Disney on Broadway 25th Anniversary Medley Performance on "Good Morning America"

The stars of Disney Theatrical’s three current Broadway hits, AladdinFrozen, and The Lion King, appeared live on “Good Morning America” to sing a medley of Disney Broadway tunes from the past 25 years in celebration of Disney Theatrical Productions’ 25th anniversary.

The medley included:

“Be Our Guest” performed by Ryann Redmond (Olaf in Frozen)

“Can You Feel the Love Tonight?” performed by Syndee Winters and Bradley Gibson (Nala and Simba in The Lion King)

“Supercalifragilisticexpialidocious” performed by Patti Murin (Anna in Frozen)

“You’ll Be In My Heart” performed by Arielle Jacobs and Ainsley Melham (Jasmine and Aladdin in Aladdin)

“Under the Sea” performed by L. Steven Taylor (Mufasa in The Lion King)

“Carrying the Banner” performed by the Company

“Friend Like Me” performed by Michael James Scott (Genie in Aladdin)

“Let It Go” performed by Caissie Levy (Elsa in Frozen)

CLICK HERE for video of the performance!


Flying Into Sixth Broadway Year, Title Emerges as

One of the Biggest Stage Hits of Recent Years,

Grossing Over $1 Billion Worldwide

Aladdin, the hit Broadway musical, continues to reach a whole new world as it celebrates five “genie-us” (USA Today) years on Broadway on Wednesday, March 20, 2019 at the New Amsterdam Theatre (previews began February 26, 2014).  Aladdin is the fourth Disney Theatrical Productions show (following Beauty and the Beast, The Lion King,and Mary Poppins) to play five or more years on Broadway.  With six productions on four continents, Aladdin is a worldwide phenomenon that has grossed over $1 billion and welcomed over 10 million guests.

As it approaches its 5th anniversary, Aladdin has broken 14 New Amsterdam Theatre house records and proven itself an enormous and enduring hit, joining a small, exclusive group of blockbusters.  With a gross of over $350 million to date, only two megahits of the last decade (The Book of Mormon and Hamilton) have grossed more in their first five years.  With attendance of over 3 million theatergoers in five years, it has been seen by more people in that period than any Broadway show except Wicked

As of the 5th anniversary of Aladdin on Broadway, the Genie has granted Aladdin 6,294 wishes, there have been 83,920 fireworks set off in the New Amsterdam Theatre, and the magic carpet has flown 63 miles.

The scale and reach of the show’s popularity continues on a parallel track internationally, as the show’s global footprint has expanded to include productions that continue playing in Tokyo, Hamburg, London and Australia and a tour across North America.

Aladdin stars Ainsley Melham (original Australian Aladdin) as Aladdin, Arielle Jacobs (In the Heights, Wicked) as Jasmine, Michael James Scott (The Book of Mormon,Something Rotten!) as the Genie, and Tony Award® nominee Jonathan Freeman (Mary PoppinsThe ProducersShe Loves Me) as Jafar, bringing to the stage the role he indelibly created in the animated film. The show also features Brian GonzalesMike Longo, and Brad Weinstock as Aladdin’s sidekicks Babkak, Kassim, and Omar, JC Montgomery as Sultan and Don Darryl Rivera as Iago.  Juwan CrawleyDennis Stowe and Deonté L. Warren stand by for several principals.

Produced by Disney Theatrical Productions under the direction of Thomas Schumacher, the show features music by Tony Award and eight-time Oscar® winner Alan Menken (Beauty and the Beast, Newsies, Sister Act), lyrics by two-time Oscar winner Howard Ashman (Beauty and the BeastThe Little Mermaid), three-time Tony Award and three-time Oscar winner Tim Rice (EvitaAida) and four-time Tony Award nominee Chad Beguelin (The PromThe Wedding Singer), with a book by Beguelin, and is directed and choreographed by Tony Award winner Casey Nicholaw (The Book of MormonMean GirlsThe Prom).

In a cast of 36, Aladdin also features Malik Akil, Kathryn Allison, Netanel Bellaishe, Mike CannonDamian Chambers, Alicia Charles, Lauryn CiardulloJacob Dickey,Mark DiConzo, Josh DrakeTiffany EvaristeJacob Gutierrez, April Holloway, Amber OwensJamie Kasey PattersonBobby PestkaAriel ReidTyler RobertsTrent SaundersJaz Sealey, Angelo SorianoKatie TerzaTravis Ward-Osborne and Paige Williams

Aladdin, adapted from the Disney film and centuries-old folktales including “One Thousand and One Nights,” is brought to fresh theatrical life in this bold new musical.  Aladdin’s journey sweeps audiences into an exotic world of daring adventure, classic comedy and timeless romance.  This new production features a full score, including the five cherished songs from the Academy Award®-winning soundtrack and more written especially for the stage.

The film won the Oscar for Best Original Score and introduced the hit song “A Whole New World,” which won the second of the film’s two Academy Awards as Best Original Song.  The Peabo Bryson/Regina Belle recording of the tune soared to #1 on the Billboard Hot 100 chart.

Aladdin is designed by seven-time Tony-winning scenic designer Bob Crowley, six-time Tony-winning lighting designer Natasha Katz, two-time Tony-winning costume designer Gregg Barnes and sound designer Ken Travis.

The production team also includes illusion designer Jim Steinmeyer, hair designer Josh Marquette and makeup designer Milagros Medina-Cerdeira.  The music team is headed by music supervisor and music director Michael Kosarin, who also created the vocal and incidental music arrangements, joined by orchestrator Danny Troob and dance music arranger Glen Kelly

For more information, visit AladdinTheMusical.com

Photos From "Women's Day on Broadway!"

Read previous Article on “Women’s day on broadway 2019 inspiring changemakers”:


Coming Soon to the New Victory Theater: A SIMPLE SPACE

Headstands, Backflips and Human Pyramids: Astounding Acrobatics from Australia

From Gravity & Other Myths

★★★★ "Gravity-defying… truly breathtaking and a joy to watch."

- The Stage

The seven audacious acrobats of Gravity & Other Myths like to keep things simple. Who needs circus rigging, sparkly costumes or even shoes when you've got each other? Balancing, climbing and swinging on one another's heads, hands and shoulders, this talented, tight-knit troupe and their dynamic drummer saturate their stripped-down spectacle with high-energy athleticism. A SIMPLE SPACE is a down-to-earth and downright delightful display of human strength, breathtaking skill and cheeky, good-natured one-upmanship. Added performances for Winter Break!

February 9 - 24

Tickets start at $22*

Get Tickets

For everyone 6 and up

60 minutes with no intermission


Sit Inches Away from the Action!

Elevate your experience with special onstage seating and witness the awesome acrobatics and breathtaking skill up close! 



Kids’ Night on Broadway® To Take Place TUESDAY, FEBRUARY 26, 2019


The Broadway League announced today that the 2019 Kids’ Night on Broadway® will take place on Tuesday, February 26, 2019. Tickets will be available for purchase in December. Fans can sign up for The Broadway Fan Club at KidsNightonBroadway.com to be the first to know when tickets go on sale!

Kids’ Night on Broadway is an annual event where kids 18 and under can attend participating Broadway shows for free when accompanied by a full-paying adult (all guests must have a ticket to attend shows; offer is applied as 50% off each ticket; no additional ‘free’ tickets are added to orders).

A Kids’ Night on Broadway ticket also includes restaurant discounts, parking discounts, and more. Select shows will offer in-theatre activities for kids including talkbacks, Kids’ Night on Broadway activity books, and other events still to be announced.

Kids’ Night on Broadway will also take place in multiple cities around the country, with different shows and venues putting their own spin on the event on several dates throughout the year. Check KidsNightonBroadway.com for specific dates and locations.

Kids’ Night on Broadway®, a program of The Broadway League, is generously presented by The New York Times with additional support from Westchester Family.

#  # #

THE BROADWAY LEAGUE (Charlotte St. Martin, President), founded in 1930, is the national trade association for the Broadway industry. The League’s 700-plus members include theatre owners and operators, producers, presenters, and general managers who present in over 200 markets in North America. Each year, League members bring Broadway to over 30 million people in New York and on tour across the U.S. and Canada. The Broadway League has recently added a new category for International membership to collaborate with professionals from around the world who produce and present Broadway quality theatre. The Broadway League annually co-presents the Antoinette Perry “Tony” Awards®, one of the most coveted awards in the entertainment industry.

Key League programs and resources include: Kids’ Night on Broadway®, The Jimmy® Awards, Stars in the Alley®, Internet Broadway Database® (ibdb.com), Broadway.org, SpotlightonBroadway.com, Commercial Theater Institute (with TDF), as well as numerous conferences and forums for our members. Broadway Bridges®, with the support of the New York City Department of Education and the United Federation of Teachers, is aimed at giving every New York City public high school student the opportunity to see a Broadway show before graduation. TheatreAccessNYC (co-produced with TDF) is the one-stop website of accessible Broadway performances for theatregoers with disabilities. Families.Broadway is the League’s site for family friendly offers and pricing. Broadway.org is the League’s official on-line headquarters for Broadway in NYC, on tour, and internationally.

For more information visit BroadwayLeague.com or follow @BroadwayLeague on Twitter and visit us at Facebook.com/BroadwayLeague.

Broadway theatres are filled with an exciting array of new and classic musicals and plays, providing the perfect experience for every audience. Great seats are available at every price point and are easy to buy online, by phone, or in person at theatre box offices. It’s always the perfect time to see a show. Broadway performs every day of the week at multiple curtain times to accommodate every schedule.

New Victory Theater presents Circus Abyssinia: Ethiopian Dreams & Boing!

New Victory Logo.PNG

HOLIDAY season is upon us, and in this cold winter season in NYC, watching theater is a great opportunity. NEW VICTORY THEATER is great for kids and entire family. It’ll make a great HOLIDAY outing, or a holiday gift for your loved ones!

Here’s what’s going on this month at NEW VICTORY THEATER.

Circus Abyssinia: Ethiopian Dreams


Checkout more at


Engage with us using #NewVictory on social media:

Facebook @newvictorytheater

Instagram @newvictorytheater

Twitter @newvictory

PUBLIC THEATER NEWS! 15th Annual Under the Radar Set For Jan 3-13



11-Day Festival Includes Penny Arcade, Lola Arias,  The Chekhov Project, Tania El Khoury, Ifeoma Fafunwa,  The Illustrious Blacks, James & Jerome, The Kilbanes,  Manual Cinema, Meow Meow, Peter Mills Weiss & Julia Mounsey, Flaco Navaja, New Saloon, Plexus Polaire, Rude Mechs

Under the Radar + Joe’s Pub: In Concert, UTR Professional Symposium and INCOMING! Series  Return for UTR 2019

Single Tickets Start at $25 and UTR Packs Available Now

October 30, 2018 – The Public Theater (Artistic Director, Oskar Eustis; Executive Director, Patrick Willingham) announced the full line-up today for the 15th annual UNDER THE RADAR FESTIVAL, running January 3-13, 2019. This popular and highly-anticipated festival of The Public’s winter season will include artists from across the U.S. and around the world, including Argentina, Australia, France, Lebanon, Nigeria, Norway, Palestine, and the UK. Curated by UTR Festival Director Mark Russell, this year’s UNDER THE RADAR FESTIVAL continues to expand to venues throughout New York City in addition to The Public Theater’s home at Astor Place. Tickets start at $25 and are on sale now.


Exciting new work by innovative artists Penny Arcade; The Chekhov Project; Tania El Khoury; Ifeoma Fafunwa; The Illustrious Blacks; Manual Cinema; Meow Meow; Peter Mills Weiss & Julia Mounsey; Flaco Navaja; New Saloon; Plexus Polaire; and Rude Mechs will be featured at UTR 2019. The festival will also include works by Lola Arias; James & Jerome; and The Kilbanes at partner venues throughout New York City.


The line-up for the Devised Theater Working Group’s INCOMING! Series includes Sean Donovan, Aya Ogawa, Lorelei Ramirez, Sam Schanwald with Caitlin Ryan O’Connell, Eva von Schweinitz, and Whitney White. The 11-day festival will also include the return of Under the Radar + Joe’s Pub: In Concert performances and the Under the Radar Professional Symposium.


“The most exciting two weeks in New York theater will be coming again this January. Under the Radar dazzles, shocks, provokes, excites, and always, always surprises!” said Artistic Director Oskar Eustis.


“Under the Radar is celebrating 15 years of bringing the most adventurous independent theater from around the world to New York City,” said UTR Festival Director Mark Russell. “The Festival features artists that question the rules of theater and break them, giving us a new perspective on the world. Intense and immersive, the Under the Radar Festival is a muscle-building exercise in finding common values and imagining a future.”


Under the Radar + Joe’s Pub: In Concert returns this year with performances by Penny Arcade, The Chekhov Project, Meow Meow, and The Illustrious Blacks. This exciting series highlights the multidisciplinary music/theater hybrids emerging from this renowned venue’s programming. The Library at The Public will also be open nightly for food and drink, beginning at 5:30 p.m.


Public Theater Member and Partner tickets for the 2019 UNDER THE RADAR FESTIVAL start at $20 and are available now. Single tickets to UTR shows start at $25 and tickets can be accessed online at www.publictheater.org; The Taub Box Office at The Public at 425 Lafayette Street; or by phone at 212-967-7555, beginning Thursday, November 8. Tickets for partner venue events at The Metropolitan Museum of Art and NYU Skirball can be purchased directly from the venues. All tickets are subject to facility and service fees. The “UTR Pack” is back by popular demand. Purchase five or more UTR shows and save $5 dollars off each ticket. Good for all UTR shows at The Public and BRIC House. 


