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Jim Catapano spies a Glimmer of Hope Amidst the Misery, wallowing in MUD (at the ATA)
MUD, María Irene Fornés’ 1980s social commentary, is reborn at the ATA
“I am a hungry soul. I am a longing soul. I am an empty soul,” laments Mae, an impoverished, illiterate young woman in an old torn dress. “Can’t I Have a Decent Life?”
Mae is living a bleak existence with an unwanted life partner, Lloyd—a man who is a virtual animal in human form. Their toxic relationship is marked by harrowing screaming matches as she goes about ironing and pressing clothes, desperately trying to maintain a civilized demeanor amidst the chaos. Mae finds what appears to be a way out in a possible relationship with the suit-and-tie clad Henry, a seemingly successful neighbor who to her is a symbol of education and escape. “I feel like heaven had come to this place and I still feel so,” Mae proclaims defiantly. But even that brief candle of hope is quickly extinguished due to an unexpected turn of events that leaves Mae in an even more dire situation than before.
MUD is a contemporary groundbreaker by María Irene Fornés’, the late Cuban-American playwright whose work was known for depicting characters who dared to dream themselves out of the dire and unfair circumstances that social and cultural realities imposed upon them. This important and relevant piece is now brought to life in 2025 by Utopia for Losers, “a New York-based theatre company of young actors and directors staging work by a variety of contemporary playwrights.”
Mae explains to Henry that her late father found Lloyd on the street and took him in; he is literally a feral stray that has resisted all attempts at domestication. He is dominated by base impulses of hunger and carnal desire, the latter hampered by an illness that leaves him physically impotent but still craving at a feverish level. “We’re like animals who got together and mated,” Mae admits with disgust. This leaves her forced to care for a person who is essentially an unwanted pet, a burden that hampers her desperate attempts to rise above the unfair cards that have been dealt her.
Chloe Margot gives a stunning performance as Mae, a heartbreaking heroine trapped in an utterly hellish situation; one roots for her to escape while recognizing how tragically unlikely that is. Mae is driven to better herself through education and a firm work ethic; she goes to school and has trouble retaining what she learns, but forges on regardless; she tries to develop her reading skills, narrating aloud (slowly but determinedly) books about starfishes and hermit crabs while trying to ignore the pathetic creature she is stuck in cohabitation with.
Brian Beckerle as Lloyd perfectly realizes the bestial, pitiful nature of the difficult character while never allowing him to tip over into being utterly repugnant. His physical acting is remarkable—Lloyd jumps onto the table repeatedly, exemplifying his subhuman nature, and cartwheels across the stage to demonstrate his virility and vigor. Aiden Castillo as Henry excels at an extremely difficult task of showing the character at first dominating but sinister, and supposedly civilized, until circumstances leave him compromised and forced to a state of dependency similar to Lloyd’s. The trio of actors give a masterclass in the realization of a playwright’s intent, expertly interpreting Fornes’ poetic style and bringing to life her themes of psychological and relationship complexity fueled by poverty. It’s a triumph for the cast, Director/Producer Dylan Pitanza, Assistant Director Christopher Paul Richards, Dramaturg Ava Lamantia, and Producer Sawyer Barth; and a home run production for Utopia for Losers and the American Theatre of Actors.
Content Warnings: Profanity, discussion of sexual acts, simulation of a sexual act, gun violence, discussion of bestiality, misogyny.
MUD was performed by the American Theatre of Actors through June 29, 2025.
CAST ANNOUNCED for “the other Shakespeare in the Park:” Shakespeare Sports’ Comedy of Errors directed by Michael Hagins
CAST ANNOUNCED for “the other Shakespeare in the Park”
Shakespeare Sports Theatre Company opens its SHAKESPEARE SUMMER TOUR with a new production of the Comedy of Errors directed by Michael Hagins; Adam Sherwin, stage manager, coming to a park or performance space near you!
