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Quietly Cast and author

There’s no question that some cultures want some plays more than others. The recent stage update of the Britcom Yes Prime Minister, by its original creator-scriptwriters was an enormous hit throughout the UK, and on tour through Australia and New Zealand, where YPM and its forerunner Yes Minister live on ubiquitously in reruns. But when, just a few years ago, the same play, in the same production, under the same director (co-author Jonathan Lynn), with a cast of American actors, all of some significant note, who ironically comprised Lynn’s favorite company of the play, opened in Los Angeles, a television town, it didn’t generate anywhere near the same interest. Any Americans who knew the Minister comedies knew them mostly from PBS broadcasts and maybe the tie-in volumes of short story adaptations. Without the nostalgia and fondness factor, the flaws of the play were less sentimentally perceived, the workings of Whitehall didn’t land as a good enough metaphor for the workings of the White House, and the comedy’s ability to stand on its own merits was compromised. The limited engagement went well enough, but with its source not being part of the cultural fabric, the American life of the play ended there. (PS, and for the record, I’m an enormous fan of both TV series and the play; so I find this a little sad. It is, though, what it is.)



But there’s also no question that some cultures need more plays than others. And this brings us to the Abbey Theatre import, Owen McCafferty’s Quietly, currently at the Irish Rep. Certainly it brings universality of theme, though it may take some audience members a while to get used to the density of accents. We’re in a Belfast pub, run by young Polish immigrant Robert (Patrick O’Kane). Closed for business except for two people: Jimmy (Patrick O’Kane), an intense regular; and Ian (Declan Conlon), who has not been there for many years, way before Robert’s time. For those years ago Ian found himself, at the age of 16, conscripted into a Protestant rebel group that included his father. They went to that same pub—well, the previous pub in the same location—where Jimmy, also 16, was watching a football game with his da—and threw a bomb into it. Obviously the consequences were dire.

Jimmy and Ian are in their 40s now. They’ve not seen each other since. But they’ve chosen to meet. Unarmed. And talk. And find…something that isn’t war.

There’s no culture, especially in a turbulent world where terrorism strikes randomly—well, no culture’s subculture of people for whom art is essential to communication—that can’t identify with the need to encounter, confront, talk, vent, understand, heal if possible. And, under Jimmy Fay’s appropriately invisible direction, the trio of actors do a fine job of delivering that message in personal, humanist terms.

But in the line of storytelling, some cultures may need a bit more to make a play along these lines worthwhile. Real suspense. A plot. In Mr. McCafferty’s intermissionless 75 minute play, the encounter between these two men takes us, by which I mean U.S. us, nowhere we don’t expect it to. It has no revelations, no particular surprises. In a way it’s pub therapy. It starts out angry, it becomes tolerant, the tolerance leads to confessional, the confessions lead to thoughtfulness, a rough rapprochement is reached, and even including a postscript beat after they exit—the author’s mildly heavy-handed reminder that the work is never finished—we’re left with the sense of a case history ritual having been played out. Whose outcome you may well have predicted five or ten minutes into the encounter.

For a native Irish audience, the context of daily life makes Mr. McCafferty’s script much hotter, and the ritual, for many, likely even cathartic, because Jimmy and Ian speak for them, their families, the people they lost, the causes that no longer seem worth the loss. It’s not that one can’t draw parallels to divisiveness in American society—given this election cycle, who can deny its prevalence?—but there are instances in which clear parallels aren’t enough to provoke vicarious empathy. And I think this is one of them.



By contrast, Butler by Richard Strand, at 59E59, imported from the much closer shores of New Jersey (from the New Jersey Repertory Company, to be exact), is not only a confrontation play culturally much more relevant to American current events, but tells a much more interesting story.

I’m in a little bit of a quandary as to how much to describe to you; for while on the one hand, the play is based on well-documented historical events, its main character will be obscure to unknown to most people, even though, ironically, he played a major role in a major socio-political development. So even hinting at the history risks spoilers.

So I’ll tell you what. For any of you who prefer to just take my word and see for yourself, Butler is highly recommended. Well acted by the four-person cast, well-directed by Joseph Discher, well worth your time—albeit somewhat overwritten, which takes more of your time (Mr. Strand could trim 10 to 15 minutes of the script easily and lose absolutely nothing in the way of salient points or dramatic beats—we’re talking about O’Neilesque redundancy, not choosing which darling to kill), but if you can’t have it ideal, better it should be good enough to be worth the indulgence. And Butler truly is. Stop reading herwe, buy your tickets.