Over the last 15 years, The Public’s UNDER THE RADAR FESTIVAL has presented over 255 companies from 45 countries. It has grown into a landmark of the New York City theater season and is a vital part of The Public's mission, providing a high-visibility platform to support artists from diverse backgrounds who are redefining the act of making theater. Widely recognized as a premier launching pad for new and cutting-edge performance from the U.S. and abroad, UTR has presented works by such respected artists as Elevator Repair Service, Nature Theater of Oklahoma, Gob Squad, Belarus Free Theatre, Guillermo Calderón, and Young Jean Lee. These artists provide a snapshot of contemporary theater: richly distinct in terms of perspectives, aesthetics, social practice, and pointing to the future of the art form. 




Hear Word! Naija Women Talk True
January 3, 5-7 (Running Time: 90 minutes)
Presented by The Public Theater’s Under the Radar Festival and iOpenEye in association with the American Repertory Theater

Directed by Ifeoma Fafunwa (Nigeria)
Tickets: $30


HEAR WORD! NAIJA WOMAN TALK TRUE is inspired by multi-generational stories of inequality and transformation. Staged by director and writer Ifeoma Fafunwa, the show grapples with the issues affecting the lives of women across Nigeria, and the factors that limit their potential for independence, leadership, and meaningful contribution in society. Combining song and dance with intimate portraits of resilience and resistance, the show celebrates the women who have broken the culture of silence, challenged the status quo, and moved beyond barriers to achieve solutions.


January 3, 5-7, 10-12 (Running Time: 60 minutes)
By Manual Cinema (USA)


Adapted from the novel by Mary Shelley

Concept by Drew Dir

Devised by Drew Dir, Sarah Fornace, and Julia Miller

Original music by Kyle Vegter and Ben Kauffman
Tickets: $30


Love, loss, and creation merge in unexpected ways in this thrilling classic gothic tale conceived by Manual Cinema. Stories of Mary Shelley, Victor Frankenstein, and his Monster expose how the forces of family, community, and education shape personhood—or destroy it by their absence. Internationally-renowned multimedia company Manual Cinema stitches together the classic story ofFRANKENSTEIN with Mary Shelley’s own biography to create an unexpected story about the beauty and horror of creation. Manual Cinema combines handmade shadow puppetry, cinematic techniques, and innovative sound and music to create immersive visual stories for stage and screen.


Chambre Noire
January 10-13 (Running Time: 65 minutes)
Created by Plexus Polaire (France/Norway)
Tickets: $30


CHAMBRE NOIRE is a wild hallucination around the death-bed of Valerie Jean Solanas (1936-1988): the most beautiful girl in America, the talented psychology student who spent her life going in and out of mental institutions, the first intellectual whore, writer, radical feminist, creator of the SCUM Manifesto, the woman who shot Andy Warhol… A character that is complex, multi-sided, outrageous, and absolutely human.


Evolution of a Sonero
January 9, 12-13 (Running Time: 75 minutes)
Written and Performed by Flaco Navaja (USA)
Directed by Jorge Merced
Tickets: $30


The first full-length show by acclaimed poet, singer, and actor Flaco Navaja, original member of the UNIVERSES and Def Poetry Jam cast: With unabashed love for The Bronx, a gift for crafting memorable characters, and genuine good humor, Navaja and five top-notch musicians—aka The Razor Blades— bring on the charm, the rhythm, and the soul essential to a Bronx Sonero. Paying homage to many great musical icons —from Janis Joplin to Menudo, from The Doors to Héctor Lavoe, from Jimi Hendrix to Rubén Blades— the play is as much about Navaja’s creative evolution as it is about the wild mix that gives life to a rhyme, a people, and a culture.


[50/50] old school animation
January 4-7, 11, 13 (Running Time: 60 minutes)
Created by Peter Mills Weiss & Julia Mounsey (USA)
Tickets: $30


A classical ghost story for our contemporary moment, this deceptively simple confessional transforms into an unnerving reflection on womanhood, memes, and our capacity for cruelty. Created by Peter Mills Weiss and Julia Mounsey, [50/50] OLD SCHOOL ANIMATION flirts with the horrific and dips into the surreal. 


Minor Character
January 4-6, 9, 11-13 (Running Time: 90 minutes)
Created by New Saloon (USA)
Directed by Morgan Green
Tickets: $30


New Saloon’s irreverent mashup of English-language translations of Uncle Vanya — from the dusty 1916 edition to Google Translate’s profoundly whack results—is a kaleidoscopic amplification of Chekhov's depressing comedy. Each character is interpreted by multiple actors and through multiple translations, in an athletic attempt to say one true thing. “I’ve been made a complete fool,” Vanya says, “foolishly betrayed,” Vanya agrees, “stupidly cheated,” Vanya clarifies.


The Cold Record
January 4-7, 9-13 (Running Time: 60 minutes)

By Rude Mechs (USA)
Written and Performed by Kirk Lynn

Directed by Alexandra Bassiakou Shaw

Tickets: $30


A secret performance. A one-man show. The story of a 12-year-old boy who tries to set the record for leaving school the most days with a fever and in the process falls in love with the school nurse and breaks his heart on the punk rock. You must promise never to speak about what you witnessed or else you'll get kicked out. Kirk Lynn is a novelist and playwright living in Austin, TX. Lynn is one of five artistic directors of the Rude Mechs theatre collective. With the Rudes, Kirk has written and adapted many plays, including Lipstick TracesMethod Gun, and Not Every Mountain, which premiered in 2018 at the Guthrie in Minneapolis. 


As Far As My Fingertips Take Me
January 4-7, 9-13 (Running Time: 15 minutes)
By Tania El Khoury (UK/Lebanon/Palestine)

Performed by Basel Zaraa

Tickets: $30


Our fingertips facilitate touch and sensations, but are also used by authorities to track many of us. In today’s Europe, a refugee’s journey can be set as far as their fingertips take them. The Dublin Regulation mandated a fingerprinting database across Europe for all refugees and migrants. This regulation often means that a refugee is sent back to where their fingertips were first recorded, without any regard to their needs, desires, or plans. Tania El Khoury commissioned musician and street artist Basel Zaraa who was born a Palestinian refugee in Syria to record a rap song inspired by the journey his sisters made from Damascus to Sweden. Through touch and sound, this intimate encounter explores empathy and whether we need to literally “feel” a refugee in order to understand the effect of border discrimination on peoples’ lives. 



Re-engineering the intersection of music and theater

This exciting series highlights the multidisciplinary music/theater hybrids emerging from this renowned venue’s programming. These artists are exploring the intersection of music and theater to bring their unique stories to the stage. These performances are not open for review.


Bitch! Dyke! Faghag! Whore! - The Penny Arcade Sex and Censorship Show

January 3, 6, 10, 12-13 (Running Time: 90 minutes)

By Penny Arcade (USA)
Tickets: $35


Penny Arcade is New York’s undisputed queen of the underground, and her world-famous sex and censorship show is among the most exuberant performances to ever emerge from New York’s East Village. Penny Arcade's BITCH! DYKE! FAGHAG! WHORE! blends her trademark warmth, comedy, humanism, and razor-sharp satire, with New York’s best erotic dancers in an uplifting audience dance break. Originally created as a brilliant retort to the Senator Helms NEA Censorship Crisis of 1990, BITCH! DYKE! FAG! WHORE! is now a timeless and passionate rock n’ roll anthem celebrating free speech. It is a political provocation for our times. Come early for the erotic go-go pre-show with drinks.


Meow Meow

January 2, 5 (Running Time: 90 minutes)

By Meow Meow (Australia)
Tickets: $30


A performer who gleefully tramples the barriers of genre, Meow Meow defies easy description. International siren and comedienne extraordinaire Meow Meow brings her glorious brand of subversive and sublime performance to Joe’s Pub. The spectacular crowd-surfing queen of song creates an unforgettable evening of exquisite music and much mayhem. Prepare for Piazzolla tangos, Weill, Brecht, Brel, even Radiohead alongside original chansons. If your idea of cabaret is a smoky-voiced chanteuse crooning into a microphone, prepare to have your preconceptions exploded.



January 4, 12-13 (Running Time: 90 minutes)

By The Illustrious Blacks (USA)
Tickets: $25


The Illustrious Blacks have arrived to save the world one beat at a time! Once upon a time in a galaxy not far away, there lived two kings. Each was the ruler of his own deliciously glorious planet. The first king, Manchildblack, was well known throughout the cosmos for his ethereal vocals, celestial sonics and earthy musical messages. The other king, Monstah Black, was a star in the solar system for his gravity-defying performances, gender bending fashions, and spacey disposition. One magical night, an inexplicable ultra-magnetic pull forced the two planets to collide. A technicolored explosion occurred, turning night into day, with a feast of aural and visual delights. It was then that the universe was changed forever. Manchildblack and Monstah Black united and became The Illustrious Blacks! The acclaimed duo fuse music, dance, theater, and fashion as the main ingredients to expand minds, shake bootys, and encourage all to be bold, be brave, and be you!  #LiveTheHypeLife 


Astrov’s Lounge: Music From The Chekhov Project
January 5 (Running Time: 90 minutes)

Conceived by Melissa Kievman and Brian Mertes (USA)

Music by The Chekhov Project
Tickets: $25


ASTROV’S LOUNGE: MUSIC FROM THE CHEKOV PROJECT re-assembles the musicians of The Chekhov Project. Each summer, for one week, theater directors Brian Mertes and Melissa Kievman open their Rockland County New York home to a grand experiment: A group of sixty, all professional theater-makers and musicians, gather in the house, yard and neighborhood to explore and explode a Chekhov play. The cramped garage, known as “Astrov’s Lounge,” becomes home to the eclectic group of musicians who respond to the work generating original songs and soundscapes for each performance. ‘Astrov’s Lounge: Music from The Chekhov Project’ re-collects these musicians for a multifarious musical set inspired by the rhythms of Chekhov’s words and folks.


I Am a Seagull

January 5 (Running Time: 95 minutes)

Conceived by Brian Mertes and Melissa Kievman

Created by The Chekhov Project (USA)

Rita & Burton Goldberg Theatre

721 Broadway, 7th Floor, New York, NY

Tickets: $10


I AM A SEAGULL follows a community of actors in their frenzied and loving attempt to stage a Chekhov play in their house, yard and neighborhood. This hybrid film documents The Chekhov Project: an annual, immersive, open-frame performance event created by Brian Mertes and Melissa Kievman. Like the project itself, the film dissolves boundaries between audience and performer, representation and reality. Life and rehearsal blend together in this portrait of The Project’s production of The Seagull. Chekhov’s text is embodied by a handful of actors from New York City as they converge in an upstate lakeside retreat. Through juxtaposing phases of rehearsal, live performance, and pure cinema this experience captures the idealism, contradictions and raw instinct that fuels theater-making itself.



January 11-13 (Running Time: 1 hour 40 minutes)
By Lola Arias (Argentina)
Co-Presented by The Public Theater’s Under the Radar Festival and NYU Skirball
NYU Skirball 
566 LaGuardia Place, New York, NY 
Tickets: $30 | www.nyuskirball.org

In MINEFIELD, Argentine and British veterans from the Falklands/Malvinas war are transported into the past to reconstruct their experience of the war, its aftermath, and their memories. The only thing they have in common is that they are all veterans. But what is a veteran; a survivor, a hero, a madman? Digging deep into the personal impact of war, MINEFIELD confronts different visions of history, bringing together old enemies to tell one single story. This collaboratively created new work merges theatre and film to explore the minefield of memory, where truth and fiction collide. Buenos Aires-based visual and performance artist Lola Arias returns to Under the Radar after her memorable performance in 2014 “El Año en Que Nací.”

January 11-13 (Running Time: 75 minutes)
By The Kilbanes

Directed by Becca Wolff (USA)
Co-Presented by The Public Theater’s Under the Radar Festival, BRIC, Z Space, and piece by piece productions

BRIC House
647 Fulton Street, Brooklyn, NY
Tickets: $30 | www.bricartsmedia.org

Part Concert, Part Play, Part Dream, WEIGHTLESS by The Kilbanes weaves together myth with evocative indie rock to tell a story of sisterhood, love, betrayal and rebirth. WEIGHTLESS is inspired by the story of Procne and Philomela from Ovid’s Metamorphoses. Through intimate storytelling and The Kilbanes’ celebrated indie rock sound, WEIGHTLESS explores the bonds of sisterhood and the power of the female voice. It’s equal parts blistering rock show and bleeding edge experimental theater. Rock 'n' roll meets myth as only The Kilbanes can deliver.


January 5-6 (Running Time: 75 minutes)
Created and performed by James & Jerome in collaboration with Shawn Duan

Directed by Rachel Chavkin and Annie Tippe (USA)
The Metropolitan Museum of Art
1000 Fifth Avenue, New York, NY 
Tickets: $25 | www.metmuseum.org/tickets
Bonnie J. Sacerdote Lecture Hall in the Ruth and Harold D. Uris Center for Education

INK is an art lecture, live personal essay, and electronic music concert all in one. With stunning visuals by media designer Shawn Duan, musician-storyteller duo James Harrison Monaco and Jerome Ellis perform a lush live score as they lovingly analyze works from around the world, exploding the traditional art lecture into a unique theatrical experience—one that’s at once playful, intellectual, and spiritual. Together, they guide us through a meditation on calligraphy and illuminated manuscripts, on music and silence, and on Jerome’s intimate relationship to the spoken and written word, in this first ever collaboration between Under the Radar and MetLiveArts, the performance series at The Metropolitan Museum of Art.