SCHEDULES THUS FAR: Riverside Church July 17 @ 7 pm RESERVE A SEAT
St. Francis Cabrini Shrine July 19 and 20 @ 4 pm RESERVE A SEAT
Summit Rock in Central Park July 26 and August 2 — BOTH @ 2 PM RESERVE A SEAT
Pat’s Lawn in Inwood Hill Park July 27 @ 2 pm RESERVE A SEAT
ALL EVENTS ARE FREE
Shakespeare’s Hilariously Haywire “Comedy of Errors,” a frolicsome farce so fantastically foolish, it’s practically a recipe for roaring laughter! “The Comedy of Errors,” a play where mistaken identities run riot features the following cast: Vic Gitre, Charlie Keegan James, Emily Glaser, Jennifer Kim, Melissa Meli, Erica Gerold, Katie Freimann, Lila Ashley Meyers, Kasey Cznowski, Hayley Berketa, and Molly Feisher
Imagine, if you will, a bustling ancient Ephesus, where not one, but TWO sets of identical twins are about to stumble headlong into a hilarious hullabaloo! We’re talking Antipholus of Syracuse and his ever-so-loyal (and equally confused) servant, Dromio of Syracuse, who unwittingly wander into the very city inhabited by their spitting images, Antipholus of Ephesus and his own bewildered Dromio!
This uproarious rendition, brought to life by the visionary direction of Michael Hagins who is a celebrated Shakespearean artist in NYC with productions of Macbeth, Hamlet, Romeo and Juliet, A Midsummer Night’s Dream, Two Gentlemen of Verona, Twelfth Night or What You Will, Titus Andronicus, King Lear, Othello, Julius Caesar, Pericles, King John, King Henry IV, Part 1, King Henry IV, Part 2, King Henry V, King Henry VI, Part 1, King Henry VI, Part 3, King Richard III, The Winter’s Tale, As You Like It, The Taming of the Shrew, The Comedy of Errors, The Tempest, The Merchant of Venice,Timon of Athens, All’s Well That Ends Well, Troilus and Cressida, Love’s Labour’s Lost, Henry VIII, Two Noble Kinsman, Cardenio\Double Falsehood, Edward III, Merry Wives of Windsor, Cymbeline, Richard II, Antony & Cleopatra, Coriolanus, Much Ado About Nothing, King Henry VI, part 2 and part 3, and Measure for Measure.
ALL EVENTS ARE FREE
American Theatre of Actors announces Jessica Jennings as New Executive Director on Eve of 50th Anniversary
The American Theatre of Actors (ATA), a cornerstone of New York City’s off-off Broadway scene, today announced the appointment of Jessica Jennings as its new Executive Director. This announcement comes as the venerable institution approaches its 50th anniversary in 2026. James Jennings, the theatre’s esteemed founder, will continue in his role as Artistic Director.
“I’m thrilled to continue the tradition started by my father in 1976 and now to bring the theatre forward into the next generation of the 21st century,” said Jessica Jennings, a multifaceted theatre artist with a distinguished career as a director, actor, dancer, and producer.
James Jennings, a celebrated figure in independent theatre renowned for directing the complete Shakespearean canon and his work with legends like Elia Kazan, Lee Strasberg, and Harold Clurman, expressed his pride: “I’ve watched Jessica go from that little girl looking over my shoulder to a celebrated director/actor/dancer and producer. Her plans and ideas are already bringing a new dimension to all three theatres in the ATA complex.”
Jay Michaels, ATA’s longtime press representative, echoed this sentiment, stating, “The Jennings family has truly placed itself as a prominent arts family in the indie arts scene of New York! Jessica’s vision is a dynamic force for the ATA’s future.”
Jessica Jennings brings a wealth of experience to her new role. She holds a BFA in Dance from the University of the Arts and a certificate from the Martha Graham School of Dance, where she was a Van Lier Scholarship recipient. Her dance career includes performances at the Philadelphia Fringe, Edinburgh Fringe, and the Etruscan Riviera Festival, as well as collaborations with renowned choreographers and companies. Notably, she danced in Cinderella with the Fort Worth Ballet at City Center and served as a dancer and dance stand-in for Bryce Dallas Howard in M. Night Shyamalan’s film, The Village, where she also assisted in teaching period dances to the cast.