For those who want a little more enlightenment, read on:

Major General Benjamin Butler, the title character—played with a combination of extravagant bluster and sly savvy by Ames Adamson—was a controversial figure in American history, but the play concentrates on his most important contribution, made during the Civil War. He was, you see, a lawyer; he didn’t move up through the ranks as a seasoned military man, he was a white collar civilian given leadership commission. And it was using his lawyer’s wiles that he found the legal loophole allowing escaped slaves to stay in the North, despite a law mandating that slaves, so long as they were considered property (which would obtain until the war was over) must be returned.

Though Mr. Strand’s play might strike the viewer as one of those “speculative” dramatizations about how something might have come to pass, as it did me, a little post-attendance research indicates that, surprisingly, it’s terribly accurate. Certainly there are liberties taken with characterization and dialogue, and here and there with place (it wasn’t all confined to Butler’s office); but Mallory is as real a historical figure as Butler; as is the Southern Major John Baytop Cary (David Sitler), who arrives the next day to reclaim his property. Butler’s somewhat beleaguered Number Two, Lieutenant Kelly (Benjamin Sterling) may not be quite so historical, but he’s the character whose actions, questions and responses allow the exposition to seem organically dramatic, so it seems churlish to deny the license.

For all that its issues about history and co-existence are deadly serious, the play, like its main character, is slyly funny. Like the best plays about history, it resonates with contemporary life, and its personality is very, engagingly human.


Two quick looks:

A Class Act

A Class Act

A Class Act, at New World Stages, is a very decent legal drama about a backrooms head-to-head tussle between a pro bono firm representing a class action suit against a big pharmaceutical company, and the Big Drug honchos and their lawyers.

The production has the indicia of something originally self-produced by the author (it opened earlier this Spring at the Playhouse theatre and subsequently took on a commercial producer), what might less charitably be called a vanity project, but this is one of the very few of its type that earns its keep (and its return engagement) fairly honestly. The author, Norman Shabel, is a lawyer, and his dialogue bristles with legal authenticity, and enough wit and solid characterization to keep it from seeming transparently academic.

Caveats? A few. Director Christopher Scott does no harm, but he doesn’t especially enhance. Transitions from scene to scene are hampered by pace-stopping pauses in which visible stagehands move stuff around in semi-darkness to thumping pre-recorded music (why this is always a tell of the self-produced play I have no idea, but it always is, and it’s always clumsy), and he has directed his cast to operate at a pitch a few kliks higher than naturalism, which makes you more aware of watching a play than you’d care to be; but the style isn’t egregious, you make a pact with it after awhile, and the cast, while not exceptional, is plenty good enough to carry it and engage your interest.

Which not bad for a Summer sleeper.


 Privacy, Daniel Radcliffe


Finally, at the Public Theatre, there’s Privacy by James Graham (also an import of sorts; the same production, with a different cast, played at London’s Donmar Warehouse in 2014). It conflates exposé documentary, audience participation event and personal rumination to generally good effect, though for a script with precious little long game dramatic tension, it goes on way too long.

The main character, who is more of a cipher than a fleshed out figure, is the “author” himself (Daniel Radcliffe), heartbroken after a romantic breakup and now ready to use social media to find someone new. What he finds, in this most personal endeavor, is that nothing online is private, and this is demonstrated for him by the various experts he interviewed for the play, who show up as characters he meets along the way, whose dialog is drawn from interview transcripts. These people are played, variously, and with gender/ethnicity interchangeability, by Reg Rogers, Rachel Dratch, Michael Countryman and D’Adre Aziza. In order for them to prove their various points in real time, to the real audience, Privacy is unique in encouraging you to leave your mobile device on, albeit in silent mode, so you can be part of the conversation.

The high-tech aspects, staging and pacing are very well managed by director Josie Rourke, and it’s fun until it wears out its welcome. As to when that happens? It depends on how soon you start thinking, “Jeez, all right, I get the point.” Your mileage may vary.


To read more go here or here.


