtown International Theatre Festival Announces Triumphant NYC Comeback with a powerhouse 2026 Season
NEW YORK, NY — The lights are coming back up on one of independent theatre’s most vital institutions. After a nearly decade-long hiatus, the Midtown International Theatre Festival (MITF) officially announces its historic return to the New York stage in June/July 2026. In a landmark collaboration, MITF Founder and Executive Producer John Chatterton has partnered with indie theatre luminary Jay Michaels to relaunch the festival at the prestigious American Theatre of Actors (ATA). The revival coincides with the ATA’s 50th Anniversary, turning the entire three-theatre complex into a sprawling hub of creative innovation from June 15 through July 26, 2026.
OFFICIAL SHOW LISTINGS: 2026 SEASON (dates and tickets TBA)
Americaring By Kate Gill Directed by Frank Licato. The conflict of the play is set off by an injustice of the healthcare system. A family is left motherless with a father who turns to alcohol. The teen daughter and her brothers must find a way to survive on their own. Then the girl falls in love with a wealthy boy in her high school. But there is a secret barrier they face.
Beethoven’s Wrong Note By Jay Stephenson starring James Harkness (Broadway: Ain’t Too Proud; Beautiful; The Color Purple, Chicago). as Ludwig van Beethoven. This 2024 Perry Award winning original musical finds Beethoven caught in a Faustian deal with Mozart’s librettist over a potboiler script. The drama quickly pours outside the confines of the rehearsal stage in what could have been “The Greatest Opera Yet Written!”
Cool at Camp By Dani Tapper, Peter Weidman, Steven Blutig, Robin Raskin, and Emily Stumer Cool at Camp is an adult, meshuga musical comedy packed with humor, a slightly raunchy edge, and the kind of nostalgia that brings the audience right back to their teenage summers at camp.
Crabs in a Barrel By Reginald T. Jackson A dramatic tour de force centered on three people who find themselves in an existential “Hell.” Jackson, a PEN America Writers’ Fund grant recipient, presents a modern-day love triangle where secrets and unspeakable crimes are slowly revealed. Jackson just completed a world premiere of another play at the Fresh Fruit Festival.
How to Swallow a Volcano By Anne McDermott Directed by Padraic Lillis, this solo show explores love, therapy, and the art of making bad choices with enthusiasm. Anne navigates sessions with an unflappable therapist and the mess of real life, exploring what happens when being “nice” becomes a liability.
Leaving Kiev: Coming Full Circle By Mila Levine An autobiographical one-woman show featuring original music, poetry, and dance. It tells the story of a resilient Jewish girl from Ukraine immigrating to the United States. Addressing themes of antisemitism and immigration, the show marks a “full circle” moment for Levine, whose work first debuted here in 2015.
Monarch: The Mexican-American Musical By Alfonso Molina and Mayu Molina Lehmann A powerful new work exploring the lives of undocumented immigrants. The story follows Luis as he takes refuge in a church, pursued by an ICE officer in a narrative style reminiscent of Les Misérables. After a successful premiere at the Los Angeles Theater Center and a Helen Hayes Award recommendation, the production makes its Off-Broadway debut.
Mother Boswick: The Best Show You Never Knew You Needed By David Magidson Meet a 121-year-old advice-giving widow from the tiny hamlet of Squinch Hollow. Magidson, a former Ringling Bros. clown, brings his international experience to this character-driven comedy where Mother Boswick dispenses questionable wisdom and unique astrological advice.
Omeed’s Tapestries By Barry M. Putt, Jr. Directed by Robert Liebowitz, this play tells the story of an Iranian shopkeeper and his partner planning to flee their homeland to live openly. Inspired by over three dozen first-person accounts, the play navigates the danger they face when their secret is discovered. The Drama Book Shop will host a special event for this production in June.
One In A Million Cabaret By Kevin Davis Featuring a live band led by Davis, an internationally acclaimed musician, on saxophone, a group of friends humorously discovers the fragility of life, love, and faith when they win the lottery! The production arrives with five BroadwayWorld nominations, including Best Director.
Pandemia: Act of Gods by Jason S. Abrams follows the colliding lives of two households: a straight couple navigating the chaotic pressures of parenting a young child in a cramped apartment, and a pair of ex-boyfriends forced to navigate the awkward transition from former lovers to sequestered roommates. As the world outside grinds to a halt, these four New Yorkers are forced to confront their pasts, their futures, and each other during the COVID-19 pandemic.