As a director, Ms. Jennings has garnered accolades, including audience-vote awards for her productions at the John Chatterton Festival and Testo-Genius, the Jean Dalrymple Award for A Midsummer Night’s Dream at ATA, and a Princess Grace Award nomination for Romeo & Juliet.
Her acting credits are equally impressive, ranging from childhood appearances in commercials to lauded performances on the ATA stage, including Ophelia in Hamlet, Katherine in Taming of the Shrew, and Lady Macbeth. She has also performed in numerous Shakespearean productions and Off-Broadway shows.
Beyond her artistic achievements, Ms. Jennings possesses significant business acumen gained from managing multi-million-dollar retail locations and her experience in development at the Spanish Repertory Theatre (Repertorio Español). As the founding Board President of Ripple Effect Artists, a social-justice theatre, she honed her skills in theatre management and development, co-producing Off-Broadway shows and SAG short films. In 2021, she established Alchemy Theatrical Consulting, assisting indie theatre clients with various aspects of production and management. She has since returned to the American Theatre of Actors, contributing to rebranding, archiving, marketing, and business development.
American Theatre of Actors
Founded in 1976, the American Theatre of Actors is a vital repertory theatre company dedicated to fostering new talent in playwriting, directing, and acting. Over its history, ATA has presented over 1000 new works and provided a platform for more than 11,000 actors, including notable names such as Dennis Quaid, Bruce Willis, and Edie Falco.As the American Theatre of Actors looks towards its next 50 years, the appointment of Jessica Jennings as Executive Director signals a dynamic new chapter for this influential institution.
Contact info@jaymichaelsarts.com for further info
CALL FOR SUBMISSIONS: Midtown International Theatre Festival, July 2026.
CALL FOR SUBMISSIONS Midtown International Theatre Festival, July 2026.
The Largest NY Independent Theatre Festival
Contact info@jaymichaelsarts.com for further info
The New MITF is currently accepting submissions for its inaugural festival, scheduled for July 2026.
CLICK HERE for info and application
Set to take place over three weeks in July 2026, the revived MITF promises a diverse and dynamic lineup of theatrical experiences.
The MITF will showcase a wide spectrum of performances, including plays, musicals, cabaret acts (now named in honor of the late Vickie Phillips), and solo shows encompassing stand-up comedy. Discussions are underway to add a film festival in the series. Productions of all lengths are welcome, from concise one-minute pieces to full-length shows up to 120 minutes. Excitingly, discussions are also underway to potentially include an indie film festival and an art exhibition, further enriching the festival experience.
The original MITF, established in 2000 by John Chatterton to complement the downtown scene and ran for 18 successful seasons. MITF quickly became a respected and highly visible platform for independent theatre, even pioneering a festival model of theater rental and shared box office revenue that continues to influence theatre festivals today.
Participating in the MITF offers numerous benefits for producers, often at a more affordable rate than producing independently. The participation fee (PF), a down payment against a share of the gross, covers essential amenities such as:
- Publicity: Led by Jay Michaels and his team, ensuring broad exposure for all productions.
- Rehearsal Time: Allocated technical rehearsal and run-through time.
- Storage Space: Limited backstage storage provided at each venue.
- Performance Space: Rental of the venue for all contracted performances, including setup and strike.
- Technical Director: On-site support during rehearsals and performances.
- Lighting Designer: Professional lighting plot setup for each theatre.
- Equipment: Access to necessary festival-provided equipment, including an 88-weighted key electronic keyboard.
- Air Conditioning: Guaranteed comfort in all performance spaces.
- House Management: Staff to manage audiences.
- Box Office: Professionally managed ticketing services.
- Venue Management: Staff to ensure smooth operations and adherence to schedules.
- The Festabill: A full-color program guide for patrons, with advertising opportunities for shows.
- Insurance: General liability coverage provided by the festival.
An application form is available online HERE.
Please contact info@jaymichaelsarts.com for further info.
The festival anticipates announcing its partner theatre venues before the end of 2025.