David Spencer is an award-winning composer-lyricist, lyricist-librettist, author and musical theatre teacher. He has written music and lyrics for the Richard Rodgers Development Award-winning musical The Fabulist, which also contributed to his winning a Kleban lyrics award and several Gilman & Gonzalez-Falla Theatre Foundation grants. He is also lyricist-librettist for two musicals with composer Alan Menken: Weird Romance (WPA 1992, York 2004) and The Apprenticeship of Duddy Kravitz, which had its sold out, extended world premiere in Montreal in Summer 2015; cast album release soon. He made his professional debut in 1984 with the English Adaptation of La Bohéme at the Public Theatre; and he has since written music and lyrics for Theatreworks/USA’s all-new, award-winning Young Audience versions of The Phantom of the Opera (1996) and Les Misérables (1999) (book and direction for both by Rob Barron). Currently he is writing book, music and lyrics for a musical based on the iconic Russian novel The Golden Calf. Spencer’s published books are the Alien Nation novel Passing Fancy (Pocket, 1994), The Musical Theatre Writer’s Survival Guide (Heinemann, 2005, a regularly reprinted industry standard) and the script of Weird Romance (Samuel French, 1993). He is on faculty and teaches at the BMI-Lehman Engel Musical Theatre Workshop and has taught at HB Studio, the Workshop Studio Theater and Goldsmith’s College in London. His primary professional affiliations are BMI, The Dramatists Guild and The International Association of Media Tie-in Writers.

Off Broadway

*Mark Returns To The Magis Theatre Company



Magis Theatre Company will present a revival of their critically acclaimed production of *mark, a solo performance of the Gospel of Mark. Originally produced at La MaMa ETC and directed by Luann Purcell Jennings in 2014, it features original music composed by internationally acclaimed, award-winning composer Elizabeth Swados. Actor George Drance will again perform the role of the storyteller. *mark will be performed at Theatre 315 located at  315 W. 47th St. New York, NY. The show dates are as follows: Wednesdays, April 12 and 19 at 7PM; Thursdays, April 6, 13 and 20 at 7pm; Friday April 7, 14 and 21 at 8PM; Saturday April 8, 15 and 22 at 2PM. Tickets are available at Eventbrite: The production is directed by Jackie Lucid.

The Gospel of Mark, the oldest of the four gospels, had an early tradition of being performed aloud from start to finish. It was finally written down during Nero’s brutal persecution of the followers of “the Way.” Recited in its entirety to give courage to this community of quiet rebels, their radical compassion put them in danger because their inclusivity threatened the Empire’s status quo. Today it is rare for an audience to hear this gospel performed in its totality, or to experience it with the immediacy of that dangerous period of oppression. In his contemporary solo performance, Drance, reclaims the urgency of the words as when they were first spoken.  He examines the message of commitment and love through the eyes of a street artist, using drawings to illustrate and illuminate the text.

Magis Theatre Company, founded in 2003, is an ensemble of actors and teaching artists who came together out of desire: desire to teach, desire to train, and desire to act. The company has produced a variety of actor driven, physically based theatre productions that explore the human condition. Recent productions include: Thornton Wilder’s The Alcestiad performed at FDR Four Freedoms Park; Calderon’s Two Dreams, presenting both the 1636 comedia and the 1677 auto sacramental of Life is a Dream;  Leslie Lewis’ Miracle in Rwanda, testifying to the transformative power of prayer and forgiveness. Their adaptation of  C.S. Lewis’s fantastical spiritual tale The Great Divorce was hailed by the New York Times as “thought provoking… long on theatrical skill and remarkably short on preachiness.”

Actor George Drance, Artist-in-residence at Fordham University, has performed and directed in over twenty countries on five continents. He has served as artistic director of Theatre YETU in Kenya and artistic associate for Teatro la Fragua in Honduras. Drance has been a guest artist and lecturer at Columbia University, Cornell University, Marquette University, Marymount Manhattan College, Hebrew Union College, and Boston College. In March, Drance, who is Ukrainian, will appear at LA Mama in Radio 477!, a new show created by Yara Arts Group and Ukrainian artists about the city of Kharkiv, its jazz history, and how it stood up to Putin today. With texts and lyrics by award-winning Ukrainian poet Serhiy Zhadan, music by Anthony Coleman, it is directed by Virlana Tkacz.

Perhaps best known for her Broadway and international smash hit Runaways, the late Elizabeth Swados (1951-2016) composed, wrote and directed issue-oriented theatre for over 30 years. Some of her works include the Obie Award winning Trilogy at La Mama, and Alice at the Palace with Meryl Streep at the New York Shakespeare Festival. Her awards include: Five Tony® nominations, three Obie® Awards, a Guggenheim Fellowship, a Ford Grant, the Helen Hayes Award, a Lila Acheson Wallace Grant, PEN, and others.

