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ATC’s “The Welkin” – Filled with Metaphoric Wonderment in its Compelling Wildness



(front row l-r) Haley Wong (Sally Poppy), Paige Gilbert (Hannah Rusted), Susannah Perkins (Mary Middleton); (2nd row) Simone Recasner (Peg Carter), Ann Harada (Judith Brewer), (3rd row) Jennifer Nikki Kidwell (Ann Lavender), Tilly Botsford (Kitty Givens); (standing) Hannah Cabell (Sarah Hollis), Mary McCann (Charlotte Cary) in ATC’s The Welkin. Photo by Ahron R. Foster.

The sound of giggling children excitedly lead us into The Welkin at the Atlantic Theater Company, but I’m still not exactly sure of the connection. It’s thrilling though, sitting inside the darkness, waiting in anticipation for what will come, instilled with a sense of ever-heightening discomfort and anxiety. Something terrible has happened. That is clear, and we can’t help but feel the tension in that dark interaction brought forth by candlelight. We hear it somewhere in the voice of the unseen woman who has returned home to her perplexed and angry husband, played compellingly by Danny Wolohan (Broadway’s Camelot). He wants to know where his wife has been, but she, Sally Poppy, the cornerstone of this play, played meticulously wild and magnificent by Haley Wong (Playwrights Realm’s Mary Gets Hers), seems to have something else on her mind, and on her body. And in that blood-soaked personage, we realize, for her, that everything has changed, but also, all has stayed the same, just dirtier. It’s a wildly appropriate metaphor of all things female, then and now, and we can’t help but lean forward wanting to know where this play, written with captivating precision by Lucy Kirkwood (The Children), is heading, overpowered by crows’ squawks and devilishly sharp pounds.

As directed with exciting thumping energy by Sarah Benson (PH’s Teeth), the play has us hooked in; curious and enticed within seconds, or maybe minutes. With the next framework being a churning plunge pleasure, headed by a fantastically engaging Sandra Oh (“Killing Eve“) as a mother and midwife named Elizabeth Luke. Her well-regarded commodity is being summoned by Mr. Coombes, played captivatingly well by Glenn Fitzgerald (ATC’s I’m Revolting), to fill out a forum of women, a Welkin, to determine if the previously seen Sally, who has been charged with a murderously horrible crime, can or should be hung for her quickly charged crime of murdering and dismembering Ann Wax, the young daughter of a well-to-do family. She has been found guilty already, after being apprehended as an accomplice to a Scottish vagabond named Thomas McKay, who has already been hanged for the crime. Sally would have also been hung, if it wasn’t for the claim she made in the courtroom that she is pregnant. “She claims the belly,” Elizabeth is told, and if it is indeed true, her neck will be saved, and she will be transported to America, rather than getting the same punishment as her so-called accomplice.

Haley Wong (Sally Poppy), Sandra Oh (Lizzy Luke), Dale Soules (Sarah Smith), and Ann Harada (Judith Brewer) in ATC’s The Welkin. Photo by Ahron R. Foster.

It’s a fascinating exchange that takes place in that second scene, between the married Mr. sent to fetch Elizabeth Luke, who, like the somewhat deranged Sally and many of the other women in The Welkin, speaks about the annoying interruption of her tedious housework as cruel, even though it is also described as boring and difficult, yet required. But Elizabeth allows herself to be swung into service, joining a powerful parade of women, played with majestic purpose by a crew of fantastically detailed actors, engaged in playing their part in the same quorum, even though they weren’t, as pointed out by Elizabeth, brought forth to help the woman during her speedy trial. “I know she has been tried in a cold room by cold men on the word of a cold husband, with no one to speak for her and a mob outside the window.” And it’s clear this play and this woman will have much to say about this unjust framework.

The courageous and complex text, filled to overflowing with metaphors and symbols, dives into the complexities with a fantastic sense of purpose, fueled by exacting portrayals, delivered by a most talented cast, somewhat led by a ferociously good Oh. Set in 18th-century England, but given a modern energy of engagement and actualization, this mix of mystery and misogyny finds its forum closed off in the room with a silenced man to watch over them. The setting, designed strongly by dots (2ST/Broadway’s Appropriate) with sharply defined costuming by Kaye Voyce (LCT’s Uncle Vanya), lighting by Stacey Derosier (RTC’s The Refuge Plays), sound by Palmer Hefferan (LCT’s The Skin of Our Teeth), and special effects by Jeremy Chernick (Broadway’s The Outsiders), has its way with us, digging us in and encapsulating all.

