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Jim Catapano has [Camp] Growing Pains thanks to Esme Roberts Hilarious Coming-of-Age Comedy Little Bitches Lights Up the Fresh Fruit Festival
Little Bitches is a lively, authentic play about maturing teens that starts at 60mph, opening with a call-and-response chant of “Little Red Wagon” led by Gabriel Ryan-Kern and Sarah Brown that gets the audience pumped. It stays at full speed from there, as we see Jenna (Hailey Gates) and Natasha (Gigi Kazanjian) meet as little kids in 2016.
“If you were a boy I would love to marry you,” says a charmed Jenna.
“Actually my mommy says that you can marry girls too,” Natasha replies. “My aunt is part of this religion called ‘lesbianity’ where she just gets to marry girls all day!” But we soon learn that while Jenna grows up to be on board with that, to her heartbreak Natasha may not actually be joining that “religion” after all.
Following that foreshadowing we fast-forward to the girls at age 15 at a California summer camp, surrounded by many peers of wildly different personalities and persuasions, under the guidance of Counselor Kiwi (Veronica Piurek). Natasha’s bestie Sophie (Lucy Kirkland) arrives from Spain, and intrigued “ally” Billy (Samantha Fath) is thrilled to meet a “real immigrant” but then is disappointed to learn that Sophie was only vacationing there. Jenna, meanwhile, is surprised to be only finding out now about Natasha’s supposed BFF, while Natasha wishes for a date with Tyler (Leo Ruckenstein) from the boy’s camp. Significantly Jenna is not interested in anyone from that camp, and is upset that Natasha seems so different from the previous summer.
“I think it’s normal for people to change in school,” says bunkmate Kate (Charlotte Gilbreth).
“I guess but I don’t want them to change,” says Jenna.
“Change is inevitable,” Kate says, and thus we have the theme of Little Bitches, handled lightheartedly but genuinely from a writer who knows, and a talented cast who delivers.
Roberts was 17 when she crafted Little Bitches, and therefore close enough to her own experience of the era she is depicting for it to still be fresh fruit (pun, as always, intended).
Our adventures with the camp company lead to a very bizarre yoga class led by Humuh (Dominik Valcin), where bunkmate Rian (Chiara Di Giorgio) gets hurt in a game of leapfrog with Racie (Ruby Carlon), but is thrilled to be accompanied by her crush Jack R (Devan Martin). As the girls distill alcohol from hand sanitizer, Jenna struggles with her feelings for Natasha and her jealousy of Sophie, who suspiciously disappears, leading the group to hold a hilarious séance. This is followed later by some equally uproarious (and impressive) musical numbers, including one from the now “in love” Rian and Jack R (“Don’t judge me, I’m sick right now”) says Rian.
The angst, the budding romances and the teenage anxiety over sexuality and orientation are generally played for laughs, but without sacrificing the reality of the character’s experience. Roberts has mentioned the show PEN 15 as an influence, and that is delightfully evident here. The characters fly near the top, but their feet are still close enough to the ground to feel genuine and relatable. It’s a lead-off home run from Roberts and makes one excited to see what the up-and-coming author does next.
Little Bitches is a Production of the Next Door Theatre Company, produced and directed at The Wild Project in Spring 2026 by Samantha Lako and Victoria Smith.
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)
A Tangled Web Gives Way to Connection and Love: Jim Catapano reviews Reginald T. Jackson’s Hilarious and Heartfelt When We Practice to Deceive Shines at the Fresh Fruit Festival
With When We Practice to Deceive, performed at The Wild Project in Spring 2026, renowned playwright Reginald T. Jackson lets the trans community know that he sees, hears, and supports them. The delightful production is mostly lighthearted; as Jackson has observed, many theatrical dishes on pivotal subjects are best served with humor. Thus the characters are instantly familiar, sympathetic, and believable.