Visit the Magis Theatre Company online at:

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Broadway’s A Doll’s House Meticulously Stunning Revival Soars Like a Birdie Above That Clumsy Cat on a Hot Tin Roof




For a revival to find its footing, it has to have a point of view or a sense of purpose far beyond an actor’s desire to perform a part, whether it suits them or not. It needs to radiate an idea that will make us want to sit up and pay attention. To feel its need to exist. And on one particular day in March, I was blessed with the opportunity to see not just one grande revival, but two. One was a detailed pulled-apart revolutionary revival of Henrik Ibsen’s A Doll’s House that astounded. The other, unfortunately, was a clumsy revival of Tennessee Williams’ Cat on a Hot Tin Roof that fell lazily from that high-wired peak – not for a lack of trying, but from a formulation that never found its purpose.

Jessica Chastain in A Doll’s House. Courtesy of A Doll’s House.

But over at Broadway’s Hudson Theatre, a reformulation chirps most wisely and wonderfully, bringing depth and focus to a classic Henrik Ibsen (Hedda Gabler) play that I didn’t realize was in such need of an adaptation. With no extravagance at its core, Amy Herzog (Mary Jane) dynamically takes the detailed structure and beautifully adapted it with due purpose. It hypnotizes, dragging in a number of light wooden chairs, Scandinavian in style, I believe, onto the stage, one by one, by their black-clad counterparts in a determined effort to unpack what will unfold. There is no artifice to hide behind in this rendering, as designed most impeccably by scenic and co-costume designer Soutra Gilmour (NT’s My Brilliant Friend; Broadway’s & Juliet) and co-costume designer Enver Chakartash (Broadway’s Is This A Room), only A Doll’s House’s celebrated star, Jessica Chastain (Broadway’s The Heiress; “The Eyes of Tammy Faye“) rotating the expanse of the bare stage before the others join her slowly and deliberately. She sits, arms crossed, staring, daring us to look away, while knowing full well we won’t. Or can’t. And without a word, it feels like she has us exactly where she wants us. Needs us to be. And all that transpires before the play even begins.

They sit on that bare and stark stage, waiting, in a way, to be played with, like dolls patiently wanting some children to come and give them a voice through their imagination. As Nora, Chastain delivers forward a performance that is unparalleled. To witness what transpires across her face during the course of this extra fine adaptation is to engage in a dance so delicately embroidered that we can’t help but be moved and transported. She barely moves from her chair, as others, like the equally wonderful Arian Moayed (Broadway’s The Humans) as Torvald, are rotated in to sit beside her, conversing and delivering magnified lines, thanks to the brilliant work of sound designers Ben & Max Ringham (West End’s Prima Facie), that dig deep into the underbelly of the complicated interactions. This pair of actors find a pathway through the darkness, never letting us come to any conclusions until they are ready to unleash a moment that will leave you breathless. This is particularly true for Moayed’s Torvald, who seems decent enough at the beginning, but once the shift occurs, when the beautiful thing doesn’t happen as it should, his unveiling is as gut-wrenching to us as it is to Nora. Even though we knew it was coming long before the play even began to spin forward.

Arian Moayed, Jesmille Darbouze, Okieriete Onaodowan, Tasha Lawrence, Jessica Chastain, and Michael Patrick Thornton in A Doll’s House. Courtesy of A Doll’s House.

The art of the unfolding is steeped within the whole, refocused inside the brilliant shading, shadowing, and starkness of the cast. As Krogstad, the powerful Okieriete Onaodowan (Broadway’s Hamilton), alongside the deliciously tight Jesmille Darbouze (Broadway’s Kiss Me, Kate) as Kristine, find an engagement that sits perfectly in the structuring. They push the reforming to the edge, approaching and receding away from Chastain’s brilliant centering helping move the piece towards the required conclusion.

The same can be said of the wonderful Tasha Lawrence (LCT’s Pipeline) as Anne-Marie, and the exquisitely emotional turning of Michael Patrick Thornton (Broadway’s Macbeth) as Dr. Rank. Thornton, in particular, finds a telling and emotional space to connect, unearthing an engagement that breaks the circle apart, leaving Chastain’s Nora and all of us observers shattered and broken in its black X’d finality.