A Festival within a Festival. Rapid Response. Controlled Chaos. New Work.


This year, The PubIic Theater’s Devised Theater Initiative (DTI) hosts the fifth cohort of the Devised Theater Working Group. These artists will be presented as part of the 2019 Under the Radar Festival’s INCOMING! Series, a platform that features in-process works of formal investigation and artistic ambition. Works-in-process are not open for review.

Twin Size Beds

January 6, 11 (Running Time: 70 minutes)

Sam Schanwald with Caitlin Ryan O’Connell (USA)

Tickets: $25


In an abandoned tree house, a limp-wristed boy hides during the neighborhood game of hide-and-seek. While he waits for a gang of metal-mouthed peers to find him, Sam’s newfound solitude spurs songs about nihilistic desire, and fuzzy hallucinations of his sexual future. TWIN SIZE BEDS is a concert-play that fuses deadpan stand-up with a hormone-fueled musical blitz. Grab a juice box. You might be stuck in that splintered hiding place forever.



January 6, 12 (Running Time: 45 minutes)

Sean Donovan (USA)

Tickets: $25


CABIN is the reconstruction of a memory—the story of three queer men in a poly-amorous relationship who move from Brooklyn to a cabin in upstate New York, and of the violence that befalls them. Through monologue, film, dance, and live music by Heather Christian,CABIN surveys the lines between myth and memoir, the complexity of intimacy, and the magnitude of loss.


Macbeth in Stride

January 5, 7 (Running Time: 75 minutes)

Whitney White (USA)

Tickets: $25


MACBETH IN STRIDE is a live concert and theatrical event that excavates the underbelly of female ambition. With throbbing orchestrations of vintage rock, White traces the fatalistic arc of Shakespeare’s Lady Macbeth while exorcizing demons of her own. One in a five part series on Shakespeare's women, this concert-play is a battle cry for black female power and desire.


The Nosebleed

January 5, 9 (Running Time: 85 minutes)

Aya Ogawa (USA)

Tickets: $25


THE NOSEBLEED is an intimate autobiography that explores playwright/director Aya Ogawa’s fractured relationship with her long-deceased and enigmatic father. Through a series of turbulent, absurd, and poignantly comic vignettes, Ogawa reveals the seemingly insurmountable cultural and generational gap between herself and her father, and the questions she faces in her own motherhood today.  A theatrical memorial and healing ritual for the audience, this darkly humorous, tender, and inventive play considers how we inherit and bequeath failure, and what it takes to forgive.


The Space Between the Letters

January 5, 10 (Running Time: 70 minutes)

Eva von Schweinitz (USA)

Tickets: $25


A dot of light turns into a line, into a shape, into words. Writing becomes a physical, virtuosic feat. Easels swirl in an intersectional flipchart ballet that unpacks the legal, social, and political dimensions of adult literacy in the United States. In this ensemble lecture, performers weave personal stories, handmade infographics, and histories of discrimination and disenfranchisement.


Lorelei Ramirez: ALIVE! (For Now)

January 6, 13 (Running Time: 60 minutes)

Lorelei Ramirez (USA)

Tickets: $25


Take note: this may be the last time we will all be assembled in this room—some of us might die someday. Ramirez's playful morbidity seeps through in this multi-media comedy special, which invites us all to be unsettled together in this unsettling moment. Crafting at the intersection of art and comedy, Lorelei perverts the familiar and profanes the sacred—all in pursuit of one last laugh.




The Under the Radar Professional Symposium is a three-day event on January 3-5, featuring a chance to see full productions of festival shows as well as keynote speakers and featured artist speakers. Attendance at the Symposium is strictly limited to presenting and producing professionals in the field. For more information on the UTR Symposium, please email utrsymposium@publictheater.org.


The Under the Radar Professional Symposium is a pre-conference event of the Association of Performing Arts Professionals (formerly the Association of Performing Arts Presenters) and is held in conjunction with the APAP|NYC 2019 conference. APAP is the national service, advocacy and membership organization for presenters of the performing arts and the convener of APAP|NYC, the world’s leading gathering of performing arts professionals, held every January in New York City. For more information on this year’s APAP conference, visit www.apapnyc.org



Every January in New York City, more than 45,000 performing arts leaders, artists, and enthusiasts from across the globe converge forJanArtsNYC. A partnership among eleven independent multidisciplinary festivals, indispensable industry convenings, and international marketplaces, JanArtsNYC is one of the largest and most influential gatherings of its kind.  For more info visit, www.janartsnyc.org.Promotional support provided by the New York City Mayor’s Office of Media and Entertainment.



named for The Public Theater’s founder Joe Papp, opened in 1998 and plays a vital role in The Public's mission of supporting young artists while providing established artists with an intimate space to perform and develop new work. Under the new leadership of Director Alex Knowlton, this fall begins Joe’s Pub’s 20th Anniversary Season of presenting the best in live music and performance nightly, committed to diversity, production values, community and artistic freedom. The venue also offers opportunities like New York Voices, an artist commissioning program that provides musicians resources and tools to develop original theater works; Joe’s Pub Working Group, an artist development initiative; The Vanguard Award & Residency, a yearlong series that celebrates the career of a prolific and influential artist, who leads their own artistic community; and nationwide programming partnerships. Commissioned artists include Mx Justin Vivian Bond, Bridget Everett, Daniel Alexander Jones, Ethan Lipton, Toshi Reagon, Allen Toussaint and more. The venue’s food and beverage partner is NoHo Hospitality Group, helmed by acclaimed chef Andrew Carmellini. With its intimate atmosphere and superior acoustics, Joe's Pub presents talent from all over the world as part of The Public's programming downtown at its Astor Place home, hosting approximately 800 shows and serving over 100,000 audience members annually.




THE PUBLIC is theater of, by, and for all people. Artist-driven, radically inclusive, and fundamentally democratic, The Public continues the work of its visionary founder Joe Papp as a civic institution engaging, both on-stage and off, with some of the most important ideas and social issues of today. Conceived over 60 years ago as one of the nation’s first nonprofit theaters, The Public has long operated on the principles that theater is an essential cultural force and that art and culture belong to everyone. Under the leadership of Artistic Director Oskar Eustis and Executive Director Patrick Willingham, The Public’s wide breadth of programming includes an annual season of new work at its landmark home at Astor Place, Free Shakespeare in the Park at the Delacorte Theater in Central Park, The Mobile Unit touring throughout New York City’s five boroughs, Public Forum, Under the Radar, Public Studio, Public Works, Public Shakespeare Initiative, and Joe’s Pub.  Since premiering HAIR in 1967, The Public continues to create the canon of American Theater and is currently represented on Broadway by the Tony Award-winning musical Hamilton by Lin-Manuel Miranda.  Their programs and productions can also be seen regionally across the country and around the world. The Public has received 59 Tony Awards, 170 Obie Awards, 53 Drama Desk Awards, 54 Lortel Awards, 32 Outer Critic Circle Awards, 13 New York Drama Critics’ Circle Awards, and 6 Pulitzer Prizes. publictheater.org





Public Theater Member and Partner tickets for the 2019 UNDER THE RADAR FESTIVAL start at $20 and are available now. Single tickets to UTR shows start at $25. Tickets can be accessed online at www.publictheater.org; The Taub Box Office at The Public at 425 Lafayette Street; or by phone at 212-967-7555, beginning Thursday, November 8. Tickets for partner venue events at TheMetropolitan Museum of Art and NYU Skirball can be purchased directly from the venues. All tickets are subject to facility and service fees.


The “UTR Pack” is back by popular demand. Purchase five or more UTR shows and save 5 dollars off each ticket. Good for all UTR shows at The Public and BRIC House. Visit www.publictheater.orgl.com to purchase your “UTR Pack” online. Each “UTR Pack” purchased over the phone and online is subject to a $1 per ticket package fee per performance. All sales are final, no refunds or cancellations. Exchanges must be made at least 24 hours before a performance. Good for all Under the Radar shows at The Public Theater, Joe’s Pub, and BRIC House.


Food and beverage service will be available during Under the Radar + Joe’s Pub: In Concert performances, but there is no minimum purchase required. The Library at The Public will also be open nightly for food and drink, beginning at 5:30 p.m.


For more information, please visit www.publictheater.org or;www.publictheater.org




Free Three-Week Tour Visits Correctional Facilities, Homeless Shelters, Social Service Organizations, Community Centers October 4 – October 26

Free Performances at The Public Continue Tradition of Access to Shakespeare for All October 28 – November 17

Continuing its commitment to bringing free Shakespeare to the community and strengthening audience engagement with the arts, The Public Theater, under the leadership of Artistic Director Oskar Eustis and Executive Director Patrick Willingham, will mount its MOBILE UNIT again this fall with a free three-week tour to the five boroughs of Shakespeare’s A MIDSUMMER NIGHT’S DREAM, directed by Jenny Koons. Now in its ninth year, the Mobile Unit’s free tour (October 4-26) brings Shakespeare and other works to audiences who have limited or no access to the arts by visiting correctional facilities, homeless shelters, social service organizations, and other community venues. There will also be a three-week engagement of A MIDSUMMER NIGHT’S DREAM at The Public Theater running Sunday, October 28 through Saturday, November 17 with an official press opening on Friday, November 2.

The company of The Public’s Mobile Unit production of A MIDSUMMER NIGHT’S DREAM, directed by Jenny Koons and running at The Public Theater, following a free tour to the five boroughs. Photo Credit: Richard Termine.

The complete cast of A MIDSUMMER NIGHT’S DREAM features Marinda Anderson (Hippolyta/Titania), Leland Fowler (Demetrius/Flute), Christopher Ryan Grant (Bottom), Merritt Janson (Theseus/Oberon), Carolyn Kettig (Hermia/Starveling), Jasai Chase Owens (Lysander/Snug), David Ryan Smith (Egeus/Quince/Fairy), Natalie Woolams-Torres (Puck), and Rosanny Zayas (Helena/Snout).

“Jenny Koons is an amazing, luminous director, and her Midsummer promises to be a groundbreaking theatrical event,” said Artistic Director Oskar Eustis.

This fall, a classic New York City block party becomes the enchanted setting where fairies work their mischief in Shakespeare’s beloved play A MIDSUMMER NIGHT’S DREAM. Acclaimed director Jenny Koons takes you to the royal wedding of Theseus and Hippolyta, where a celebratory play is being rehearsed. But the real drama is unfolding in the concrete jungle of fairy King Oberon. There, four young New Yorkers discover the course of true love runs anything but smooth, as supernatural sprites and the lovable Puck conspire to reveal what fools we mortals be, and draw us all into the collective dream of romance and merriment.

“Welcoming Jenny Koons into the Mobile Unit family feels natural and inevitable — the Mobile has long been a home for artists working at the intersection of art and social justice and Jenny is no exception,” said Director

of Special Artistic Projects Stephanie Ybarra. “She has assembled a magnificent team and they’ve already demonstrated a deep commitment to creating a joy-filled communal experience tailor-made for New Yorkers.”

All tour performances are free, and performances at The Lesbian, Gay, Bisexual & Transgender Community Center; Pelham Fritz Recreation Center; North Brooklyn YMCA; Brownsville Recreation Center; Queens Public Library, Central Branch; Williamsbridge Oval Recreation Center; Island Voice/Canvas Institute; Faber Park Recreation Center; and St. Paul’s Chapel are also open to the general public via RSVP at publictheater.org. To further the mission and reach of THE MOBILE UNIT, tickets for each performance of the limited run at The Public Theater will be given to community organizations that are unable to host a visit from the tour.

Marinda Anderson and David Ryan Smith in The Public’s Mobile Unit production of A MIDSUMMER NIGHT’S DREAM, directed by Jenny Koons and running at The Public Theater, following a free tour to the five boroughs. Photo Credit: Richard Termine.

A MIDSUMMER NIGHT’S DREAM features scenic design by Kimie Nishikawa, costume design by Hahnji Jang and fight direction by Lisa Kopitsky.

In 2018, THE MOBILE UNIT celebrated the 61st anniversary of its inaugural mobile tour in 1957 which began with a production of Romeo and Juliet, directed by Joseph Papp with Bryarly Lee and Stephen Joyce in the titular roles. The 1957 Mobile Unit tour received early support from New York City authorities. Stanley Lowell, then deputy mayor, was an early champion for free theater and mobilized city resources and departments to support Papp's production. The first Mobile Unit rolled up to performance venues across the city in borrowed Department of Sanitation vehicles with a wooden folding stage mounted to a truck bed and portable seating risers to accommodate 700 people per venue. The city's Parks Department permitted performances in local parks across all five boroughs. Subsequent productions included Two Gentlemen of Verona, Macbeth, A Midsummer Night’s Dream, Henry V, The Taming of the Shrew, Ti-Jean and His Brothers, Take One Step, Unfinished Women Cry in No Man’s Land While a Bird Dies in a Gilded Cage, and Volpone, among many others. This modern reimagining of The Public Theater’s original Mobile Theater is inspired by Ten Thousand Things Theater in Minneapolis, MN. In August 2018, THE MOBILE UNIT announced the national expansion of it’s programming with a Midwest Mobile Unit National Tour of Lynn Nottage’s Pulitzer Prize-Winning play Sweat. The tour extends beyond performances with community engagement activities on the issues and conversations most alive in their communities.