Veterinarian Kevin Cooper (Maddoux) is catching up in NYC with his Louisiana-residing mom Martha (Yvette Dingwall). He is late because he had just been in surgery to remove a dog’s spleen. “This is what you do with that expensive medical degree you have?” chides Martha, who wants to know when he’s going to find a nice partner. He in fact, has, in Lady Jasmine (Sunna Bee), and nervously plans to have them meet. He confides in Beth (Jasmyn Green), his friend at the hospital, over how to broach the subject that Lady Jasmine is a transgender woman to his kind-but-conservative mom. But Martha finds that out on her own, when sharing a restaurant restroom with Lady Jasmine before realizing that she’s her son’s new partner. The exchanges to follow are tense and realistic but with a light touch that keeps the audience engaged and sympathetic to all the characters. Martha claims to not drink (“you can’t serve both the lord and the bottle”) but then orders and chugs a Manhattan after the revelation. Bee pulls at the heartstrings as Lady Jasmine, wanting to be seen and accepted for who she is after being tragically disowned by her own parents. Cooper’s relatable Kevin is stressed to the high heavens, terrified that he will have to choose between Lady Jasmine and his own mother. But the wise and loving Martha comes around, embracing Lady Jasmine and (over) enthusiastically planning the wedding after the couple gets engaged right in front of her. “Don’t be so surprised, I’m capable of growth!” she announces to laughter and relief.
A charming and believable performance from Dingwall gives the story a warmth and realism; this is aided by a hilarious and effervescent Chetan Rao as Lady Jasmine’s BFF Diamond Dupree. Amiere A . Bell is Charlie the bartender, who oversees the events and provides a calming presence, as does Green’s charismatic Beth.
The entire cast brings a heart and depth to their characters that realize Jackson’s intent, and bring tremendous life to his witty and thoughtful dialogue. The road to the wedding is incredibly fun, but balanced with a sad moment when Lady Jasmine is once again confronted by her intolerant, dead-naming parents. It is a scene that is heartbreaking but necessary, as a reminder that violence against the trans community, both emotional and physical, is a tragic epidemic (as Jackson has observed).
Deftly directed by Kubbi, When We Practice to Deceive is, a Jackson puts it “a love letter to the trans community.” It’s an essential work that comes at a pivotal moment, and a triumph for Jackson and the cast and crew.
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
Jim Catapano reviews Richard Vetere’s Compelling “Poet on a String” which draws eerie parallels between 1939 and today
Creativity and Connection, Challenged in a Changing World
Richard Vetere’s Compelling Poet on a String Draws Eerie Parallels between 1939 and Today
As the 1930s faded and the reality of another World War loomed, the artists of the time were facing their own crossroads. Film was becoming the dominating medium, and the culture-changing era of Television was fast approaching. The poet Delmore Schwartz (Sam Cruz), only 26 but already studiously examining his “past”, rages against the new paradigm, mocking the very notion of a “screenwriter” as a meaningful pursuit.
Delmore’s wife of two years, Getrude Buckman (director Amber Brookes), is also a writer, but this means little to the narcissistic, dismissive Delmore. “I don’t think she has talent, but I love her just the same,” he confesses directly to the audience at play’s opening. But the “love” part is seriously in doubt as well, as it becomes evident that Delmore sees Getrude solely as the muse to fuel his own brilliance.
“I have a big ego because I’m a genius!” he bellows.
In the midst of the couple’s play-acting at a healthy partnership, they arrive at the home of friend and fellow writer James Agee (Joseph Monseur) to spend the summer weekend boozing and philosophizing. James is primarily a journalist and commentator who is doing a piece for Life magazine on Delmore. But in stark contrast to his friend and interview subject, James is planning to jump headfirst into the modern way of storytelling, aspiring to be one of the Hollywood screenwriters that Delmore scoffs at. In between drinking and flirting with Gertie, James likes to wander off and seek out the ghost of his father, who died very young, and according to James appears nightly on the grounds to have a chat.
Thus begins an intense 48 hours that examine the fragility of relationships as the tidal wave of global change on many fronts threatens to consume them. James is self-destructive, Delmore is paranoid and rigid; Getrude struggles to be seen as an individual with a creative voice that deserves to be heard.