Picking Up Stones By Sandra Laub An 80-minute one-woman theatrical piece that confronts the Israeli-Palestinian conflict through the personal lens of an American Jewish woman processing the aftermath of October 7, 2023. Written and performed by Laub and produced by Jerry Fischer, the play uses stones as a central metaphor for memory and historical weight. Winner of the 2024 Providence Fringe Artists For Artists Award. “…a must see show” Edinburgh Fringe Festival.
Shangri-La-La By Mike Meier and Peter Giambalvo A comedy musical about Siegfried & Roy that captures the moment Las Vegas reinvented itself as a family-friendly destination. The story follows a young German assistant named Joshua who sees behind the sequins and manufactured myths of the legendary magicians.
Stick to the Script! By Amy Losi Directed by Laurie Rae Waugh (both members of the American Theatre of Actors repertory), this is a comedic look at the chaos of independent theater. An amateur troupe has one week left to rehearse a new play, but they are hampered by dropped lines, a TikTok-distracted stage manager, and a sarcastic director with a short fuse.The one-act version won “The Spirit of the Hartford Fringe Festival Award.”
The Anxiety of Laughing by Andrew Justvig is a heartfelt tale of resilience and love that follows Joey, a stand-up comedian with cerebral palsy, and his fiancée, Leah, a talented ballerina. As they support each other in pursuing their dreams, a tragic car accident shatters their lives, leaving Leah paralyzed from the waist down and testing the depths of their commitment.
The Crossword Play (or Ezmeranda’s Gift) By Donna Hoke Directed by Janel Walton and featuring Xavior Love as a professional crossword constructor who creates a custom puzzle for his ex-boyfriend’s new girlfriend live on stage. As he fills the grid in real-time, he unravels a deeply personal story of love and redemption. Nominated for a record 10 BroadwayWorld Anchorage Awards including Best New Play and Best Play, winning Best Director for Janel Walton
The Hallway written by Bill Keenan and directed by Jesse William Green. Trapped in a hotel hallway at 3:17 a.m., two strangers in bathrobes discover that the hardest door to knock on is always the one you most need to.
The Harm by Dennis Leroy Kangalee The Harm is a stripped-down, four-character play set in a college classroom, where a provocative lecture on media, race, and power unravels into a crisis of perception and accusation. The play investigates how language shapes reality in the present moment—how words, intention, and interpretation diverge, and how “harm” is constructed, claimed, and adjudicated.
Whatever By Scott Brooks Directed by Ashley Olive Teague, A billionaire’s private pilot is paid to NOT fly him anywhere in this suspenseful play about power, information and what it means to be human in this digital age.
THE 2026 ROSTER ALSO INCLUDES:
A Woman in Reverse (Andrea Mezvinsky); Across a Crowded Room (F.J. Hartland); Functions (Anton Spivack); Husbands (Matthew Ethan Davis); I Am (Brooklyn) (Vince Bandille); Kierkegaard’s Gun (Andy Treusch); Where I Come From (Jerry Metzker); Princess Peighs Sword Fighting Tea Party (Zach Alexander and Melissa Leigh); Samovar (Roger Hendricks Simon)
“My Kingdom for a Tour De Force” cries Jim Catapano about A Dizney-fied Retelling of Richard III Delights at the American Theatre of Actors
There’s something weird in the Kingdom of Disneare! King William has been overthrown by some very familiar-looking evildoers, and the scheming Richard (Joshuah Patriarco) sees an opportunity to seize the throne. Sounds like Richard III, and it is, but in a dazzling new form. Richard III: A Twisted Fairytale brings classic Disney characters to the famed historical, making for an incredibly entertaining theatre experience. Devised by the Epiphany Shakespeare Company, the team who brought us last year’s compelling Hamlet/Batman hybrid Hamlet: The Clown Prince, the production is an ingenious mash-up that works better than anyone could have anticipated. It can be enjoyed on many levels and by all demographics, as evidenced by the enthusiasm of the children in the audience (many of whom were in costume). Shakespeare’s original text is mostly intact, but accompanied by the fairy tale aspects of traditional Disney and the colorful over-the-top characters that go with it. The story is introduced and narrated by Sir Jiminy (Andrew Austin), the “Conscience of the Kingdom”. Patriarco’s Richard starts out traditional and transforms into “Malevolent” (Maleficent); hero Clarence (Rommell Sermons) becomes Prince “Phil”; Queen Elizabeth (Mikelle Terson) is the Evil Queen; Lady Anne (Samantha Mileski), who talks to the chirping animals of the forest, becomes Sleeping Beauty, with some beautifully sung songs from Mileski along the way; and Thomas Annunziatta is Buckingham, who resembles a certain Royal Vizier, complete with snarky parrot on his shoulder. The costuming by Mileski (who also oversaw makeup and special effects), are letter-perfect, with every famed Disney character instantly recognizable, down to the tentacles of “Ursul The Sea Dog” James Hammill. Edward Gibbons-Brown does a hilarious turn both as King Edward and a certain honey-loving golden bear; and we also get the Dutchess of Deville (Shannon Rivoli), complete with Dalmatian fur coat and toy puppy. (With all the larger-than-life Disney characters, the famous scene of Richard being haunted by his victims is a particular sight to behold in this iteration.)