Recent MOBILE UNIT productions include Henry V; The Winter’s Tale; Twelfth Night; Hamlet; Romeo & Juliet; The Comedy of Errors; Measure for Measure; Richard III; Much Ado About Nothing; Pericles, Prince of Tyre; and Macbeth. This program reinforces The Public’s commitment to the ongoing exploration of Shakespeare’s canon, along with the Public Shakespeare Initiative; the recent Public Works production of Twelfth Night and As You Like It staged at the Delacorte Theater for free; Free Shakespeare in the Park; and The Public’s other affordable productions at its downtown home at Astor Place.


"I do not know if I have ever been so moved by a theatrical work in my life." – Highbridge Recreation Center Audience Member

“I will bring my family to see future plays. I have been coming to these plays for the three years that I was in MDC. My release is Thursday and I would like to continue to watch The Mobile Unit Plays.” – Metropolitan Detention Center Audience Member

“You took an everyday space and made it something more, something special.” – Queens Public Library Audience Member

“I love that you came to my neighborhood! The same room where I vote!” – Pelham Fritz Recreation Center Audience Member

The Mobile Unit is made possible with the support of The Andrew W. Mellon Foundation, The Rockefeller Foundation, Stavros Niarchos Foundation, The Tow Foundation, The McLaughlin Children's Trust, and Bloomberg Philanthropies. Additional support provided by JetBlue Airways, Open Society Foundations, Susan & David Edelstein, The MAE Private Foundation, and The Estée Lauder Companies

Inc. This program is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council. The LuEsther T. Mertz Charitable Trust provides leadership support for The Public Theater’s year-round activities.


The Lesbian, Gay, Bisexual & Transgender Community Center, Manhattan, is a one-of-a-kind organization that empowers community members to lead healthy, successful lives (October 4).

Pelham Fritz Recreation Center, Manhattan, is a NYC Parks and Recreation center located in Harlem (October 5).

North Brooklyn YMCA, Brooklyn, is a community center that in Brooklyn that empowers youth, improves health, and strengthens community. (October 6).

Lenox Hill Neighborhood House/Women’s Mental Health Shelter, Manhattan, provides short-term, safe, and supportive environments to address immediate needs for mentally ill homeless women (October 8).

HELP Bronx Morris Avenue, Bronx, is affordable supportive housing designed to provide housing and appropriate support services to persons who are homeless or who are close to homelessness (October 9).

Brownsville Recreation Center, Brooklyn, a Public Works community partner, is a NYC Parks and Recreation center located in the Brownsville Playground with extensive resources for youth and seniors. The center offers a vibrant space to tap into pursuits artistic and athletic alike (October 10).

Queens Public Library, Central Branch, is located in Jamaica, Queens and also serves as a Public Theater borough distribution center for Free Shakespeare in the Park (October 11).

Williamsbridge Oval Recreation Center, Bronx, is a NYC Parks and Recreation center located in the Bronx (October 12).

Island Voice/Canvas Institute, Staten Island, is a grassroots community and youth development organization whose focus is on giving voice to the African immigrant, African-American, Caribbean-American, and immigrant communities (October 13).

Lost Battalion Hall Rec Center, Queens, is NYC Parks and Recreation center located in Queens (October 15).

Queensboro Correctional Facility, Queens, is a minimum security correctional facility in Long Island City (October 16).

The New York Public Library for the Performing Arts, Manhattan, houses one of the world's most extensive collections in its field, available free of charge (October 17).

DreamYard Arts Project, Bronx, a Public Works community partner, uses project-based arts learning to ignite the transformative spirit (October 18).

Metropolitan Detention Center, Brooklyn, is a U.S. federal administrative detention facility, which holds male and female prisoners of all security levels (October 19).

Faber Park Recreation Center, Staten Island, is a NYC Parks and Recreation center located in Staten Island (October 20).

Edgecombe Correctional Facility, Manhattan, is a minimum security male parole diversion facility (October 22).

Taconic Correctional Facility, Westchester, is a medium security facility for women in New York (October 23).

Help 1, Brooklyn, provides 191 family units of transitional housing for homeless families. (October 24).

St. Paul’s Chapel, Manhattan, part of Trinity Wall Street, is an Episcopal parish that has been a part of New York City since 1697 (October 25).

Metropolitan Detention Center, Brooklyn, is a U.S. federal administrative detention facility, which holds female prisoners of all security levels (October 26).

JENNY KOONS (Director). Her directing projects include Burn All Night at American Repertory Theater; Airness at Humana and the Actors Theatre of Louisville; Theatre for One: In This Moment at Pershing Square Signature Center; a SPKRBOX Festival commission, Instant SPKRBOX, in Norway; Bars and Measures at B Street Theatre; a Toronto 2015 Pan Am Games commission, Gimme Shelter; Theatre for One: I'm Not the Stranger You Think I Am at Arts Brookfield; A Sucker Emcee at the National Black Theatre and LAByrinth Theater Company; Queen of the Night at the Diamond Horseshoe Nightclub; and The Odyssey Project 2012. Koons has developed new work at Denver Center for the Performing Arts, Joe’s Pub, Lark Play Development Center, and the Roundabout Theatre Company. She is also a 2017 Lilly Award recipient.


THE PUBLIC is theater of, by, and for all people. Artist-driven, radically inclusive, and fundamentally democratic, The Public continues the work of its visionary founder Joe Papp as a civic institution engaging, both on-stage and off, with some of the most important ideas and social issues of today. Conceived over 60 years ago as one of the nation’s first nonprofit theaters, The Public has long operated on the principles that theater is an essential cultural force and that art and culture belong to everyone. Under the leadership of Artistic Director Oskar Eustis and Executive Director Patrick Willingham, The Public’s wide breadth of programming includes an annual season of new work at its landmark home at Astor Place, Free Shakespeare in the Park at the Delacorte Theater in Central Park, The Mobile Unit touring throughout New York City’s five boroughs, Public Forum, Under the Radar, Public Studio, Public Works, Public Shakespeare Initiative, and Joe’s Pub. Since premiering HAIR in 1967, The Public continues to create the canon of American Theater and is currently represented on Broadway by the Tony Award-winning musical Hamilton by Lin-Manuel Miranda. Their programs and productions can also be seen regionally across the country and around the world. The Public has received 59 Tony Awards, 170 Obie Awards, 53 Drama Desk Awards, 54 Lortel Awards, 32 Outer Critic Circle Awards, 13 New York Drama Critics’ Circle Awards, and 6 Pulitzer Prizes. publictheater.org


All tour performances are free and performances at The Lesbian, Gay, Bisexual & Transgender Community Center; Pelham Fritz Recreation Center; North Brooklyn YMCA; Brownsville Recreation Center; Queens Public Library, Central Branch; Williamsbridge Oval Recreation Center, Bronx; Island Voice/Canvas Institute; Faber Park Recreation Center; and St. Paul’s Chapel are also open to the general public via RSVP at publictheater.org. Please check The Public’s website for the most up-to-date performance times.

Following the MOBILE UNIT tour of the five boroughs, A MIDSUMMER NIGHT’S DREAM will run at The Public Theater from Sunday, October 28 through Saturday, November 17 in the Shiva Theater, with an official press opening on Friday, November 2.

Furthering the mission of making great theater accessible to all, tickets to the MOBILE UNIT’s run at The Public are FREE and are available via TodayTix mobile Lottery and in-person distribution downtown at The Public Theater, 425 Lafayette Street at Astor Place. On each public performance date, free tickets will be distributed in-person beginning 90 minutes prior to curtain, and via mobile lottery on the TodayTix app. Download the TodayTix app to enter or visit publictheater.org for more information.

The performance schedule at The Public will be Monday, Tuesday, Thursday, and Friday at 7:00 p.m. and Wednesday and Saturday at 1:00 p.m. and 7:00 p.m. (There are no 1:00 p.m. performances on Wednesday, October 31 and there are no performances at 1:00 p.m. or 7:00 p.m. on Saturday, November 3.)

The Library at The Public is open nightly for food and drink, beginning at 5:30 p.m., and Joe’s Pub at The Public continues to offer some of the best music in the city. For more information, visit www.publictheater.org.

# # #

24th annual theatrical production of historic Trans-Atlantic Slave Trade Story 9/16-9/21

24th Annual MAAFA: “Eradicating Slavery’s Legacy”


For the 24th  consecutive year, New York-based and nationally recognized Pastor Rev. David K. Brawley of East New York’s St. Paul Community Baptist Church, presents The MAAFA: “Eradicating Slavery’s Legacy.”

The theatrical production recognizes and reflects the journey of African slaves  to America from 1500-1900. Attracting more than 3,000 people every year, the play follows the journey of more than 100 million slaves through the “Middle Passage” during a period of history known as the Trans-Atlantic Slave Trade. The MAAFA offers people from all walks of life a chance to understand the nature of the treatment the ancestors of black Americans went through upon generations of Africans in America.

As part of the annual MAAFA Presentation, the SPCBC campus also transforms into The MAAFA Museum. The visual/interactive walking tour is employed to expand participants’ knowledge-base on the period in history known as the Trans-Atlantic Slave Trade. Visitors experience “Africans in America” in a new and enlightening way with galleries of art, authentic artifacts, wood carvings, quilts, historic vignettes and more. The MAAFA Museum tour is appropriate for adults and students grades 4 and higher.


Theatrical Presentation:   Sunday, September 16th – 6pm

.                                              Monday, September 17th – 7pm

                                              Thursday, September 20th – 7pm

                                              Friday, September 21st – 7pm


MAAFA Museum:  September 11– October 6 *appointment only*



St. Paul Community Baptist Church

859 Hendrix Street, Brooklyn, NY 11207



The term MAAFA (pronounced Mah- AH-fah) is a Kiswahili word which gives definition to the catastrophic event experienced by millions of African people during the Middle Passage journey. The word MAAFA is the concept of Dr. Marimba Ani, African-American scholar and author, and has been adopted in contemporary scholarship. St. Paul Community Baptist Church first introduced The MAAFA under the leadership of Pastor Emeritus Rev. Dr. Johnny Ray Youngblood as a way to heal the community and bring awareness to racism in American society.



St. Paul Community Baptist Church is a nonprofit ministry dedicated to serving the borough of Brooklyn and the needs of its congregants who reside across the borough as well as the five boroughs of New York City, Long Island and northern counties of New York and New Jersey. The organization was established in 1927 and is currently led by Pastor David K. Brawley.  Located in the East New York section of Brooklyn, one of the roughest neighborhoods in the Tri-State area known for its history of gang violence, crime, drugs and poverty, has grown to be a safe haven and resource organization ministering to communities around Brooklyn and the NYC area and through its African Justice Ministry, provides aid and assistance to the continent of Africa and islands in the Caribbean. Pastor Brawley is full of passion, love and fervor for the Word of God and his obedience to the call of ministry is evidenced in his leadership.  He started his ministry as a youth minister at the age of 16 at First Baptist Church in Deer Park, NY and served in that ministry for 13 years. He began his full time career in ministry at St. Paul in 1994.

For More Information, Click Here


Taking The E Train! FREE THEATRICAL READING at HSA November 4th feature song, music, & dance!

New Yorkers know the ins and out of the subway. It’s part of growing up, it’s a part of our rights of passage.  In case you did not know, next summer when you are in the middle of the dog days of summer take a ride on the E train because it has the very best air condition and like every subway car in the city, there is always a show.  

The new multimedia, multicultural children reading series KaZoom Kids iStoryBooks, the brainchild of founder and CEO,  Donna Beasley has teamed up with Harlem School of the Arts (HSA) to create a series of free readings of the books published under the new company.  

KaZoom iStoryBooks was created because frankly there is a great need.  “There is a real shortage of multicultural children's books for Black and Latino families,” says creator and CEO Donna Beasley, who discovered that only 5% of children’s books published feature children of color. Her way of solving the problem was to create greater diversity in children’s literature.  “At KaZoom iStoryBooks we are changing things, but we can't do it alone.” This is why partnerships like the one with HSA are extremely important in helping to connect with audiences that will appreciate finding relatable stories, featuring characters that look like them, reflect their communities and experiences, and serve to strengthen their children’s imaginations and sense of self.  Author Lapacazo Sandoval who wrote Taking the E Train and Everybody Loves Cake, one of the three books featured in this storytelling event,  was first to respond when the call went out to the community of writers attached to KaZoom Publishing, to participate in the series."

The series came to life because of HSA's commitment to connecting with the community and other creatives of color.  It was Yvonne Garcia, Vice President of Development & External Affairs who warmed to the idea of the new children publishing company and connected with CEO, Donna Beasley.  

The creative idea grew again because of the life force that embodies the Artistic Director & Director of Theatre, Alfred Preisser -- a man of great vision.  He placed the reading of Taking The E Train performance in the capable hands of Amanda McDowall, one of the most respected musical theater teachers at HSA. 

The theatrical reading of Taking The E-Train is about an adventurous Abuela who takes her three grandchildren on an adventure on NYC’s E train on one of the hottest days of summer! Directed by McDowall, the reading will include live music, song, African drumming, and a choreographed hip-hop dance number.  All performed by the students of HSA. 

For more information on registering for the event visit HSA present Storytelling with KaZoom iStorybooks. https://hsa kazoombookseries.eventbrite.com

For additional information on HSA visit www.hsanyc.org , and for more on KaZoom Digital Publishing go to www.kazoomkidsbooks.com.