“I don’t want to be his muse!” a defiant Gertrude proclaims to James. “I’m searching for my own.”
A passionate debate between Delmore and James illustrates the crux of the conflict. “When poets destroy other poets, they are falling into the hands of the Philistines,” seethes Delmore. “The people must read poetry, they must shun the movies, they must be allowed to learn and question life—not deny pain and suffering. Movies perpetuate fantasy: We are a culture of denial.”
“Let’s join the culture of denial!” responds James, urging Delmore to join him on the “dark side” by coming with him to Paramount to write movies together.
Vetere and Brookes have come together to create a production that not only gives a tantalizing fly-on-the wall-look at three real-life artists in the pivotal year of 1939, but also holds tremendous relevance up to those of us navigating the treacherous waters of 2026. The dawn of the Golden Age of Hollywood mirrors the rise of AI. When Delmore condemns film as an affront to genuine artistry and a catalyst in the diluting of audience intelligence, we can’t help but shudder at where we are now, as the even greater danger of Artificial Intelligence threatens to utterly destroy the human component so crucial to creativity. That said, Agee’s point of view must also be considered; if the creative world is changing and nothing can stop it, the only options are to ride or die. This conundrum, along with the tension among the characters, is presented with astonishingly strong dialogue, deft direction and terrific work by the cast. Many of the things the characters say are based on extensive research, with Vetere’s artistic flourish painting a realistic picture of what may have happened that fateful weekend. There are many witty, laugh-out loud moments to complement the dramatic intensity and powerful performances, making Poet on a String a modern classic and a must-see.
Note that the production features two rotating casts, allowing for audiences to enjoy different interpretations of these literary icons and this very relevant artistic dilemma: The second cast features Dustin Pazar as James, Elizah Hill as Gertrude, and Jake Minter as Delmore.
Poet on a String runs at The Sargent Theatre at The American Theatre of Actors through April 12, 2026.
Jim Catapano reviews Anne L. Thompson-Scretching’s Home Is Sweet Sorrow: “A Masterful Conclusion to a Momentous Family Saga”
The War That Never Ends
Home Is Sweet Sorrow is a must-see and a devastatingly powerful third chapter in the Blood trilogy, which also includes the highly regarded A Lesson in Blood and A Long Way From Home. Anne L. Thompson-Scretching’s prolific pen and deft direction again triumph in a depiction of an American family wounded by war and the trials of the mid-20th Century.
It is 1971, and PFC Willie Taylor (Laquan Hailey, reprising his role from A Long Way From Home) has come home from Vietnam. He is in a wheelchair, but his prognosis to walk again is good. Though he may soon regain his mobility, the damage to his mind is far less likely to ever be healed. He is a stranger to himself and to his family: mother Shanna (Gina McKinney), father Jacob (Kevin Leonard), and sister Luella (Joy Foster). Non-blood cousin Ceola Red Feather (Carrie Johnson) is the daughter of Oceola (the lead character of A Lesson in Blood); she has gone to school and now has medical training that she can help Willie with, and the two eventually begin the romantic relationship they were destined for. Rommell Sermons (Chester in A Long Way From Home) appears as Thomas Avery, a sergeant who visits to try to get Willie help for his PTSD.
That PTSD has shattered Willie’s personality and threatens his very sanity. After he arrives home (significantly not wearing his uniform), the mother he had missed so very much tries to help him navigate a tight hallway in his chair, and he snaps instantly and violently. He has developed a drinking problem—reaching for the bottle when the nightmares come (and they do, every time he closes his eyes), when the cars backfire like rifle shots, and when the flashbacks in his head threaten to consume him.
“I don’t know who I am or what I’ve done,” Willie despairs. “Them doctors, they only patched up the hole inside me and sent me on my merry way…sometimes when I wake up, I still feel like I’m dead. I can’t be the same person I was before I left here.”
Adding to his own trauma is that his friend and fellow PFC Jamie Lofton perished under suspicious circumstances in Vietnam. Jamie’s devastated mother Abigail (Elly-Anne Ehrman), aware of the secret that was her son’s burden, has come looking for answers from Willie, and a painful revelation adds even more horror to the already devastating effects of a war that no one wanted.