As directed with the same magnificently detailed energy and flat-walled framework as the previously seen Betrayal on Broadway and the West End, Jamie Lloyd gives us A Doll’s House that will never be forgotten. The focus is so deliberate, and the formulations are just so strong, pushed forward in black and white by the exacting lighting design of Jon Clark (West End/Broadway’s The Lehman Trilogy). Forced while remaining ever so intimate, the cascading of the statement delivered registers in a precise way, more exacting than I ever remembered, and I’ve seen numerous renditions of this epic play. And even though, from what I hear, many on the left couldn’t see the epic exit of Nora, a moment that typically registers throughout theatre history, the symbol of a woman, steadfast and true, leaving the safe and simple artifice of A Doll’s House for engagement in the hard cruel reality of the world outside is as clear as can be. The delicacies of this birdie trapped inside a cage, poisoned with lies and excuses, and beautifully brought forth by Chastain, registers the reasonings for this revival to exist. It has found a new and deliberate place to sing, and for that, I am truly grateful.

Arian Moayed and Jessica Chastain in A Doll’s House. Courtesy of A Doll’s House
Matt de Rogatis in Ruth Stage’s CAT ON A HOT TIN ROOF. Photo by Max Bieber.

I wish I could say the same about Ruth Stage‘s modern take on the Tennessee Williams (A Streetcar Named Desire) classic, Cat on a Hot Tin Roof, currently being re-delivered at the Theatre at St. Clements. As directed by Joe Rosario (Hemingway and Me; Ruth Stages’ The Exhibition), the play doesn’t find its rationale for existing in the modern day beyond the simplistic sexualization of its boxing-ring corners. Matt de Rogatis (Austin Pendleton’s Wars of the Roses) as the tense athletic Brick stays broken and damaged in his corner, riding out the moment, waiting for the click, while in the other corner is the tense Maggie, played without hesitation by Courtney Henggeler (Netflix’s “Cobra Kai“) poised and ready for the bell to ring.

The battle is only heightened by the presence of two other fighters in the opposing corners, Big Daddy, played with determination by Frederick Weller (Broadway’s To Kill a Mockingbird) in the third, and Big Mama, played with a strong intent by Alison Fraser (Gingold Theatrical’s Heartbreak House), in the fourth. And watching and cheering for their own personal perspective wins are the obnoxious Mae, typically portrayed by Christine Copley (although I believe I saw an understudy), the weasely Gooper, played by Adam Dodway (Theatre Row’s Small Craft Warnings), Rev. Tooker portrayed by Milton Elliott (Ruth Stage’s Hamlet), and Doc Baugh, typically played by Jim Kempner (“The Girlfriend Experience“) (although, once again, I believe I saw an understudy).

Frederick Weller and Alison Fraser in Ruth Stage’s CAT ON A HOT TIN ROOF. Photo by Max Bieber.

Generally, this is a battle that rages deceptively strong and subtle for the length of the play, swimming cruelly in the hazy heat of its Southern charm. But somewhere in this modernization, the reasonings never get fully realized, leaving the cast to wander in their stereotypical delivery without a sharp focal point in the horizon to zero in on. Hidden behind the bar and the drink, de Rogatis finds a Brick to be engaged with. He’s definitely handsome and desirable, especially in the eyes of the far-too-straightforward Henggeler’s Maggie the Cat, and his occupation of drinking rings more true than most. I’m not sure if the modernization has been created to fit his chest-baring delivery of a broken Brick, but I will say that his artful approach to the part is one of the stronger components of this otherwise clunky reimagining.

Given so much to unpack, Henggeler runs a little too fast and furious, not weaving a pause into her thoughts and actions. It’s all forward flowing, ignoring the laws of silence and deliberation. Big Mama and Big Daddy, ignoring the fact that they don’t seem to fit in with their surroundings or the set-up, find their way into the same cage as the two central figure fighters, giving us something else to contemplate in their constructs, beyond their tight fitting jeans and dress. There’s not much of a father/son connection, nor does their familial energy register, even as it moves and twitches within the pauses well. The details of attachment are lost, as they talk around things, with everyone else playing at high volume, courtesy of a sound design by Tomás Correa (Hudson Street’s Adam & Eve), delivering the Southern drawl with the intensity of an SNL skit. That’s a problem to the whole and one that doesn’t work for this rendering.

Courtney Henggeler in Ruth Stage’s CAT ON A HOT TIN ROOF. Photo by Max Bieber.