The KaZoom Kids Storytelling series is tailored to kids ages 3-8 (Saturday, November 4 at 10:00 am). HSA is located at 645 Saint Nicholas Avenue, NYC.  It is FREE for all children and their parents.  

HSA present Storytelling with KaZoom iStorybooks : 

www.hsanyc.org, and for more on KaZoom Digital Publishing go to www.kazoomkidsbooks.com

@HSANYC | https://www.facebook.com/hsanyc/ https://www.instagram.com/hsanyc/




SPAMILTON - A Hamilton parody, blessed by Lin-Manuel Miranda, loved by all!

Spamilton - Lin.jpg

From Gerard Alessandrini, the mastermind behind Forbidden Broadway, comes Spamilton, a sneak peek into his ongoing obsession with Lin-Manuel Miranda’s Hamilton. Now in its second smash year off-Broadway, the musical is playing to packed houses at the 47th Street Theater / Puerto Rican Traveling Theater.  Spamilton was awarded “Best Unique Theatrical Experience” by the Off-Broadway Alliance and Show of the Year at the 2017 Manhattan Association of Cabarets & Clubs (MAC) Awards. The show was also nominated for Best Lyrics at the Drama Desk Awards, Outstanding New Off-Broadway Musical by the Outer Critics Circle, Best Off-Broadway Musical by the Theater Fans’ Choice Awards, and a Distinguished Performance award from the Drama League.

The current cast features Dan Rosales, Nicole Vanessa Ortiz, Chris Anthony Giles, Aaron Michael Ray, and Tristan J. Shuler. We chatted with the wonderful cast, here are the excerpts.

You all make the show look easy, but it's not. Anyone with a smiche of musical knowledge knows, you are ALL well trained. How do you keep your instrument in Tip Top Shape?

Dan Rosales:

The show is definitely a marathon for all of us— its fast paced and super high energy, so we all try to take care of ourselves as best we can. We don’t have the luxury of a traditional musical that has scenes or large solo numbers, this is very much an ensemble show and we’re onstage for most of the time— either rapping, singing, shouting or all three. I have an amazing voice teacher, Mike Ruckles, whom I take lessons with whenever I can. His technique and methodology help inform the way I perform the show.  

Nicole Vanessa Ortiz:

I try to make sure I get 8-10hrs of vocal rest while also making sure to give myself 3-4 hours to vocally come around as I sip on my Traditional Medicinals Throat Coat Lemon Echinacea tea mixed with my medicinal herbal drops to prevent me from getting sick for those 8 shows a week.

 Aaron Michael Ray:


Something that's really important is making sure that you are physically and mentally ready to do a show 8 times a week. No one really tells you how hard it is and if no one has told you let me be the first, it's tough! What I do to make sure I'm able to do the show every day is to constantly stay hydrated. It's super important to drink water as well as anything that helps you get your electrolytes in. I also have little to no dairy in my diet altogether because it creates a lot of phlegm in my voice. Before I get to the theater I also make sure that my body is physically and vocally warm so I don't feel cold stepping on stage. Sometimes before the shows I have some lemon ginger tea.

Chris Anthony Giles:

Well the smart thing to do when in an 8 show a week run of a show is to not go out much, don't drink or smoke, and generally rest your voice and body. Singing is basically yelling on pitch, so doing that for an hour or two a day can be taxing. Luckily I'm an introvert who naturally shys away from such things, so I haven't had much problems in that area. Any difficulty I have stems from keeping the material fresh after such a long run.

Were you all in the cast when Lin came and blessed the show? If so, do you have a Lin story? Share your Lin story?

Dan Rosales:

I’m one of two original cast members remaining, and we were there for BOTH times Lin came to see the show. The first time was a little nerve-wracking, but the second time was just a blast. When I used to work at a restaurant in-between performing jobs, I actually waited on Lin and his wife. They were both so nice and pleasant, and I was able to tell Lin the story when he came to see the show the first time— he was like “No Way!!"

Nicole Vanessa Ortiz:

Since I didn't start until April 2017, I unfortunately missed "My Shot" to perform for Lin!

Glenn Bassett:

I was in the cast when Lin saw it.  It was interesting to see the reaction of the audience to him being there, especially the young girls.  They were so giddy, it felt like we were in the 1950's or 60's in the presence of a matinee idol.  He also brought with him Thomas Kail and Alex Lacamoire.  I had a great chat with Alex who couldn't have been nicer (and so much of the brilliance of Hamilton comes from his arrangements)!

Chris Anthony Giles:

Yes I am part of the original cast and was here both times when Lin came, first with Alex Lacamoire and Tommy Kail, then with his family. He's a great guy who came back stage, gave us all hugs and stayed for at least 30 minutes talking and taking pictures. 

What's next for you?   

Nicole Vanessa Ortiz:

I've always loved the spontaneity of embracing unexpected blessings as they come and Spamilton has definitely been one of them. With that said I still plan on auditioning for more amazing roles in theater, television and even film while continuously working on my original music that, by God's time, will most certainly be released in the near future!

Glenn Bassett:

I'll be performing in the Los Angeles production of Spamilton as the king (as well as designing the set and props) in November and I am currently writing lyrics and libretto for an original musical called Dig A Little Deeper with composer Adam David Cohen.


In addition to the Off-Broadway run in New York City, Spamilton currently has a Chicago production, and will launch a West Coast premiere at the Kirk Douglas Theatre this November that will be produced in Los Angeles by Center Theatre Group.

Checkout more at http://spamiltonnyc.com/

The Public Theater MIDSUMMER NIGHT’S DREAM, directed by Lear deBessonet Free In Central Park — Until August 13


There is an long, long list of great perks that come with being a native New Yorker and one that really hits home, is being able to enjoy free Shakespeare inside New York’s Central Park as provided by The Public Theater and ripping up the stage, right now, is A MIDSUMMER NIGHT’S DREAM, directed by Lear deBessonet with choreography by Chase Brock.  deBessonet’s MIDSUMMER NIGHT’S DREAM runs through Sunday, August 13. 

The Delacorte Theater transforms into the most enchanted forest in all of theater in Shakespeare’s beloved comedy and one that’s most child friendly.  A MIDSUMMER NIGHT’S DREAM tells the story of the merry sprite Puck who meddles with a magical love potion causing young lovers, who are lost in the woods, to mysteriously find themselves infatuated with the wrong person. Truly one of Shakespeare most hilarious, fairytale with an over the top, fantasia flair proving that the “course of true love never did run smooth.” 

Lear deBessonet, founder of The Public Theater’s groundbreaking Public Works program brings her electric theatrical vision to the classic romance about the supernatural nature of love with a cast of some of the finest performers working on stage today.  The complete cast of A MIDSUMMER NIGHT’S DREAM features Annaleigh Ashford (Helena); De’Adre Aziza (Hippolyta); Kyle Beltran (Lysander); Min Borack (Fifth Fairy); Vinie Burrows (First Fairy, Peaseblossom); Danny Burstein (Nick Bottom); Justin Cunningham (Philostrate); Marcelle Davies-Lashley (Fairy Singer); Austin Durant (Snug); Shalita Grant (Hermia); Keith Hart (Third Fairy); Alex Hernandez (Demetrius); Jeff Hiller (Francis Flute); Robert Joy (Peter Quince); Patricia Lewis (Fourth Fairy); David Manis (Egeus, Cobweb); Pamela McPherson-Cornelius (Second Fairy); Patrena Murray (Snout); Kristine Nielsen (Puck); Bhavesh Patel (Theseus); Richard Poe (Oberon); Phylicia Rashad (Titania); Joe Tapper (Robin Starveling); Judith Wagner (Mote); Warren Wyss (Mustardseed); Benjamin Ye (Changeling Boy); and Rosanny Zayas (Understudy).

To learn more about how to reserve your free tickets go to https://www.publictheater.org/Free-Shakespeare-in-the-Park/

*Performances are rarely rained out and never cancelled before 8:00 p.m.

Art Shrian in ROSE GOLD, off-broadway play by Keli Laing. Only June 2-3, BUY NOW!

This weekend on June 2 & 3, Roy Arias Main Stage Theater in midtown Manhattan will have 3 showings of the wonderful off-broadway play ROSE GOLD, co-starring Art Shrian. Please check out the details and buy the ticket stand link below:


Written by actor, writer, director Keli Laing, Rose Gold is a story about a young woman conveniently named Rose who works as the head bartender at Flow Bar and Grill. Though she seemingly has "it together", she has fallen on hard times pretty much her entire life. For most of those times, she managed to push through and keep her faith in God that one day life will get better. That is until she receives some horrible news about the love of her life, which causes her to decide living her dream isn't realistic and God may not be as loyal as she once thought. Even with her trials and tribulations, Rose manages to keep the bar and her family-like co-workers in pretty good shape. Even if they are a little crazy. She also has the pleasure of dealing with those special patrons of the bar that come by from time to time to let Rose know she's not alone with her life struggles. It can be a burden at times, but at other times it can be a blessing in disguise.

The Pond Theatre Company’s Inaugural Production - Mike Leigh’s “Abigail's Party”

Anytime there’s an opportunity to see something created by award-winning British playwright/filmmaker Mike Leigh, it’s usually a worthwhile experience— though it’s not necessarily a pleasant one. 

While rife with humor, The Pond Theatre Company’s recent production of Leigh’s 1977 play “Abigail’s Party” makes for an engaging, though sometimes frustrating, work. It’s not frustrating because of any flaws in the writing, acting or staging — in fact the prim and proper setting of a 1970s English middle-class living room offers an ideal setting for the acidic and dark experience that was offered on this stage. The Pond, a brand new theater company focused on Irish and British plays (this is its inaugural production) did a bang-up job with both this cast and the direction by Lee Brock.

Rather, it’s the characters themselves that make it torturous, not because of any artificiality in dialogue or action; rather, it’s because the people are so real you want to step on stage and smack them few times throughout the two hours that commences here. 

Pop songs insinuate themselves throughout the play which reveals the banality of these characters as they come in and out of this living room. Once the boozing begins, the action gets launched and the acidic dialogue really kicks in. 

None of the characters are particularly bright or interesting; they really have nothing significant to say. And most annoying is Beverly who pushes everyone into guzzling more drink — as if to excuse her own angry, stupid uptightness and her need to justify her own failings which get smoothed over by intoxication. Though it seems like she just wants everyone to enjoy themselves she’s really catalyzing chaos through her own self-loathing.

The basic action is deceptively simple. Set in the London suburb of Essex, Beverly (Sarah Street) and Laurence (John Pirkis) invite new neighbors Angela (Lily Dorment) and Tony (Nick Hetherington) over for a welcome drink. They’re joined by Susan (Colleen Clinton), another neighbor whose 16-year old daughter Abigail is having a party at her flat. She’s come to the neighbor’s flat to escape the party’s outward chaos only to experience an inner turmoil stirred up in this tacky living room.

As they drink throughout the night, they comically and tragically drop their guard — and emotional disaster ensues. The anger inherent in much of Leigh's material is really present here with little ornamentation. His goal of flailing the English middle class is succinctly accomplished. And this early work of his illustrates the evolution of themes he explores in later plays and films.

Much like American playwright Neil Labute, Leigh unapologetically shows how ridiculous people can be in the most conventional of settings but, unlike his fellow playwright, they aren’t entirely unredeemable — just boorish.

Sadly, this play’s run has ended but there are more productions coming up in collaboration with the Barrow Group (a 30-year-old award-winning theater company) at their West 36th Street home. For future productions go to: www.thepondtheatre.org 

TBG Theatre at The Barrow Group
312 W. 36th St.
Midtown West

Off Broadway Comedy/Drama
Written by Mike Leigh; Directed by Lee Brock
Cast: Lily Dorment, Colleen Clinton, Sarah Street, Nick Hetherington and John Pirkis

"An Italian Miracle" and works of Dario D'Ambrosi

Last night was the one-night event at La MaMa, "An Italian Miracle" an evening in which highlighted theater and film works of Dario D'Ambrosi, along with a film and discussion about "The Integrated Theatre of Emotion," the Italian university curriculum in theater arts for the mentally disabled, which D'Ambrosi and associates have created in Rome.  

D'Ambrosi is founder of the theatrical movement named Pathological Theater (Teatro Patologico).  "The Integrated Theatre of Emotion" is a university program that academically and professionally prepares people for careers in theater arts who are schizophrenic, catatonic, manic depressive, autistic or born with Down Syndrome.

"The Integrated Theatre of Emotion" has been fully operational for almost a year now at the University of Rome Tor Vergata, in one of Rome's outer boroughs, and has been revolutionary in the lives of people with mental disabilities and their families. The La MaMa evening will feature video clips, exclusive testimonials and presentations of results of scientific studies that demonstrate the accomplishments of the program, presenting it as a model that could be used worldwide to help give back to many marginalized people their deserved dignity.

Here are details of last night's program:

6:00 PM – 7:30 PM 

Excerpts from play, "The Buzzing of the Flies" by Dario D'Ambrosi, performed by Greta Scacchi and Giorgio Colangeli.

In a world without madness, a team of scientists and psychiatrists is working on a new ambitious project: to bring back folly to the earth, in order to fight boredom and depression. They capture the last three crazy people in the world: a failed painter, an absent minded dreamer and a sweet and sensitive piano player.  First, the scientists observe the three for a while; then, with a surreal theatrical staging that is a form of therapy, they bring them back to their original day to day life, where their madness probably started. This "medically approved performance" is directed by this chief psychiatrist and features a group of professional actors and one of the facility's other psychiatrists, Dr. Natalia. When the three fools finally discover the true reason behind the experiment, they want to commit suicide. Dr. Natalia is the only one moved to compassion for them and becomes their accomplice. As we later find out, she suffers from the same disease of the three protagonists, a form of madness that she kept concealed. She convinces them to give up suicide and run away from the institute. Together they will restore joy and lightheartedness in this world without madness.