Julie Lorson: A Theatrical Force Multiplied in MCTLI’s “As Bees in Honey Drown”
Anya Kai, reporting
For Julie Lorson, a dedicated board member of Modern Classics Theatre of Long Island, theatre isn’t just a hobby – it’s a way of life. Her involvement spans far beyond the stage, encompassing producing, stage managing, technical operations, publicity, and even prop and costume sourcing. This deep commitment makes her inclusion in the cast of “As Bees in Honey Drown” at the BACCA Arts Center a particularly significant contribution, showcasing her multifaceted talent.
While deeply involved behind the scenes, “As Bees in Honey Drown” marks only Lorson’s third main stage performance with MCTLI, following her roles in “The Curious Savage” (alongside fellow cast member Christina O’Shea) in 2022 and “The Curious Incident of the Dog in the Nighttime” in 2023. She has also been a consistent participant in their annual One Minute Play Festival, demonstrating her consistent engagement with the company.
Lorson’s connection to “As Bees in Honey Drown” began during the play selection process for the season. Among thirty scripts, Beane’s work stood out for its “brilliantly written and incredibly witty” dialogue. She was particularly drawn to the central character of Alexa Vere de Vere, whom she describes as the aspiration of every actress, a compelling “anti-hero” who is both captivating and detestable. Lorson also appreciates the rarity of a show driven by a strong female lead, making this production particularly appealing to her.
Despite the play being set in the late 1980s and early 1990s, Lorson finds its themes strikingly contemporary. She draws a parallel to the recent news surrounding Anna Sorokin, whose real-life deceptions bear a remarkable resemblance to Alexa’s schemes, even playfully suggesting Sorokin might have drawn inspiration from the play. This relevance underscores the enduring nature of the play’s exploration of ambition and artifice.
In “As Bees in Honey Drown,” Lorson takes on the ambitious task of portraying six distinct characters, each demanding unique costuming, accents, wigs, and shoes. This demanding feat has led to a significant personal realization. “I play six different characters, with 6 different costumes, 6 different accents, with 5 different wigs, 4 pairs of shoes and it’s a lot. But I learned that I can handle more than I thought,” she reflects. This challenge has proven both demanding and deeply rewarding, showcasing her versatility as a performer.
Lorson finds inspiration in the transformative power of wigs, particularly referencing a Tracy Ullman stand-up skit where wigs embody distinct personalities. This concept serves as a key influence for her multiple roles in the play. Beyond this specific inspiration, she admires the powerful presence of Broadway divas like Ethel Merman, Patti LuPone, and Audra McDonald, as well as the sharp wit of female comedians such as Judy Gold, Lisa Lampanelli, Amy Schumer, and Sarah Silverman.
As a self-described “comedic actress,” Lorson’s primary mission is to evoke laughter from the audience. “I feed off of laughter,” she admits, highlighting the symbiotic relationship between performer and viewer. She also emphasizes her responsiveness to the audience’s reactions, adjusting her performance to their preferences.
Interestingly, despite holding a degree in film theory, Lorson has no aspirations for a career in film acting. The prospect of multiple takes for a single scene holds little appeal for this “one and done type of girl,” further solidifying her passion for the immediate and dynamic nature of live theatre.
Lorson humorously describes her weekend role as a birthday party clown, where she enjoys the enthusiastic reception from her young audience. However, her true appreciation lies with performing for “theatre people” who understand the dedication required to mount a successful production. While her family offers their support, she notes that only her theatre-involved father truly grasps the intricacies of the process.
When considering who “needs” to see “As Bees in Honey Drown,” Lorson highlights its dual nature as a mystery, following Evan’s unraveling of Alexa’s identity, and a character study in multiple personalities. This makes it particularly appealing to mystery enthusiasts and fellow actors seeking to observe the complexities of portraying diverse roles.
The intricacies of managing numerous wigs have become a running joke within the production. “We joke that the show isn’t actually about Alexa and Evan but about the 13 wigs we use throughout the piece,” Lorson quips. A specific challenge lies in differentiating between her various British accents, ensuring her “proper British accent doesn’t sound too much like my Cockney British accent.”