Most of the cast is all hock and no spit, moving around the room with a strange case of physicalized mendacity while never really finding a reason for their existence. The artifice gets in the way of the movement, especially in Matthew Imhoff’s (off-Broadway’s soot and spit) busy and overly clumsy set, with some distracting fading in and out by lighting designer Christian Specht’s (SSTI’s Cabaret). The storm approaching is as false as the formula and the reasoning for this retelling. It showcases some basically good actors embracing the chance to play iconic Big roles that I’m sure they have always wanted to dig their Southern-accented chomps into, possibly because one or two of them might never otherwise get the chance as they don’t exactly fit the literal sashaying of the “fat old” bodies out and around the staging of this play. The idea breeds curiosity, but one that doesn’t save this Cat on a Hot Tin Roof from falling quick and hard from its perch, I’m sad to say. While the birdie in A Doll’s House flies strong out into the cool Broadway air, with solid reasoning on its stark wings, reminding us all what makes for a worthy reimagining of a classic.

Frederick Weller in Ruth Stage’s CAT ON A HOT TIN ROOF. Photo by Max Bieber.
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Theatre News: Smash, I Need That, Good Night, Oscar, Funny Girl, This Beautiful Lady and In The Trenches: A Parenting Musical



The NBC television series Smash is coming to Broadway for the 2024-2025 season. Robert Greenblatt, Neil Meron and Steven Spielberg will produce. The musical will feature a book co-written by three-time Tony Award nominee Rick Elice and Tony winner Bob Martin. Tony and Grammy winners Marc Shaiman and Scott Wittman (Some Like It Hot). The team earned three Emmy nominations for their songs from the “Smash” series will pen the score, which will feature numbers from the TV show.

Five-time Tony winner Susan Stroman (New York, New York) will direct and Tony nominee and Emmy Award winner Joshua Bergasse will choreograph.

The series was created by Theresa Rebeck and Spielberg, launch the series. Spielberg is also one of the co-producers of Good Night, Oscar, which begins performances at the Belasco Theatre on April 7.

Official dates, theater, creative team and casting for the “Smash” stage musical will be announced at a later date.

Speaking of the Pulitzer Prize finalist playwright Theresa Rebeck, Danny DeVito and Lucy DeVito are set to star in her new play I Need That at the Roundabout. The new comedy will be directed by Tony nominee Moritz von Stuelpnagel which will open at the American Airlines Theatre in October. The cast will also include Ray Anthony Thomas. … Also newly announced for Roundabout’s new Broadway season is a spring 2024 revival of Samm-Art Williams’ 1980 Tony-nominated play “Home.” Tony winner Kenny Leon will direct

Speaking of Good Night, Oscar, Doug Wright’s play was named finalist for 2023 new play award by The American Theatre Critics Association. The other six finalists for the 2023 Harold and Mimi Steinberg/ATCA New Play Award include: Born With Teeth by Liz Duffy Adams, the ripple, the wave that carried me home by Christina Anderson, Sally & Tom by Suzan-Lori Parks, Spay by Madison Fiedler and
Swing State by Rebecca Gilman.

Paolo Montalban and Anne L. Nathan are joining Lea Michele in  Funny Girl as Florenz Ziegfield and Mrs. Strakosh. Montalban and Nathan will replace original cast members Peter Francis James and Toni DiBuono, who take their final bows on March 26th.

Elizabeth Swados’ This Beautiful Lady will play at La MaMa this May. Previews will begin May 5 for the Off-Broadway run ahead of the May 8 press opening, with performances set through May 28 in the Ellen Stewart Theatre.

In The Trenches: A Parenting Musical, with book, music, and lyrics by Graham & Kristina Fuller, will receive industry readings on Friday, March 24th at 11am & 3pm at Ripley Grier Studios. The readings will be directed by Jen Wineman (Dog Man: The Musical) and will feature music direction by Rebekah Bruce (Mean Girls) and arrangements by Dan Graeber, Graham & Kristina Fuller.

The cast of In The Trenches features Amanda Jane Cooper (Wicked), Jelani Remy (The Lion King, Ain’t Too Proud), Christine Dwyer (Wicked), Caesar Samayoa (Come From Away), Max Crumm (Grease, Disaster!), and Vidushi Goyal.Join two bleary-eyed young parents as they trudge through the trenches and discover their new post-baby identities. In an evening of new-parent greatest hits, a foul-mouthed toddler zeroes in on “the most dangerous thing in the room”, tap dancing towards bleach, knives, and tide pods; a chronically-overlooked younger sibling sings the “second child blues”; a mom trio celebrates yoga pants in an R&B love song to the “official mom uniform”; dad discovers he’s not the “ice-cream and movie-night cool parent” but rather the “do your homework real parent” amid a kiddo sugar-crash; and mom retrieves a sticky, hair-covered pacifier from the floor of a LaGuardia bathroom while her baby screams bloody murder and her flight boards without her. 

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