7:30 PM – 8 :00 PM  -- MAIN EVENT, PART 1

Presentation of the "Integrated Theatre of Emotion" university course and screening of the documentary, "AnItalian Miracle."

The first ever university-level degree in "Integrated Theater of the Emotion" was born in Rome in 2016 thanks to the communal effort of Pathological Theater, the University of Rome Tor Vergata and MIUR (the ItalianMinistry of University and Research). Its objective is to increase and sustain education for those with mental or physical disabilities. The curriculum includes a compendium of theater-related courses: acting, playwriting, directing, set design, costume design, music therapy, singing and dance. Through these studies, disabled students acquire tools to help them approach the professional world and recover an often denied dignity. Thanks to the success of this course, the "Integrated Theater of the Emotion" will also open at the University of Camerino in central Italy in 2017. 

"An Italian Miracle" is a film that documents the work of professors and disabled students of the very first university-level degree in "Integrated Theatre of Emotion." The documentary shows excerpts from the lessons given at the Pathological Theater.  It illustrates techniques of theater therapy that are employed and also transmits the atmosphere and the energy of Dario D'Ambrosi's lifetime of work.

8:00 PM – 8:30 PM -- MAIN EVENT, PART 2

Panel Discussion of the scientific results with:  Laura Coccia (member of Italian Parliament), Prof. Giuseppe Novelli (Dean of the University of Rome "Tor Vergata") and Francesco Serra Di Cassano (journalist and writer).

8:30 PM – 9:00 PM

Italian food served by Serafina Restaurant

9:00 PM – 10:30 PM

Screening of film, "L'Uomo Gallo – Days of Antonio" by Dario D'Ambrosi with Celeste Moratti, Luca Lionello and Dario D'Ambrosi.

In the 1920s, in a poor rural province outside Milan, a mentally handicapped boy with one leg shorter than the other was forced to grow up in a chicken coop, where he emulated the chickens and considered himself a rooster. Ultimately he was taken to a psychiatric hospital, where he struggled to build a human life. The film reveals his long and difficult ordeal at the institution, where he encountered a strange and desperate universe of characters, most of them funny and marginalized but with an abundance of humanity. In particular, the film spotlights his intense friendship with his room mate, who was manic about order and cleanliness. The two form a special relationship born of silence and small gestures of solidarity.

Celeste Moratti plays Antonio. Director of Photography is Andrea Locatelli. Art director is Francesco Frigeri, Winner of the David di Donatello in 1999 for "The Legend of the Pianist on the Ocean." Costume Designer is Maurizio Millenotti, Oscar-nominated twice for the films "Othello" (1986) and "Hamlet" (1990), both directed by Franco Zeffirelli. Make-up is by Manlio Rocchetti, Oscar winner in 1989 for "Driving Miss Daisy."


Dario D'Ambrosi is a former professional soccer player, one of Italy's leading performance artists and originator of the theatrical movement called Teatro Patologico.  His plays investigate mental illness by grasping its vital artistic and creative aspects with the intention of restoring the "dignity of the fool." 

In the '80s and '90s, D'Ambrosi marched irresistibly into the forefront of Italy's theatrical ambassadors, a cohort led by Pirandello, DiFilippo and Dario Fo. In 1994, he received the equivalent of a Tony Award in his country: a prize for lifetime achievement in the theater from the Instituto del Drama Italiano. D'Ambrosi first performed at La MaMa in 1980 and has been in residence there nearly every year thereafter. He has written and directed over 16 plays, acted in 18 major films and TV movies, and written and directed three full-length films. Fifteen of his plays have had their American premieres at La MaMa. In the US, he has also performed at Lincoln Center, Chicago's Organic Theatre, Cleveland's Public Theater and Los Angeles' Stages Theatre, among others.

Brooklyn Center for the Performing Arts at Brooklyn College presents Tony Danza: Standards & Stories - 11/20

Brooklyn Center for the Performing Arts at Brooklyn College continues its 2016-17 season on Sunday, November 20, 2016 at 3pm with Emmy-nominated song-and-dance man Tony Danza performing his newest one-man show, Standards & Stories. Accompanied by his talented four-piece band, Brooklyn-born Danza will perform a selection of his favorite standards from the Great American Songbook, including "My Way," "Pennies from Heaven," "I'll be Seeing You," and "It Was a Very Good Year," along with selections from the hit Broadway musical Honeymoon in Vegas (in which Danza starred), while interweaving stories about his life and personal connection to the music.

Tickets are $36-$55 and can be purchased at BrooklynCenter.org or by calling the box office at 718-951-4500 (Tue-Sat, 1pm-6pm).

“He exudes the kind of charisma that can’t be taught because it’s part of who he is.”
— The New York Times

About Tony Danza
Best known for starring on some of television's most beloved and long-running series, including Taxi (1978-1983) and Who's the Boss? (1984-1992), Tony Danza has also established himself as a stage and screen star, and has indisputably been one of America's most iconic and beloved performers for over thirty years.
Born and raised in Brooklyn, Danza received a wrestling scholarship to the University of Dubuque in Iowa, where he earned a bachelor's degree in history education. Before finding a job teaching, he found himself earning a living as professional boxer. While training in a boxing gymnasium in New York, Danza was "discovered" and ultimately cast in the critically acclaimed ABC series Taxi, earning him a place in television history and making him a household name. He followed Taxi with a starring role in the classic ABC comedy series Who's the Boss?, which ran for eight seasons and broke all syndication records.
Eventually Tony explored his love for the stage, and among his many stage credits is his exciting run on Broadway in Mel Brooks' hit musical The Producers, playing Max Bialystock (2006-2007), and his reprise of the role in the Las Vegas production at Paris Las Vegas (2007). For his theatrical debut in Wrong Turn at Lungfish (1993), he earned an Outer Critic's Circle Award nomination. Other stage credits include the critically acclaimed The Iceman Cometh, opposite Kevin Spacey, Arthur Miller's Tony Award-winning play A View from the Bridge, and I Remember You.
Most recently, Tony returned to the stage in the hit musical Honeymoon In Vegas, which started at the Paper Mill Playhouse before moving to Broadway. Both the show and Tony's performance received amazing reviews, including a love letter from The New York Times, which compares Tony's performance to "the cooler-than-cool spirit" of Frank Sinatra. 
Tony also recently returned to the big-screen and received great buzz and fantastic reviews for his performance as Joseph Gordon Levitt's father in Levitt's much buzzed and acclaimed directorial debut, Don Jon. The film, which stars Levitt, Danza, Julianne Moore, Brie Larson, and Scarlett Johansson, was released in theaters in the fall of 2013.
Among Tony's previous television experience is his role as attorney Joe Celano on the CBS dramatic series Family Law (2000-2002), his Emmy-nominated performance on David E. Kelley's award-winning series The Practice (1998), and ABC's The Tony Danza Show, a talk show that was broadcast live in New York from 2004-2006. He also starred in and executive-produced the ABC comedy series Hudson Street, NBC's The Tony Danza Show, hosted Saturday Night Live several times and hosted numerous award shows, including the 2001 Miss America Pageant and the 2003 People's Choice Awards. 
Amongst Tony's big-screen credits are his roles in Walt Disney's Angels in the Outfield, She's Out of Control, The Hollywood Knights, and A Brooklyn State of Mind. 
In 2009-2010, Tony took on his most challenging role yet-teaching tenth-grade English at Philadelphia's Northeast High School. His amazing experience working as a real teacher was taped and aired on A&E last year in the form of the critically acclaimed seven-part documentary series, entitled Teach. In September 2012, Crown Publishers (a division of Random House) releases Tony's book, I'd Like to Apologize to Every Teacher I Ever Had: My Year as a Rookie Teacher at Northeast High, a much buzzed about and critically acclaimed reflection of his experience teaching for a year. The book premiered on the New York Times Best Sellers list at number 16 and stayed on the list for two months. The paperback edition hit bookstores in September of 2013.
In 2010, AARP The Magazine, the definitive voice for 50+ Americans and the world's largest-circulation magazine with more than 35 million readers, presented Tony with their Inspire Award. The Inspire Awards pay tribute to extraordinary people who inspire others to action through their innovative thinking, passion and perseverance. 
In December of 2012, Tony was amongst the iconic celebrities who participated in the Weinstein Company's historic concert for Hurricane Sandy Relief at Madison Square Garden. He was featured in the documentary about the concert, released by the Weinstein Company in the fall of 2013, in which Tony reminds people of the forgotten motto of America, "E pluribus unum," or "out of many one," or as Tony's father would say, "we're all in this together, pal." It's with great belief in the spirit of that motto that Tony participates in many charity efforts.
In April of 2013, USA Today honored Tony at their annual National Make A Difference Day Awards for his commitment to helping others through his numerous charity efforts. 
Tony currently lives in New York City.
Tony Danza: Standards & Stories is part of Brooklyn Center's 2016-17 Con Edison Music Masters Series, which also includes The Dr. Lonnie Smith Trio (Feb 25, 2017 at 8pm), Emeline Michel in concert (Mar 4, 2017 at 8pm), Patti Austin: Happy 100th, Ella! (Apr 22, 2017 at 8pm), and the Yosvany Terry Afro-Cuban Sextet (May 6, 2017 at 8pm).



Free-for-Everyone Seasonal Kick-off plus Networking Meet-and-Greet By TRU and The Playroom Theater - 9/20

Theater Resources Unlimited (TRU) and The Playroom Theatre present the September TRU Panel An Introduction to TRU: Free-for-Everyone Seasonal Kick-off plus Networking Meet-and-Greet -Tuesday, September 20,2016 at 7:30pm at The Playroom Theater, 151 W. 46th Street, 8th floor, NYC 10036. Doors open at 7pm for networking and refreshments; roundtable introductions of everyone in the room will start at 7:30pm.

Meet the program directors and illustrious board members of Theater Resources Unlimited, including director of writer programs Diana Amsterdam (Practical Playwriting), casting director Carly J. Bauer (YPAC leader, co-producer of the TRU Audition), producer/board member Patrick Blake (The 39 Steps, Bedlam Theater's  Hamlet/ St. Joan, Play Dead, The Exonerated, In the Continuum; artistic director Rhymes Over Beats; Practical Playwriting; head of TRU Voices selection committee), TRU literary manager Cate Cammarata (TRU Voices and How to Write a Musical That Works),  actress/writer Christin Cato (co-chair of YPAC), producer/board member David Elliott  (Broadway:  Dames at Sea, Vanya & Sonia & Masha & Spike; off-Broadway: Bedlam Theater's Hamlet/St. Joan, In the Continuum; director of our Producer Development program), attorney Eric Goldman, Esq. (offering free mediation services and counsel to TRU members), Gillien Goll (writer coach for Speed Date and Practical Playwriting), producer Jesse Langston (co-producer of the TRU Audition), producer/co-chair of YPAC Molly Morris (Come from Away, My Life Is a Musical, PopUpTheatrics), producer/board member Tom Polum (The Toxic Avenger, Dirty Rotten Scoundrels, All Shook Up; How to Write a Musical That Works feedback panel; head of TRU Voices selection committee), producer-actress Jana Robbins (Ragtime, Little Women, Roof of the World; director of our Producer Development program), financial advisor/board member Bailie Slevin (offering free financial consultations to TRU members).
Learn about our programs, including our Producer Development & Mentorship Program, the TRU Voices Reading Series, Mediation workshop and other Producer Boot Camps, Speed Dates and Actor Workshops, Writer-Producer Speed Date, Director-Writer Communications Lab, How to Write a Musical That Works workshop and more. Meet our Young Patrons & Artists Circle (YPAC), and learn if you are eligible to join them. Come with questions. And let us know what we don't offer that you wish we did.
Doors open at 7:00pm for networking and refreshments, roundtable introductions of everyone in the room will start at 7:30pm - come prepared with your best one-minute summary of who you are, and what you need. Free for TRU members; usually $12 for non-members, but free for everyone for this season opener. Please call at least a day in advance (or much sooner) for reservations: 212/714-7628; or e-mail  TRUStaff1@gmail.com.

The Playroom Theater, a small theater with a purpose on West Forty Sixth Street. Created by longtime theatrical producer Eric Krebs, The Playroom Theater features a 62-seat boutique theater, appropriate for rehearsals, readings, auditions, producers' presentations and workshop productions. Conceived of as an artists' workspace for writers, directors, composers, actors, producers and others committed to the professional theater arts and its industry. "The idea of The Playroom has grown out of my desire to create a small and financially manageable space in the heart of the theater district," commented Krebs. "I want this to be a place where industry professionals can pop over for a reading, a backer's audition or a small production of a work in progress." For more information on The Playroom Theater, call Frankie Dailey, General Manager, at 212-967-8278.

Theater Resources Unlimited(TRU) is the leading network for developing theater professionals, a twenty-four year old 501c3 nonprofit organization created to help producers produce, emerging theater companies to emerge healthily and all theater professionals to understand and navigate the business of the arts. Membership includes self-producing artists as well as career producers and theater companies. 