For the final performance of the initial run, Antares Puentevella took on the role of Peter Pan (the one “Prince in the Tower” instead of two), in his professional NYC stage debut. Puentevella is the son of ATA Executive Director Jessica Jennings and grandson of legendary ATA founder James Jennings and Jane Culley, and he sparkled in the role of the boy who won’t grow up. His sword battle with “Lord” Hook (Zorich Lequidre—AKA Captain Zorich), realized in the rafters of the John Cullum Theatre, was an absolute highlight, further lifted by Puentevella’s exuberance and Lequidre’s classic campy villainy.
Other pop culture references provide very funny Easter eggs, including lines from The Godfather and Richard’s fitting (and even poignant) a cappella rendition of “Behind Blue Eyes”.
Stylishly written and directed by Patriarco, and overseen by the production team of John Rivoli (SpongeBob SquarePants), Jake Minter, Terry Prideaux and Liam Riordan, this is an incredibly clever and creative production, with lots of enjoyment for Shakespearean fans. Plus terrific Disney flourishes and comedic moments for kids of all ages. It all comes together to make Richard III: A Twisted Fairytale a must-see when it returns to the stage.
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.
“The NPR of Theatre” Approaches 5th Anniversary:Stage Whisper Launches $15K Fundraising Campaign to Sustain Independent Arts Journalism
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NEW YORK, NY — Since 2020, what began as a humble conversation at a dining room table has evolved into the heartbeat of the independent arts scene. Today, Stage Whisper, the #1 podcast for independent artists, announces its 5th Anniversary Campaign, seeking to raise $15,000 to ensure that the voices of New York’s creators continue to be heard loud and clear through 2026
Five Years of Amplifying the UnseenAs Stage Whisper approaches its fifth year in July 2026, its impact is undeniable. Having facilitated over 1,550 interviews and covering more than 1,000 shows annually, the platform has become a vital lifeline for indie theatre, dance, opera, film, and poetry.”Stage Whisper is the NPR of theatre podcasts,” says actress Laura Shoop, echoing a sentiment shared by thousands of listeners. For many creators, the platform is more than just a media outlet; according to PR strategist Jay Michaels, “Stage Whisper has become the difference between success and total anonymity for many arts companies.”
The “Hard Reality” of Independent MediaDespite achieving 2.4 million annual social media interactions and surpassing 100,000 downloads, Stage Whisper remains a fiercely independent, unbiased beacon. To keep its content free for both artists and audiences, the team operates on a grueling 90-hour weekly production schedule.
The $15,000 goal will directly fund the essential “behind-the-scenes” infrastructure required to maintain this pace in New York City, including:
Show Operations: Studio space, global broadcast equipment, and high-speed tech.
On-the-Ground Coverage: Transportation and tickets to 5+ shows a week to ensure no artist is overlooked.
The Human Element: Supporting the basic stability—from medical bills to childcare—that allows the production team to stay on air.
Give a “High-Five” for the Arts
To celebrate five years of service, Stage Whisper is inviting its community to participate in the “High-Five” initiative:
The $5 High-Five: A small gesture with a massive impact. If every past guest and listener gave just $5, the goal would be met instantly.
Become a Producer: Larger contributions serve as a direct investment in the future of arts journalism.
SHOUT the Whisper: Supporters are encouraged to share the campaign to help find patrons who believe independent voices matter.
A Tax-Deductible Investment in Culture
In a show of community solidarity, Genesis Repertory Ensemble, Inc.—the arts and education organization chaired by Jay Michaels—will serve as the fundraising sponsor. Consequently, all donations to Stage Whisper are tax-deductible, allowing patrons to support the arts while receiving a federal tax benefit.”The arts are the heartbeat of our community,” says the Stage Whisper Team. “But that heartbeat needs a home. We are asking our community to help us keep the mic live.”