Looking ahead, Lorson is eagerly anticipating her role as Beth in “Birthday Candles” at Lighthouse Repertory Theatre. This production marks her fourth consecutive show since early May, leaving her with a packed schedule until her brief “break” around July 4th, which will be followed by a cabaret performance.
Julie Lorson’s deep-seated love for theatre, her willingness to tackle multifaceted roles, and her dedication to engaging the audience make her a vital part of Modern Classics Theatre of Long Island’s production of “As Bees in Honey Drown.” Her ability to seamlessly transition between six distinct characters promises a dynamic and entertaining experience for all who attend.
Jim Catapano views the ATA’s New Life for Prince Hal
Shakespeare’s Henry V is revived with a Sparkling New Production at the American Theatre of Actors
“We Happy Few, We Band of Brothers,” Henry V famously proclaims—and Sam Hardy, the actor who currently brings him to life, could well be addressing his castmates and crew of this accomplished production, now playing at the ATA as presented by Jonathan G. Power.
Henry V is the final piece in a tetralogy by Shakespeare that was basically the 16th century stage version of the Marvel Cinematic Universe. It was preceded by Richard II, Henry IV, Part 1, and Henry IV, Part 2. Henry V would have been a familiar character to theatre fanatics of the Renaissance, having appeared in Henry IV Parts 1 and 2 in youthful form as the wayward, tavern-loving Prince Hal.
This “sequel” depicts Hal/Henry (also known as “Harry”) rising to the throne with a new maturity. At the English court Henry is convinced after a discussion about land laws with the Archbishop of Canterbury (David Allard) that he has a claim to the Throne of France. Thus, he prepares to do battle with the French near Agincourt. His regiment is comparatively small, but the king is armed with a of heart and spirit that he is determined to share with his soldiers.
Shakespeare veteran Hardy is perfect in the title role; his commanding voice, powerful stage presence and impressive physicality adding an extra electricity to the Bard’s 1599(ish) play. He brings great poignancy to a sequence where Henry disguises himself to walk among his soldiers, in order to get to know them and bring them hope and encouragement.
One of the most popular of Shakespeare’s historicals, Henry V is engaging and witty throughout, with many humorous interludes and an incredibly quotable text. The actors handle the complex languages, lengthy soliloquies, and Bill’s famous wordplay with astonishing skill and a clear love for the source material; they also excel at the tricky, operatic fight sequences, which are expertly choreographed for this production. The English soldiers are in tan T-Shirts, the French in blue; and the overall dress is contemporary. Even with the large cast many of the actors play multiple roles, switching demeanors and characterizations with deftness.
Dustin Pazar is engaging as The Chorus (“Narrator”) as well as The Duke of Exeter, Noy Marom is Princess Catherine of France; in one of the play’s most amusing scenes she asks her maid Alice (Annie Unger) for a lesson in how to say a selection of English words, with Alice responding with rather suspect pronunciation. Marom also plays the conspiratorial Sir Thomas Grey, and Unger doubles as “the Boy,” page to comedic trio Pistol (Joe Patrick Marshall), Nym (Kieran Wylie), and Bardolph (Paul Maurizio). (These four characters also appear in multiple Shakespeare works.) The prolific Jane Culley (over 50 off and off-Broadway credits) is the Queen of France and also Pistol’s wife, Mistress Quickly. Producer Power appears as Henry’s counterpart on the chessboard, the King of France. Adam Lyons is very amusing as the French Herald, who periodically appears on the balcony to taunt the English warriors.
Dukes and Earls of course abound. Christian Miranda appears as both the Duke of Orleans and the Earl of Salisbury; Reese Villiger is the loyal Earl of Westmoreland;
For audiences unfamiliar, I’d equate the relationships among the characters to the conflicts, and camaraderie in another more recent hero’s journey, The Lord of The Rings franchise (subtracting magic rings and dragons, but adding the tennis balls that the Dauphin of France sends to his rival Henry as a gag gift). Cruz is an entertaining presence as the aggressive, always screaming Dauphin.