TRU publishes an email community newsletter of services, goods and productions; presents the TRU VOICES Annual New Play Reading Series and Annual New Musicals Reading Series, two new works series in which TRU underwrites developmental readings to nurture new shows as well as new producers for theater; offers a Producer Development & Mentorship Program whose mentors are among the most prominent producers and general managers in New York theater, and also presents Producer Boot Camp workshops to help aspirants develop the business skills they need. TRU serves writers through a Writer-Producer Speed Date, a Practical Playwriting Workshop, How to Write a Musical That Works and a Director-Writer Communications Lab; programs for actors include the Annual Combined Audition, Resource Nights and "Speed Dating" as well as actor workshops. 

Programs of Theater Resources Unlimited are supported in part by public funds awarded through the New York State Council on the Arts (NYSCA) with the support of Governor Andrew Cuomo and the New York State Legislature and the New York City Department of Cultural Affairs in partnership with the City Council, 9th district Council Member Inez Dickens; and with support from the Montage Foundation and the Friars National Association Foundation. 

For more information about TRU membership and programs, visit:


The Film Society of Lincoln Center announces the complete lineup for the Projections section of the 54th New York Film Festival, to take place October 7-9. The slate is comprised of 11 programs presenting an international selection of film and video work that expands upon our notions of what the moving image can do and be. Drawing on a broad range of innovative modes and techniques, including experimental narratives, avant-garde poetics, crossovers into documentary and ethnographic realms, and contemporary art practices, Projections brings together a diverse offering of short, medium, and feature-length work by some of today’s most vital and groundbreaking visual artists.

“With the third edition of Projections, in the belief that artistic radicalism takes many forms, we're casting a wider net than ever,” said Dennis Lim, FSLC Director of Programming and one of the curators of Projections. “This is a section of the festival that we hope reflects the perennially fluid nature of experimental moving-image work, the fascinating and exhilarating ways in which visionary artists are always reinventing the medium to both mirror and shape the historical moment. This may be our most eclectic and energizing lineup yet, juxtaposing major figures of the avant-garde with promising up-and-comers, ranging from abstract short work to feature-length semi-narratives, combining and straddling genres, registers, and generations.”

This year’s lineup features 44 films in 11 programs with 10 world premieres, five North American premieres, and 13 U.S. premieres. Among the highlights are Eduardo Williams’s The Human Surge, winner of the top prize in Locarno’s 2016 Filmmakers of the Present section; world premieres of new work by visual poets Nathaniel Dorsky and Jerome Hiler, the subjects of last year’s NYFF Retrospective; features including Deborah Stratman’s The Illinois Parables and Dane Komljen’s All the Cities of the North; and the U.S. premiere of Há Terra!, directed by 2015 Kazuko Trust Award winner Ana Vaz. This year’s recipient of the Kazuko Award, which recognizes artistic excellence and innovation and is awarded to an emerging filmmaker in the Projections lineup, will be announced in September.

Twenty works will screen on celluloid (15 on 16mm and five on 35mm), including several of this year’s repertory selections: restorations of avant-garde luminary Robert Beavers’s From the Notebook of… (1971/1998) and three historical films by legendary Canadian filmmaker David Rimmer, preserved by the Academy Film Archive, as well as a tribute to the late Peter Hutton with a screening of his In Titan’s Goblet. Projections also features premieres from returning filmmakers Luke Fowler (For Christian), Janie Geiser (Flowers of the Sky), John Smith (Steve Hates Fish), Jesse McLean (See a Dog, Hear a Dog), Kevin Jerome Everson (Ears, Nose and Throat), Tomonari Nishikawa (Ten Mornings Ten Evenings and One Horizon), and many more; the NYFF debuts of acclaimed visual artists Mark Leckey (Dream English Kid, 1964–1999 AD), Rosalind Nashashibi (Electrical Gaza), Steve Reinke (A Boy Needs a Friend), Lawrence Lek (Europa, Mon Amour), Clemens von Wedemeyer (The Horses of a Cavalry Captain), Rosa Barba (Bending to Earth), and Stephen Sutcliffe (Twixt Cup and Lip); and a few Film Society of Lincoln Center alums new to Projections—James N. Kienitz Wilkins (Indefinite Pitch), who was in last year’s NYFF New York shorts program, and filmmakers Komljen and Williams, whose work has screened in the Film Society’s Art of the Real festival.

This year, the NYFF is proud to continue its collaboration with the curated video-on-demand service MUBI, a platform that showcases the best international, classic, and award-winning films from around the globe. MUBI will be a dedicated sponsor of the Projections section for the second consecutive year. Several titles from past Projections lineups will be made available on MUBI leading up to the festival, and a selection from the 2016 program will be featured upon completion of the festival. Details on the films and schedule will be announced at a later date.

Projections is curated by Dennis Lim (FSLC Director of Programming) and Aily Nash (independent curator). Thomas Beard (FSLC Programmer at Large) serves as Program Advisor. The curators wish to thank Colin Beckett, Shelby Shaw, Edo Choi, Maxwell Paparella, Mark Toscano, Gonzalo de Pedro Amatria, and the Andy Warhol Foundation.

Projections tickets are $15 for General Public and $10 for Members & Students. A $99 Projections All Access Pass will also be available for purchase. Visit filmlinc.org/NYFF for more information.

Tickets for the 54th New York Film Festival will go on sale September 11. Becoming a Film Society Member at the Film Buff Level or above provides early ticket access to festival screenings and events ahead of the general public, along with the exclusive member ticket discount. Learn more at filmlinc.org/membership.

For even more access, VIP passes and subscription packages offer the earliest opportunities to purchase tickets and secure seats at some of the festival's biggest events including Opening and Closing Nights, and Centerpiece. VIP passes also provide access to many exciting events, including the invitation-only Opening Night party, “An Evening With…” dinner, Filmmaker Brunch, and VIP Lounge. Benefits vary based on the pass or package type purchased. VIP passes and subscription packages are on sale now. Learn more at filmlinc.org/NYFF.

All films screen digitally at the Elinor Bunin Munroe Film Center (144 W. 65th St.) unless otherwise noted.

Friday, October 7, 4:00pm
Saturday, October 8, 3:00pm
TRT: 81m

Karissa Hahn, USA, 2015, 16mm, 2m
An old Regal Cinemas pre-show animation is further degraded as it’s run through a ringer of format transfers, each layer representing a different viewing space.

Steve Hates Fish
John Smith, UK, 2015, 5m
Recorded from a smartphone screen, its translation app running on the wrong settings and struggling to interpret North London street signs in French and convert them to English, Steve Hates Fish turns errors into unintentional poetry.

Real Italian Pizza
David Rimmer, Canada, 1971, 16mm, 13m
Scenes outside a Manhattan pizza joint, shot over eight months from a fourth-floor apartment window. Men stand eating their slices and drinking their sodas alone; groups of friends and neighborhood acquaintances, mostly black, hang out, talking and laughing; a few cops, all white, march a man away in handcuffs; summer turns to winter. Preserved by the Academy Film Archive.

Now: End of Season
Ayman Nahle, Lebanon, 2015, 20m
U.S. Premiere
In the cosmopolitan Turkish city of Izmir, thousands of Syrians fleeing Assad, ISIS, and the proxy forces lined up behind them, bide their time, waiting to cross the Aegean Sea. On the soundtrack, voices from a previous war.

See a Dog, Hear a Dog
Jesse McLean, USA, 2016, 18m
World Premiere
This tragicomic analysis of communication between humans, animals, and machines was made with original video footage, computer animations, and internet media, including YouTube dog videos, chatbot dialogue windows, and images from iTunes visualizer.

Twixt Cup and Lip
Stephen Sutcliffe, UK, 2016, 23m
World Premiere
This sound and video collage, produced in conjunction with a museum exhibit about Yorkshire playwright and novelist David Storey, draws from BBC outtakes, Edwardian-nostalgic commercial design, and other sources of mid-century British middlebrow to consider the vagaries of class mobility.

Friday, October 7, 6:30pm
Saturday, October 8, 5:15pm
TRT: 78m

Burning Mountains That Spew Flame / Montañas Ardientes Que Vomitan Fuego
Helena Girón and Samuel Delgado, Spain, 2016, 14m
U.S. Premiere
Scientific claims made by 17th-century Jesuit polymath Athanasius Kircher and political ones made by the Invisible Committee are examined in this journey into the volcanoes of Lanzarote.

Bending to Earth
Rosa Barba, USA/Germany, 2015, 35mm, 15m
Helicopter shots circle variously colored shapes carved into desert landscapes. We discover these manmade inscriptions are storage cells for radioactive material designed to eventually return to the soil.

Ten Mornings Ten Evenings and One Horizon
Tomonari Nishikawa, Japan, 2016, 16mm, 10m
U.S. Premiere
Delivering exactly what his title promises—but not necessarily in the order you’d expect—Nishikawa presents 20 sequences shot along Japan’s Yahagi River; images tautly suspended between stillness and movement, darkness and light.

Canadian Pacific I
David Rimmer, Canada, 1974, 16mm, 9m
Scenes taken from a single, second-floor view of Vancouver Harbor, recorded over three winter months, pieced together with subtle dissolves so as to resemble one ten-minute shot. “Its formalism is very unimposing,” wrote Jonas Mekas, “like in a Hudson School painting.”  

Jáaji Approx.
Sky Hopinka, USA, 2015, 8m
Hopkina’s video address to his father is made of landscape images saturated with dark shadow and dreamy light, and features his father’s own words taken from recordings of Hočak language songs and chants.

Bad Mama, Who Cares
Brigid McCaffrey, USA, 2016, 35mm, 12m
World Premiere
Geologist Ren Lallatin inhabits different spaces—of brilliant snow and blazing sun, rundown towns and little-trodden deserts—in this structural-lyrical landscape film shot on richly tinted film.

Ears, Nose and Throat
Kevin Jerome Everson, USA, 2016, 10m
Everson returns to his hometown of Mansfield, Ohio, in this unblinking look at the simultaneity of the tragic and the mundane in black American life. The subject is the 2010 murder of 25-year-old DeCarrio Couley, who appeared in a number of Everson’s earlier films.

Friday, October 7, 8:45pm
TRT: 70m

The Illinois Parables
Deborah Stratman, USA, 2016, 16mm, 60m
Eleven episodes from the history of Illinois stand in for the United States at large. Working in her essayistic, political mode, Deborah Stratman synthesizes an array of materials into a rigorous yet playful consideration of the catastrophe of the state and the resilience of those who make up the nation.

Preceded by
The Horses of a Cavalry Captain / Die Pferde des Rittmeisters
Clemens von Wedemeyer, Germany, 2015, 10m
North American Premiere
During World War II, Wehrmacht captain Harald von Vietinghoff-Riesch traveled in advance of the army scouting for barracks. An amateur cinematographer, he also made 16mm images behind the front. Part of a larger project, Die pferde des Rittmeisters, made by Vietinghoff-Riesch’s grandson, presents footage of the cavalry horses, the artist’s commentary never letting us forget that these attractive creatures were also Nazi machines.

Program 4: FADE OUT
Saturday, October 8, 2:00pm
Saturday, October 8, 7:30pm
TRT: 76m

Old Hat
Zach Iannazzi, USA, 2016, 16mm, 8m
A scrapbook of 16mm images made on the fly, the length of each determined by the position of the Bolex spring when the shot begins. Some shove past as quickly as slides in a carousel advanced at top speed; others—etching the explosive ascent of fireworks in high-contrast white, or the arc of the setting sun on the mirrored glass of an office tower—linger.

Flowers of the Sky
Janie Geiser, USA, 2016, 9m
U.S. Premiere
Named after a medieval term for comets, Flowers of the Sky finds a seemingly infinite number of ways of looking at and into two mid-century postcards depicting the Freemasonic Order of the Eastern Star, using a macro lens and a variety of printing and masking techniques.

Answer Print
Mónica Savirón, USA, 2016, 16mm, 5m
World Premiere
Answer Print is assembled with pieces of deteriorating 16mm color stock. Not only the images themselves but also the world that produced them and which they reproduce—here suspended in the red aspic of faded color dye—threatens to disappear.

Athyrium filix-femina (for Anna Atkins)
Kelly Egan, Canada, 2016, 35mm, 5m
World Premiere
This homage to botanist and photography pioneer Anna Atkins was made in cyanotype photograms and reanimated film stills on stock exposed in the sun. Handcrafted with historically domestic, feminine tools, it’s structured as a narrative in quilting patterns.

Variations on a Cellophane Wrapper
David Rimmer, Canada, 1970, 16mm, 9m
This classic work of Canadian structural cinema consists of an eight-second shot of a woman in a factory unrolling a spool of cellophane in sheets, which crash like waves toward the camera. Rimmer loops the image, replaying it in segments that give it different visual and aural treatments. Preserved by the Academy Film Archive.

Ghost Children
Joao Vieira Torres, Brazil/France, 2016, 17m
North American Premiere
Ghost Children presents seven reminiscences of early childhood, read in seven different voices, as the camera presses close against the faded dye and exaggerated grain of family photographs from the early 1980s. The film encourages the audience to interrogate assumptions about gender, memory, performance, and death.

Camilo Restrepo, France, 2016, 13m
U.S. Premiere
A woman takes her mother’s dying wish to the father she never knew; he is dead but not gone from the Réunion Islands village of Cilaos, historically a Maroon community. With the collaboration of renowned singer Christine Salem, Restrepo develops a trans-diasporic narrative form built on the slave rhythms of Réunionese maloya and Colombian mapalé.
Luna e Santur
Joshua Gen Solondz, USA, 2016, 35mm, 11m
U.S. Premiere
Mingling sex and death with the supernatural and subnaturalistic, this visually assaultive threnody alternates white hot light with furious streaks of cruddy black goop, pushing the eye and the ego to their breaking points.