To donate or learn more, please visit: https://gofund.me/e12f0a5f0
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
It’s Mean to Be the King: Jim Catapano at RICHARD III (Atlas Shakespeare)
The Atlas Shakespeare Company Presents a Triumphant Retelling of Richard III
Following acclaimed productions of Henry VI Parts 1 and 2 and Henry VI Part III, the Atlas Shakespeare Company now completes the Bard’s first tetralogy with a riveting Richard III.
Following the long civil conflict in which the Yorks defeated the Lancasters, King Edward IV (Ethan Baker) sits atop the throne, depressed and ailing. His power-hungry brother Richard (Zachary C. Clark), the Duke of Gloucester, sees (and eventually seizes) an opportunity. Thus, he begins to systematically eliminate everyone who stands in his way, while wooing the widowed Lady Anne (Christa Souza) to his side. He imprisons his elder brother George (Yeshua Ellis), Duke of Clarence, in the infamous Tower, where he later also famously banishes his young nephews, Richard the Duke of York (also Souza) and Prince Edward (Charlotte Blacklock), to prevent any competition to the throne. The less-than-legitimate new King Richard’s reign of terror is finally threatened by Henry Tudor (Bradley Viktor), Earl of Richmond, who raises an army against the Machiavellian murderer.
The play completes the War of the Roses saga with a compelling story of betrayal and sociopathic serial killing that ends in a bloodbath. Along the way we watch the titular character go from scheming to murder to full-on madness, with lots of backstabbing along the way, most of it literal. We learn that a cask of wine is a great place for a murder victim. And what show would be complete without a game of “catch the severed head”?
As the conniving cad of the title, Clark delivers a tour-de-force performance: charming, devious, funny and sly. He skillfully uses the audience as his “co-conspirators”, delivering asides and glances that make us feel part of the story.
“(Richard III) is very insecure in a lot of ways,” said director Adriana Alter in a talkback following a recent performance. “And very motivated by the need for external validation which he’s trying to get from the audience. We essentially become his imaginary friends. He’s trying to impress with how clever he is.” Clark is excellent at portraying Richard’s rollercoaster ride from the heights of power to the depths of slipping sanity. “He’s going to have to come face to face with the fact that he hates himself,” said Alter. “His coping mechanisms for keeping up, that pretense starts to melt away.”
Clark is joined by a sterling cast including Tonia E. Anderson as Cecily the Dutchess of York; Joscelyne Wilmouth as Queen Elizabeth; Nick Stevens as her brother Anthony (Lord Rivers); Matthew Tiemstra as Henry, the Duke of Buckingham; Quinlan Welch as Thomas Grey; Nicholas Grevera as William (Baron Hastings); Timm Coleman as Thomas Stanley; Chris Clark as Sir Richard Ratcliffe; and Gabe Girson as lawyer Sir William Catesby. (Baker, Blacklock, Sousa, Ellis, Viktor, and Welch each play two roles to round out the kingdom.)
The costumes—designed by Madeline Rostmeyer and coordinated by Nancy Nichols—are glorious in their elegance, and the sterling cast delivers Shakespeare’s iconic dialogue with a delighting deftness that captivates with every turn of phrase. Atlas’ mission statement is to present Shakespeare’s work as it was intended, and they do so here with a production that is true to the text and to the era it was initially performed, but still completely accessible to a 21st Century theatregoer.
Director Alter has presented a fantastic edition of the oft-performed classic, neatly trimmed and dynamically realized with all story beats intact. It is immensely engaging—from Richard’s first sinister speech, to the appearance of the ghosts of all his victims, to the incendiary final battle. That last sequence is astonishing, an edge-in-your-seat experience delivered with dance-like precision by the cast under the expert guidance of fight choreographer Leighton Schlanger.
This explosive conclusion to the saga is a positive triumph for Alter and Producer and Founder Alexander Nero. It’s a must-see for this “Winter of Discontent” or for any season.
Trade your kingdom for a horse and go see Richard III at the Wild Project through March 1, 2026. Learn more at atlasshakespearecompany.com/.
New Theatrical Production Company, Diamond Mesh Inc., Announces “The Manifestival:” A New Frontier for NYC Independent Theater
In a world increasingly defined by digital isolation and existential questioning, a new theatrical force is rising to reclaim the stage. Diamond Mesh Inc.Theatrical Productions, led by producers Matt Bader and Faith Pasch, is proud to announce the inaugural Manifestival, a new works festival running from July 16th to August 9th in New York City.