The relationships among the characters are so well-realized and so well-acted, anyone watching Home is Sweet Sorrow could almost feel like they truly are in the home of the Taylors in 1971. They share many a meal and many a drink, namecheck All in The Family and Ed Sullivan, and truly give the sense of having been through a great deal together. Each and every one of them feels like a real living and loving human being, and so their happiness and pain are felt viscerally. We find joy in their warmth and connection, thus making the moments when that connection is severed all the more painful to witness. Willie’s devotion to his Shanna is damaged by what he sees as her inability to grasp what he’s been through, and she is left terrified, forced to walk on eggshells in fear of the traumatized shell that her son has become. Shaina and Abigail, ostensibly friends, clash over their grief and their individual need to honor their sons, one who is gone physically and one emotionally. Jacob plays peacemaker and is anguished that any returns to normality are short-lived. Anne L. Thompson-Scretching’s powerful dialogue and skillful world-building are astonishing, as is her bravery in reminding us that resolutions and closure are not to be found in the brutal reality that Home Is Sweet Sorrow so poignantly depicts.
Layton Lamell, Patricia Fields and Sania Hyatt are Swings for Willie, Shanna, and Luella respectively.
Presented as part of the African American Playwrights Initiative, Home Is Sweet Sorrow is performed at the Sargent Theatre at The American Theatre of Actors through March 29, 2026.
Music Among the Tumbleweeds: Jim Catapano reviews James Jennings’ New Dancing in the Meadow.
James Jennings’ New Dancing in the Meadow Brings Feel Good Vibes to the ATA
James Jennings, legendary Founder of the American Theatre of Actors, brings another rich character study to the Beckmann Theatre, along with “a little night music”. The setting of Dancing in the Meadow, his latest production, is the home of songwriter Hank Anderson (Rick Jordan) and his wife June (Ginger Kipps), during a New York snowstorm. Hank, now past retirement age but still wonderfully motivated to pursue his art, is working on new material. June, however, is not impressed with the snippets she hears Hank singing, and with his apparent inability to see any of his works in progress to completion.
“If I hear any more of that sh—t, I’m gonna get one of the kids over here to toss your a-ss out into the snowdrift,” snarks June. “Now just cut this crap.” (June’s language is delightfully colorful throughout the play.) Hank was once involved with the Whispering Tumbleweeds, a country band fronted by his old friend Marvin Swing (Ken Coughlin), and boasts of the song he got on their sixth album. But that was 40 years ago, and the two haven’t crossed paths since. June is troubled by what she sees as Hank’s delusions, and would rather he focus on shoveling the snow. But Hank feels sure that a reunion with Marvin is imminent.
“Hey, I got to get ready,” says Hank, “you never know when he might show up.”
Their daughter Lucy (Chiara Aiello), an aspiring singer who just played The Bitter End, arrives to hear her dad’s old stories and her mom’s scoffing. But then, Marvin does indeed appear on their doorstep, resplendent in leather jacket and guitar-emblazoned scarf. He tunes Hank’s 12-string guitar and announces he is indeed here to make music, but wants it to involve more than one Anderson…
Dancing in the Meadow is a lovely piece that shows how the power of music can reunite old friends and connect generations. The interactions among the characters are genuine, moving, and fueled by Jennings’ trademark sparkling dialogue and wisdom about what makes people tick. The veteran cast sparkles in the first act of the production, and then return to the stage for a delightful surprise: Harmony in the Meadow, a concert with Aiello and Coughlin dueting as their characters. Coughlin’s excellent work on the 12-string and rich singing are accompanied by Aiello’s utterly gorgeous vocals, and we are treated to a set of some of the most beloved songs of the 1960s and beyond. Gems such as Joni Mitchell’s “Both Sides Now,” Simon and Garfunkel’s “The Boxer,” and the Righteous Brothers “You’ve Lost That Loving Feeling” are given marvelous readings by the duo, who I’d certainly love to see again in a concert setting. “Send in the Clowns” from the aforementioned A Little Night Music provides one of the most poignant moments, and “(I’ve Had) Time of My Life” from Dirty Dancing is the most uplifting. The half-play, half concert is one of the more joyous experiences you’ll have at the theatre this season, and another feather in the cap of James Jennings and the ATA.