Saturday, October 8, 4:15pm
Sunday, October 9, 12:30pm
TRT: 84m

Indefinite Pitch
James N. Kienitz Wilkins, USA, 2016, 23m
A procession of black and silvery white stills of New England’s Androscoggin River unspools alongside an anxious monologue on movies, memory, and minor history.

Europa, Mon Amour (2016 Brexit Edition)
Lawrence Lek, UK, 2016, 14m
North American Premiere
This guided, two-part meditation on Brexit unfolds in a computer-simulated hallucination of the London district of Dalston, a place with no people but filled with drones and fires.

Strange Vision of Seeing Things
Ryan Ferko, Canada/Serbia, 2016, 14m
U.S. Premiere
Time-spaces of post-Yugoslav Serbia: the empty lobby of a defunct industrial conglomerate’s headquarters in Belgrade; an unseen man describing tripping on acid during the 1999 NATO bombings; a mother and her young son visit ruins left by that same campaign. At first they appear in crisp HD, but cracks form, revealing dimensions beneath the smooth surface.

Ismaïl Bahri, France/Tunisia, 2016, 32m
U.S. Premiere
A white haze flutters on-screen, accompanied by street sounds in Tunis. Indistinct shapes appear as passersby engage the cameraman about his project and their lives. He tells one of them, “The wind does the editing.”

Saturday, October 8, 6:45pm

All the Cities of the North / Svi severni gradovi
Dane Komljen, Serbia/Bosnia-Herzegovina/Montenegro, 2016, 100m
North American Premiere
In the darkly wooded grounds and concrete boxes of what was once a Yugoslav resort complex, two men share an enigmatic, tender life. A stranger comes to town; things change, but how, what, and why remain ambiguous. In Komljen’s richly suggestive, quietly moving elegy to lost utopias, no words are exchanged, and speech only comes in monologues, taking up questions on the architecture and administration of human sociality. 

Saturday, October 8, 9:30pm
Sunday, October 9, 3:00pm
TRT: 63m

A Boy Needs a Friend
Steve Reinke, USA, 2015, 22m
This latest installment of Final Thoughts, the series of unreliably narrated queer video essays that Reinke intends to continue until his death, takes love and friendship as its main subjects. Onto this he latches a long chain of endless digressions, which include, among much else, Stephen King and Joyce Carol Oates, the pleasures of needlepoint, and the design of an anal tattoo.

Spotlight on a Brick Wall
Alee Peoples and Mike Stoltz, USA, 2016, 16mm, 8m
An abstracted nightclub performance, its constituent parts—stand-up comedy, a capella, a laconic bass-and-drum rock duo, a slapstick mime—wrenched apart and recombined.

Return to Forms
Zachary Epcar, USA, 2016, 10m
World Premiere
The surfaces and shapes of typical international contempo yuppie style are defamiliarized, staged in and around a condo in an unnamed urban environment.

Dream English Kid, 1964–1999 AD
Mark Leckey, UK, 2015, 16mm, 23m
North American Premiere
Dream English Kid traces the cultural developments in the life of a working-class English boy, between the start of the Nuclear Test Ban and Azzido Da Bass’s first EP, as a collage of images and sounds, locating the broadly shared within the idiosyncratic and personal.

Sunday, October 9, 1:00pm
Sunday, October 9, 5:00pm
TRT: 65m

Nathaniel Dorsky, USA, 2016, 16mm, 26m
World Premiere
“Autumn, photographed during the last months of the drought year, 2015, is a stately, but intimate, seasonal tome, a celebration of the poignancy and mystery of our later years.” —Nathaniel Dorsky

The Dreamer
Nathaniel Dorsky, USA, 2016, 16mm, 19m
World Premiere
“This year our midsummer’s night was adorned with a glorious full moon. The weeks and days preceding the solstice were magically alive with crisp, cool breezes, bright warm sunlight, and a general sense of heartbreaking clarity. The Dreamer is born out of this most poignant San Francisco spring.” —Nathaniel Dorsky

Bagatelle II
Jerome Hiler, USA, 2016, 16mm, 20m
World Premiere
“With Bagatelle II, I seem to have come full circle by returning to the so-called polyvalent style of my earliest film endeavors from 50 years ago. The film actually includes material from all the intervening decades. It's both up to the moment yet life-spanning, with a thread of deep affection for the special characteristics of 16mm film.” —Jerome Hiler

Sunday, October 9, 3:15pm
Sunday, October 9, 7:00pm
TRT: 81m

Há Terra!
Ana Vaz, Brazil/France, 2016, 13m
U.S. Premiere
The camera jerks quickly across a field in the Brazilian Sertão, homing in on a young Maroon woman crouching in the tall grass. A hand feels around in the brush, caressing the earth. From these two images, Ana Vaz’s film proceeds on tracks that neither fully merge nor completely diverge, expressing the incommensurability of filmmaker and subject.

Ephraim Asili, USA/Jamaica, 2016, 12m
World Premiere
Shot between the Maroon village of Accompong, Jamaica, and Hudson, New York, the alternately sparse and exultantly polyrhythmic Kindah is part of a series of films examining the filmmaker's relationship to the African diaspora. The title alludes to the mango tree that symbolizes common kinship in the Jamaican Maroon culture.

In Titan’s Goblet
Peter Hutton, USA, 1991, 16mm, 9m
Titled after a painting by Thomas Cole, this work of Hudson River School landscape filmmaking by the late Peter Hutton is a study of ships and smoke on the water.

An Aviation Field / Um Campo de Aviação
Joana Pimenta, Portugal/USA/Brazil, 2016, 13m
U.S. Premiere
Using warm, darkly saturated 16mm images shot on the volcanic island of Fogo, Cape Verde, and in modernist Brasilia, and sounds that range between trebly crackle and aquatic gurgle, Pimenta constructs a surreal and mythical landscape from the remnants of Portuguese colonialism.

Electrical Gaza
Rosalind Nashashibi, UK, 2015, 18m
Commissioned by London’s Imperial War Museum, Electrical Gaza combines vérité documentary scenes of public life in Gaza shot by Nashashibi in 2014, portraits of her crew, and uncanny, painterly computer animations modeled from the footage, rendering it unreal—as the Israeli government would claim and Palestinians would like to make it. 

Event Horizon
Guillermo Moncayo, France, 2015, 16m
A story modeled on 19th-century ethnography and colonialist travel literature unfolds in titles written in a mythological register. Lush images and sounds accrue a level of detail that refuses knowledge and courts being.

Program 10: FROM THE NOTEBOOK OF . . .
Sunday, October 9, 5:30pm
TRT: 55m

From the Notebook of…
Robert Beavers, Italy/Switzerland, 1971/1998, 35mm, 48m
North American Restoration Premiere
An essential film by one of cinema’s living masters, forged from the brilliant light of Florence streets and the shadow of an old pensionne, this astounding work of public science and private experience was inspired by Leonardo Da Vinci’s notebooks. According to P. Adams Sitney, this is “the first film of [Beavers’] artistic maturity.”

Preceded by
For Christian
Luke Fowler, UK/USA, 2016, 16mm, 7m
Fowler’s portrait of New York School composer Christian Wolff continues his investigation into the legacies of 20th-century avant-garde music. Short, handheld shots taken at Wolff’s New Hampshire farm are assembled in diagonal relation to a soundtrack that features snippets of conversation with Wolff and passages from his compositions.

Sunday, October 9, 7:30pm
TRT: 97m

The Human Surge / El auge del humano
Eduardo Williams, Argentina/Brazil/Portugal, 2016, 97m
U.S. Premiere
A twenty-something in Argentina loses his warehouse job. Boys in Maputo, Mozambique, perform half-hearted sex acts in front of a webcam. A woman in the Philippines assembles electronics in a small factory. Williams’s inquisitive camera is in constant motion, as are his rootless characters, who wander aimlessly, make small talk, futz with their phones, and search for a working Internet connection. Unfolding within the unfree time between casual jobs, this wildly original rumination on labor and leisure in the global digital economy seems to take place in both the immediate present and the far horizon of the foreseeable future. Winner of the top prize in the 2016 Locarno Film Festival’s Filmmakers of the Present section.

For more information about the New York Film Festival, visit filmlinc.org/NYFF.


On Sunday, June 19, FathersDay, hearts will be especially heavy as the world reflects on the 49 victims who lost their lives in Orlando, Florida, as victims of the worst mass shooting in modern U.S. history.

It was just a week ago Sunday when the theatrical community, poised to celebrate the 2016 Tony Awards in NYC, felt the impact of the tragedy. In quick response, nominees and presenters wore silver ribbons — designed by veteran Broadway costume designer and six-time Tony winner William Ivey Long — to honor the victims.

As difficult for the heart to absorb so many deaths, its further exacerbated because many of those who died there, were Hispanic and African-American young people, many at the beginning of their lives. A particularly poignant fact to ponder in Broadway history, is that 2016 will be seen, as a historic and important year for the African and African-American artistic community given that all four awards for Performances in Musicals went to African-American actors. 

“Hamilton,” the hip-hop musical about Americas first Treasury secretary, won 11 Tony Awards including picking up Broadways highest honor — the Tony for Best Musical.  Proving that the art form of hip-hop is successful not only artistically, but commercially — it was earning about $6000,00 in profit weekly on Broadway — and is poised to expand its reach with productions opening in Chicago in September, followed by two North American tours and a London staging as well.  

The lingering weight of the tragedy made many reflect on the value of time and the importance of family. Among those pondering such matters was Daveed Diggs, who plays both Marquis de Lafayette and Thomas Jefferson in “Hamilton.” He was one of those cast members who took a Tony home — in his case, for Best Featured Actor in a Musical.

In Act I, of “Hamilton,” Diggs brings the thunder, commanding the stage first as Lafayette.  According to the website FiveThirtyEight, which uses statistical analysis — hard numbers — to tell compelling stories about elections, politics, sports, science, economics, etc., he drops the fastest rap in Broadway history, with the song “Guns and Ships” clocking in at a dizzying 19 words in three seconds.  

Then in Act 2, he shakes out his mane of hair, undoing his man-bun and turns into the complex Jefferson, who he paints with big strokes of braggadocio as well as ladening on a dash of entitled-dandy charm. A cool, confident ghost of history and a master adversary to Mirandas Hamilton.  The result is a hyped cabinet rap battle that brings audiences to their feet.


For Diggs, becoming a part of “Hamilton” — which marked his Broadway debut — was a stroke of pure “luck.”

 Born and raised in Oakland, California, the son of a white, Jewish mother and an African-American father, Diggs honed his musical skills with the experimental Cali-based hip hop group CLIPPING.

A family focused artist, Diggs shared words of wisdom on the importance of following your dreams. “Its important, and always has been, to my parents that I do something that I love. [I} watched his father report to a job he hated, as bus driver in San Franscico,, [and it] helped frame his heartsambition.” 

Diggs added that the success of “Hamilton” and his Tony win is dedicated to his parents.

Here is what the Tony winner had to say about his father on Tony night. 

[On getting Tony win in contrast to the Orlando tragedy]

In the middle of all this thing, for me, it makes perfect sense in the mist of this performance [that] I get represent my actual self while telling this story, and I think thats why Hamilton is so inclusive. We get to see our actual selves in this story about the founding of the country we all live and participate in. 

[On sharing the news of his win with his family]

I tell me my dad and my grandfather too, I call him [grandfather] on the phone, too, he says some real slick stuff. They are supportive.

Ive always aspired to be my father. I always have, and I am not… We are sort of fundamentally different, in a lot of ways, but I try him on from time to time.  

I made this outfit [that I am wearing]. I feel great in this, because this is some stuff my dad would have worn when he was younger, and he looks so much better than me tonight — its ridiculous.  

And its not just his style, but thats the way that I get to play it. But its really the kind of man he is, and the kind of person he is who exudes the love that he does; and so getting to play a role where I get to take these things that I learned, from just trying to walk around, like my dad walks around — its great!  

[Playing this historical role] of Thomas Jefferson — come on, there is no way that this should be ‘real’ — reading lines written for Thomas Jefferson — [and] I am like, “Yes, thats my father,” except, maybe, thats way too real.

Its been so great. Its been so much fun.  Its one of the great things about this process is how much of ourselves we were asked to bring to it and how much sense it kept making to do that. 

My family is through all of this work and thats great because I am so far away from them, right now. So iIts nice to carry them with me, all of them, its nice to feel that.

NAI-NI CHEN DANCE COMPANY: World Premiere of First Touch to be performed at NJPAC on Friday, June 3, 2016 at 7:30pm

The critically-acclaimed Nai-Ni Chen Dance Company will perform at the New Jersey Performing Arts Center(NJPAC) on Friday, June 3, 2016 at 7:30pm. The dances of choreographer Nai-Ni Chen fuse the dynamic freedom of American modern dance with the elegant splendor of Asian art. Enjoy a full evening of her work which The New York Times calls "endlessly proliferating forces of cosmic energy." An extraordinary cast of dancers and musicians takes you on a fantastic journey that blossoms with color, energy, and motion. NJPAC audiences have experienced the Chinese Lunar New Year spectacles that Nai-Ni Chen produces each year and have witnessed the power and grace of her work alongside traditional dances. This summer performance is a presentation not to be missed!

NJPAC is located at 1 Center Street, Newark, NJ 07102. Tickets are $20-$50 and can be purchased at http://www.njpac.org/events/detail/nai-ni-chen-dance-company-1