The Search for Connection
Diamond Mesh is more than a production company; it is a response to the modern human condition. Launching with a provocative philosophical inquiry, the company’s mission centers on the “why” behind our collective loneliness.
“You did not stumble upon these questions. You found them. Just like you found this,” says the company’s statement. “We are Diamond Mesh. We have been looking for you too.”
The Manifestival: A Call for Submissions
The Manifestival is currently seeking digital submissions of new, 60–75 minute plays designed for intimate, character-driven production. Designed to strip theater down to its rawest, most impactful form, the festival emphasizes storytelling over spectacle.
Submission Guidelines & Opportunities:
- The Format: Scripts must feature a cast of five actors or fewer.
- The Aesthetic: Adaptable to minimal design (sparse set: one table, two chairs).
- The Series:
–The Signature Series: a Group of productions having a limited three performances during the festival.
–One Night Only Series: A high-impact, single-evening performance.
The MODEL: In a rare move for the NYC festival circuit, selected productions keep 100% of their ticket sales, providing a sustainable platform for playwrights & creators. Playwrights are encouraged to submit their work via the Official Manifestival Submission Form. Slots are assigned on a first-come, first-served basis.
Meet the Founding Executive Producers:
Faith Pasch — A New York City-based powerhouse, Pasch is an actress, singer, and producer with credits ranging from the I Was a Teenage She-Devil UK Premier to the Disney Cruise Line. A champion for marginalized voices, Pasch recently founded Faith Pasch Productions and co-founded Fate Productions, a company dedicated to highlighting female and non-binary voices in the cabaret circuit.
Matt Bader — A versatile actor, writer, and producer hailing from Milford, CT, Bader brings a wealth of international experience to Diamond Mesh. His past producing credits include The Silly William Gambit at the Edinburgh Fringe Festival. As a performer, he is known for his work in The Mystery of Edwin Drood (Connecticut Repertory Theater), the series The Startup, and his ongoing work with The Dinner Detective.
Join the Movement
- Website: diamondmeshinc.com
- Instagram: @diamondmeshinc
- Email: Mattbader@diamondmeshinc.com | Faithpasch@diamondmeshinc.com
The Winter of Discontent Finds Its Heat: Zachary C. Clark Takes the Throne in Atlas Shakespeare’s Richard III
NEW YORK CITY — The sun of York is setting, and in its place, a shadow looms over the Wild Project. Following their sweeping success with the Henry VI trilogy, Atlas Shakespeare Company is concluding the Wars of the Roses with a visceral, blood-soaked production of Richard III.
Running from February 17 to March 1, this limited Off-Off-Broadway engagement promises a return to classical roots, complete with period-accurate dress and live sword-fighting. But at the center of this political storm is a performance that has been a year in the making: Zachary C. Clark as the titular villain.
A Villain Formed in the Shadows
For Clark, the role of Richard is more than just a performance; it is a culmination. Having played Richard in the company’s previous Henry VI productions, Clark has had the rare opportunity to live in the character’s skin long before he ever reached for the crown.
“It’s fun to have the full story,” Clark notes. “So much of Richard’s backstory isn’t really explored in many productions because Henry VI is rarely performed.”
This continuity allows for a Richard that is far more than a caricature of evil. Clark approaches the role—the second-largest in the Shakespearean canon after Hamlet—with an eye for the “vulnerability despite how horrible he is.” It is a psychological tightrope walk between a “self-congratulatorily sociopathic” mastermind and a man unraveling under the weight of his own ambition.
The Descent into Madness
While the first half of the play showcases a charismatic strategist outmaneuvering his “dangerously suggestible” brother, King Edward, the latter half explores a much darker territory. Clark identifies the “descent to the point of near madness” as his greatest challenge.
Key Themes Explored in This Production:
- Political Melodrama: The shifting allegiances and the desperation to retain power.
- The Weight of Curses: A world where the supernatural is as real as the steel of a blade.
- The Human Cost: A portrait of how a quest for the crown costs a man his family and, ultimately, his sanity.
Classical Craft for a Modern Audience
Founders Adriana Alter and Alexander Nero have built Atlas Shakespeare Company on the principle that the Bard’s work should be vivid, relatable, and profoundly human. By utilizing full classical dress and high-stakes choreography, the company aims to strip away the “dusty and stale” reputation Shakespeare sometimes carries.