Directed with panache by ATA founder and artistic director James Jennings, Henry V makes great use of the multi-leveled, atmospheric John Cullum Theatre. Moving video backdrops portraying castles, battlefields and graveyards add a nice sense of place and time. As usual for this highly regarded entry into Shakespeare’s canon, this edition Henry V earns it’s 3-hour runtime, captivating throughout on its way to a rousing denouement.
Henry V runs at the ATA through April 19, 2025.
SHELLEN LUBIN to helm CAROL LEE CAMPBELL’s musical play, “Chicks In Heaven”
Director/Writer/Performer and Coach, SHELLEN LUBIN to direct Carol Lee Campbell’s new play with music, “Chicks In Heaven” CAROL LEE CAMPBELL’s musical play about family and faith will have an industry presentation, in May at Open Jar Studios, 1601 Broadway, New York City.
A fractured coven of four women discovers that their strength lies not in their spells but in each other.
Contact info@jaymichaelsarts.com for further info
Chicks In Heaven enjoyed a wildly popular production at the Creative Cauldron in Virginia last year emboldening the decision to come to New York.
CHICKS IN HEAVEN takes us on a transformative journey, centered around a 30-year reunion in southwestern Virginia of friends who once shared a sacred bond fueled by feminist ideals. In their youth, these women experimented with magic as a means to challenge societal norms and fight against the oppressive forces of the patriarchy. Can the same magical activism that forged their early sisterhood bring them together now at a time when the fight is needed most?
Chicks In Heaven Book and Lyrics by CAROL LEE CAMPBELL
Shellen Lubin graduated from and then taught at Bennington College with a triple major in Drama, Music and Dance. During her time there, she appeared in Miloš Forman‘s first film in America, ‘Taking Off’ which featured two songs she wrote (“It’s Sunday” and “Feeling Sort Of Nice.”)
In her many years in the New York theatre and cabaret scene, she has directed work by Susan Merson, Pamela Weiler Grayson, Elliot Meyers, and ten Bistro Awards shows. Her plays and songs have been performed at the Public Theatre, Manhattan Class Company, Here Arts Center, Henry Street Settlement, 92nd Street Y, and more. She is in the Playwright Directors Workshop and the Directors Unit at The Actors Studio, where she has developed and presented work by numerous playwrights, including Lanie Robertson, Stuart Warmflash, and Anel Carmona.
Her professional theater directing career continues with Chicks in Heaven — in tandem with a successful voice teaching and coaching practice.
Carol Lee Campbell is an award-winning writer, musician and professor.
Here is Carol chatting with Andrew Cortes, the host of STAGE WHISPER PODCAST
She is the creator of Crone Stones, a widely popular divination oracle that includes thirty-three porcelain stones and an accompanying book, Return to Wellness: The New Book of Crone Stones. Chicks In Heaven, her first play with music, premiered in April 2024 at The Creative Cauldron in Virginia. A book launch of her newest fiction, Rebel Rose debuted in May 2024 by Rebel Satori Press. Carol teaches Women and Gender Studies and Greek Mythology at several Virginia community colleges and travels regionally as a performance artist and a lecturer.
AMT Theater announces opening of UPSIDE DOWN, a new musical — Opening March 8 @ 7:00 p.m. at AMT Theater
AMT Theater announces the new opening of UPSIDE DOWN, a new musical — Opening March 8 @ 7:00 p.m. at AMT Theater, 354 West 45th Street, New York City TICKETS here.
According to a recent Gallup poll, 92.4 percent of the U.S population identifies as straight while the rest considers themselves as part of the LGBTIQA+ community.
Turn that number around, and you have the world of Upside Down.
It’s a world where straights are in the minority, women rule the military, and the Jets constantly win the Super Bowl. This is a world where the majority is gay.
In this topsy-turvy world, two songwriters are creating a new musical — innovative, unique, ground-breaking Broadway musical … about straight people!
The President is outraged! The military is put on red alert! News outlets are all ablaze over this unprecedented event.
Will they succeed? Is the world ready for a [wait for it] …a man and woman falling in love …ON STAGE?
The world of UPSIDE DOWN will put you in the zone … The Twilight Zone.