Directed by James Jennings, Dancing in The Meadow runs at the American Theatre of Actors.
“Are We Friends, and Were We Ever?” asks Jim Catapano at YEARS TO DATE’s New York Premiere
Allen Barton’s Masterpiece Years to the Day Takes a Hard Look at Modern Relationships
“How the hell do you live your life unless you know who you are?”
Jeff (Jeff LeBeau) and Dan (Peter Zizzo) met each other and their later partners at the very beginning of college and have been “best friends” ever since…and yet they haven’t seen each other in person in six years. They finally meet over coffee, and it’s the precise anniversary of their last get-together in the flesh. They are in their mid-fifties, a time when a certain “rigidity” can set in for a person in terms of habits and point of view, accompanied by a “this is who I am, deal with it” attitude.
“You are the king of rudeness,” snarks Jeff as they settle in.
“You are the king of puerile, nanny-state intervention!” Dan claps back, but this “old buddy banter” is foreshadowing of the severe disconnection that is soon revealed. They discuss the “latest movie,” which Dan despises but Jeff saw twice; they debate about whether they’re middle-aged or old, and if “50 is the new 40” and how does that effect who they date.
But there’s a discomfort ever-present as the two try to slip into their old roles. The fiery Dan and the comparatively reserved Jeff come across like strangers that just happen to have known some of the same people and shared some experiences. We start to wonder immediately how these two came to be close, as their opposing energies and outlooks are brought to the table. Stunning revelations about each other’s lives come pouring out—important, life-changing, traumatic events that any close friend should have already known about. It’s clear that the notion of them having a deep connection is nonsense; their “friendship” is just a habit, and not one that they’ve cultivated in a healthy way. Jeff and Dan are on opposite sides of the political fence, but it’s never been a problem because Jeff used to downplay his beliefs; his refusal to take up the placating Avatar of old leads to a verbal explosion that nearly drives him out of the get-together. (The political climate is smartly kept vague and thus evergreen; we learn of an unnamed president that has somehow managed a third term, to Jeff’s delight and Dan’s horror.) Now that neither Jeff or Dan are “playing characters”, they find that the “actors” who brought them to life have little basis for a relationship. And yet somehow, their shared history and a genuine caring despite of all the differences just might be strong enough to lower the temperature and leave open the possibility of another meeting in the near future…maybe.
Written and directed by Barton and produced by Mia Christou, Years to The Day first premiered in 2013 to great acclaim and now makes its New York debut in a time when its themes are ever more relevant. Emmy winners LeBeau and Zizzo disappear deftly into their characters, delivering Barton’s musical, witty, rapid-fire dialogue with tremendous skill yet always appearing spontaneous in their interaction. Their body language, tense and awkward, is like another character in the play; seeing these two “buddies” barely look at each other for most of the meeting is chilling. Their unconvincing promise to “call Brenda” after a sad event for the unseen character stuns the audience; we all have a Brenda in our lives we’ve neglected. Seeing Jeff and Dan’s supposed closeness exposed as simply the product of having been in the same place at the same time is devastating as it certainly reflects reality for many in the modern world. In a time of social media false personas, fishing for “likes,” and a phone addiction that allows us to retreat at the first sign of boredom or discomfort, it becomes too easy to not even bother to cultivate a deep connection.
Hilarious, heartbreaking, and thought-provoking, Years to the Day is a must-see and a triumph for Barton, LeBeau, Zizzo and Christou.
“One thing exists at a time,” observes Dan throughout the play; it’s a simple yet astonishing declaration that will stay with you once you realize what it truly means, and the ark of Years to the Day reveals it powerfully.
Years to The Day is performed at the American Theatre of Actors through February 28, 2026.
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
Arts Independent 