Clark echoes this mission, stating that the primary goal is clear storytelling. “I think as long as we tell the story in a way the audience will understand, we’ve won. To keep an audience engaged and following the plot is the most important goal.”
Whether it’s the chilling delivery of Clark’s favorite line—“So wise so young, they say, do never live long”—or the sparks flying during the live combat, this production is designed to be a “cautionary tale about being careful what you wish for.”
Performance Details
- Dates: February 17 – March 1
- Venue: Wild Project, 195 East 3rd Street, NYC
- Tickets: Available at atlasshakespearecompany.com/tickets
Don’t miss the “bloodsoaked finale” of a saga that has captivated New York theatergoers for the past year. Come witness the rise—and the inevitable, crashing fall—of Shakespeare’s first great villain.
“YEARS TO THE DAY” Makes Highly Anticipated New York Debut at American Theatre of Actors: Emmy Award Winners, Jeff LeBeau and Peter Zizzo, Star in Allen Barton’s Searing “Shaw for the 21st Century”
Renaissance man Allen Barton brings his critically acclaimed play, YEARS TO THE DAY, to the landmark American Theatre of Actors (314 W. 54th St.) for its New York City premiere. Opening February 25, the production stars Emmy Award winners Jeff LeBeau and Peter Zizzo in a play named one of the “10 Best New Plays” by LA Weekly.
First premiering in 2013, YEARS TO THE DAY has become a global phenomenon, performed in a dozen cities across three continents. The play utilizes the spare construct of a single conversation between two old friends to dissect marriage, social media, the delicate relationship between parents and children, politics, and gay rights. It is a raw, timely exploration of whether friendship can survive the calcification of middle age.
“After meeting an old friend, four years to the day from our last get-together, it struck me that though we knew what phones and computers we were using, we had no clue about each other’s lives,” says playwright Allen Barton. “The script was written to be ‘evergreen’—a timeless treatise on how friendship survives a world that changes more quickly every year.”
The Powerhouse Trio
The production features a unique collaboration of top-tier talent:
Allen Barton (Playwright): A Los Angeles-based “Renaissance man,” Barton is a playwright, director, Steinway Artist classical pianist, and owner of the renowned Beverly Hills Playhouse. His previous works include Circling, Disconnection, and Engagement.
Jeff LeBeau (Jeff): An Emmy Award winner with extensive credits including the Geffen Playhouse (Hurlyburly), Circle Rep, and film/TV roles in The Practice and Life as a House.
Peter Zizzo (Dan): An Emmy and Grammy Award-winning songwriter and producer who has sold over 100 million records with artists like Celine Dion, Jennifer Lopez, and Avril Lavigne.
Critical Acclaim
- “A social satire that’s simply George Bernard Shaw for the 21st century… an hour and a half of delight.” — LA Weekly
- “David Mamet meets Bret Easton Ellis… dialogue fit for massive adult human consumption.” — Joe Straw Theatre Blog
- “Insightful dissection of some big ideas about life and how to live it.” — The Public Reviews, Edinburgh
- What: YEARS TO THE DAY by Allen Barton
- When: Opening February 25. (Full schedule to be announced).
- Where: American Theatre of Actors, 314 W. 54th St., New York City.
- Tickets: To be announced shortly.
About ALLEN BARTON (Writer/Director) is a Los Angeles-based playwright/author, director, teacher and classical pianist. As Playwright: OUTRAGE (2023), CIRCLING (2020), DISCONNECTION (2015), YEARS TO THE DAY (2013), and ENGAGEMENT (2010). YEARS TO THE DAY was named one of Los Angeles’ 10 Best New Plays by LA Weekly, and has since been performed in ten cities across three continents. As Supervising Director for Beverly Hills Playhouse: SEX WITH STRANGERS, THE PURPLE LOUNGE, LOST LAKE, BELLEVILLE, AN INFINITE ACHE, A DOLL’S HOUSE. Allen earned many years’ worth of L.A. stage, television and film credits as an actor, and he is also active as a classical pianist – he was a prizewinner in the 2002 Los Angeles Liszt Society Competition, has recorded five compact discs, and performs solo recitals on both coasts. In 2010 he was made a Steinway Artist. A native of the Boston area, a graduate of Harvard University and longtime student of the late Milton Katselas, Allen is currently owner and principal teacher at the renowned Beverly Hills Playhouse acting school. A compilation of his work as a playwright, ALLEN BARTON: FIVE PLAYS, has just been released and is available at Amazon.
Arts Independent 