Upside Down has music and lyrics by Al Tapper, book by Tony Sportiello, directed by Taavon Gamble and music direction by David Wolfson. The cast includes Bernie Baldassaro, Patrick Brady, Mike Ferlita, Jake Foster, Lauren Gemelli, Kira Sarai Helper, Ashanti J’Aria, Matthew Liu, Kelli Maguire, Stephanie Maloney, Stanley Martin, Gina Milo, Brogan Nelson and Josh Powell.
Upside Down will open March 8th and run through April 5th at AMT Theater, 354 West 45th Street. For more information, contact amttheater.org
“What we are doing tech-wise with Upside Down is more ambitious than any show we’ve ever done.says Artistic Director Tony Sportiello. “The set alone is going to be a marvel. You’re going to go from a bar to The White House to an apartment to a television studio all in a flash.
AMT: The MISSION
AMT Theater aims to entertain, educate and inspire people through the arts. AMT Theater shall provide audiences the opportunity to attend and participate in quality presentations of the finest theatrical works available. We are dedicated to enhancing quality of life through art, events and workshops. AMT will create opportunities for hands-on learning experiences in all aspects of theater production and management to adults and children in order to foster and develop their talents. AMT will strive to be an organization which is diverse, inclusive and a leader in our field.
BOARD OF DIRECTORS: Co-Chairs: Tamara Flannagan & Tony Sportiello; Secretary: Joan Pelzer; Treasurer: Sharon Osowski; Members: Zoë Reeve, Joanne Schmidt, Al Tapper, Eve Tapper, Lynne Tapper
| In just its third year, AMT Theater is the West 42nd Street 2024 Winner for Best Venue. Upside Down is its fifth production, following An Unbalanced Mind, On The Right Track, Bettinger’s Luggage and David the Musical |
“This is NOT A Drill” New Musical to Hold Private Industry Reading in NYC on Theatre Row
“This is NOT A Drill” New Musical to Hold Industry Reading in New York City
BY INVITATION ONLY event to be held on Theatre Row
BASED ON ACTUAL EVENTS
After numerous workshops and development, “This is NOT A Drill,” a new musical by Holly Doubet, is set to hold an exclusive by-invitation-only industry reading in New York City this March on Theatre Row.
This poignant work, inspired by a true event, has already garnered significant attention, including the prestigious 2021 Donald Fowler Theatre Arts Memorial Grant.
Following its acclaimed premiere in Dallas in 2021, “This is NOT A Drill” is taking the next step with this industry reading. The musical explores the lives of diverse characters who experience shock and panic upon receiving an emergency alert: “BALLISTIC MISSILE THREAT INBOUND TO HAWAII. SEEK IMMEDIATE SHELTER. THIS IS NOT A DRILL.”
Forced to confront their own mortality, they discover what truly matters. The show promises a suspenseful, yet warmhearted and funny journey, exploring love, relationships, and human nature under unimaginable circumstances. Doubet’s score is filled with undeniable emotion and soaring melodies.
The event will be the end of March on Theatre Row. Industry can contact Jay Michaels for further details.
“This is NOT A Drill” is based on a true event experienced by its conceptor, Holly Doubet. The musical follows the intertwined stories of individuals grappling with the reality of a potential missile threat. It’s a compelling exploration of human connection and the choices we make when faced with the unthinkable.
The production boasts an impressive team of talent:
- Director: Luis Salgado
- Grammy-Winning Musical Director: Paul Bogaev
- Grammy-Winning Guitarist: Jim “Kimo” West
- Broadway “Hamilton” Lead: Marc delaCruz
- Consulting Producer: Jack Lane
- Casting: Holly Buczek, Scott Wojcik – Wojcik Casting Team
- General Management: Evan Bernadin Productions/Hillel Friedman
- Attorney: Thomas Distler
Holly Doubet is a graduate of the Royal Academy of Music in London and holds a double major in classical piano and voice from a California university. Her diverse musical background spans from studio singing and songwriting to leading her own band and working as a backup singer in Los Angeles and Las Vegas. Doubet also served as a songwriter for the beloved children’s television show “Barney and Friends” and has achieved commercial success in the pop music world, including a CableAce Award nomination. “This is NOT A Drill” marks her exciting foray into musical theater.
Two Deep Cuts from a Legendary Playwright: Jim Catapano reviews Anton Chekhov
Two Deep Cuts from a Legendary Playwright
Chekhov’s Witty One-Act Character Studies Are Showcased at the ATA
The coupling of A Tragedian In Spite of Himself and The Anniversary is a delicious sampler of the work of the iconic Anton Chekhov, suited for both aficionados and newcomers. It’s another triumph for the American Theatre of Actors as it begins its 49th season.
A Tragedian… is a two-hander written in 1889, where “Chekhov’s Gun” gets an immediate namecheck. Ivan Ivanovitch Tolkachov (Devon Lawler) asks to borrow said revolver from his friend Alexey Alexeyevitch Murashkin (Harry Cooke). “If you don’t lend me a revolver than somebody else will!” he shouts. When Alexey admits he cannot detect what exactly is wrong with his friend’s life, Ivan proceeds to tell him…in incredible detail. Lawler is riveting as he delivers a long, frantic, impassioned monologue, raging against the perceived injustices of his existence. “Nobody has any sympathy for me, and everyone seems to think that all is as it should be!” he seethes—the final insult to him is his peers’ ignorance of his plight. It’s a complex stream-of-consciousness piece that Two Deep Cuts from a Legendary Playwright
Chekhov’s Witty One-Act Character Studies Are Showcased at the ATA
The coupling of A Tragedian In Spite of Himself and The Anniversary is a delicious sampler of the work of the iconic Anton Chekhov, suited for both aficionados and newcomers. It’s another triumph for the American Theatre of Actors as it begins its 49th season.
A Tragedian… is a two-hander written in 1889, where “Chekhov’s Gun” gets an immediate namecheck. Ivan Ivanovitch Tolkachov (Devon Lawler) asks to borrow said revolver from his friend Alexey Alexeyevitch Murashkin (Harry Cooke). “If you don’t lend me a revolver than somebody else will!” he shouts. When Alexey admits he cannot detect what exactly is wrong with his friend’s life, Ivan proceeds to tell him…in incredible detail. Lawler is riveting as he delivers a long, frantic, impassioned monologue, raging against the perceived injustices of his existence. “Nobody has any sympathy for me, and everyone seems to think that all is as it should be!” he seethes—the final insult to him is his peers’ ignorance of his plight. It’s a complex stream-of-consciousness piece that Lawler performs with astonishing energy and tremendous skill. (His “fed-up-ness” will have you nodding in solidarity.) Through it all Cooke’s Alexa listens with apparent sympathy, but then shockingly makes a request of Ivan that indicates he didn’t take in a word that his friend said, thus proving Ivan right. This sends the teetering Ivan over the edge, and chaos inevitably—and fittingly—reigns.
In The Anniversary, Anton takes on corporate life, and it’s striking to see how the piece—also from 1889—resonates in 2025. A farcical story set at a private bank, it concerns one Andrey Shipuchin (Jonathan Beebe), the company’s chairman, as he gathers his colleagues and shareholders to celebrate the institution’s 15th anniversary. Unfortunately for Shipuchin and all involved, events quickly go comedically south. Harry Cooke returns as the frustrated clerk Kusma, lamenting the chairman’s empty promises even as he prepares to craft his boss’ speech for the occasion. Natasha Sahs is hilarious as Andrey’s obnoxious wife Tatiana, who cannot stop talking about things that are not remotely relevant to anyone else. Kate Jergensen’s Natasha arrives to very humorously ruin the vibe even further, demanding that the bank pay her husband’s salary even though there’s no evidence that he ever worked there.
The actors collectively shine, providing a masterclass in realizing Chekhov’s classic and clever material, resulting in a can’t-miss dual production that demonstrates how words written long ago still resonate in the early 21st century.
A Tragedian In Spite of Himself and The Anniversary are directed by John DeBenedetto. They run at the American Theatre of Actors through February 2, 2025.
Arts Independent 