Dale Soules (Sarah Smith), Mary McCann (Charlotte Cary), Ann Harada (Judith Brewer), Sandra Oh (Lizzy Luke), Tilly Botsford (Kitty Givens), Nadine Malouf (Emma Jenkins), Hannah Cabell (Sarah Hollis), and Emily Cass McDonnell (Helen Ludlow) in ATC’s The Welkin. Photo by Ahron R. Foster.

Oh is astonishingly good at staying strongly structured as well as just one of a pack, delivering forth dialogue that floats about in pre-modern feminist language against the rot of misogyny. There’s no attempt to establish this in an authentic period, both vocally and attitudinally, finding a landscape that bridges the gaps between the very specific time-framed setting and the modernist soapbox stumping that our hero, Oh, takes on. And once the dozen women find themselves locked in with the aggressively caged Sally, with a silent male observer inside and an angry mob outside, the jury of women must find their way to a unanimous vote. Is she with child, or not, and only saying this to avoid a hanging? “Even if she is lying I do not blame her,” states Oh’s Elizabeth, “I would lie too. When a woman is being buried alive, she will reach for even the grubbiest tool to dig herself out again.”

It’s a compelling act of investigation, with the midwife Elizabeth, seemingly the expert in the crowd, not being persuasive enough against the suspicious others who believe she should be hanged so they can get back to their chores. They search for signs to speed things up, palpating Sally’s breasts for milk in hopes this would sway the group, but the dirt of the room is stronger than the result. Personas are unwound and unpacked, as alliances shift and reform for differing reasons. But it’s in the interwoven dialogue of women, bantering about their own pregnancies and bodily functions that truly brings this formula to fruition. It’s all thanks to the compelling work of the cast of women (and a few men, who are not so good), namely: Mary McCann (ATC’s On the Shore…) as Charlotte Cary; Nadine Malouf (Public Theater’s A Bright Room Called Day) as Emma Jenkins; Paige Gilbert (Public Theater’s A Raisin in the Sun) as Hannah Rusted; Emily Cass McDonnell (Playwrights Horizons’ The Thin Place) as Helen Ludlow; Jennifer Nikki Kidwell (Woolly Mammoth’s we come to collect) as Ann Lavender; Tilly Botsford (ATC debut) as Kitty Givens; Simone Recasner (Public Theater’s Ain’t No Mo’) as Peg Carter; Ann Harada (NYCC Encores’ Into The Woods) as Judith Brewer; Hannah Cabell (TFANA/Soho Rep’s Fairview) as Mary Middleton; and Dale Soules (59E59’s The Lucky Star) as Sarah Smith; giving such detailed performances that we can’t look away for a second. They pull us into their lives and flip us around their solidly formulated vantage points with focused ease. Their combined individualized performances elevate the whole, unleashing numerous narratives that sometimes overwhelm, but mostly embellish the thesis put forth by Kirkwood.

Dale Soules (Sarah Smith), Emily Cass McDonnell (Helen Ludlow), Sandra Oh (Lizzy Luke), Jennifer Nikki Kidwell (Ann Lavender), Tilly Botsford (Kitty Givens), (kneeling) Susannah Perkins (Mary Middleton), Haley Wong (Sally Poppy), Paige Gilbert (Hannah Rusted), Simone Recasner (Peg Carter), and Nadine Malouf (Emma Jenkins) in ATC’s The Welkin. Photo by Ahron R. Foster.

The piece is not exactly a murder mystery, even though the act remains mysterious and unexplained, generally speaking. It really becomes something more akin to the idea that a gaggle of women will ultimately believe and side with a man, giving a shocking and disturbing power to a doctor, also portrayed by Wolohan, who arrives at the door. Kirkwood finds compelling arguments and narratives within the women, floating in their own attitudes towards themselves and life as a female in the 18th century. Unpacking gender inequality and laws that still require debate to this very day, thanks to a corrupted court, both then and now.

The title, The Welkin, is in reference to the sky, ancient and invigorating in its formulation, shooting forth discussion of Halley’s Comet passing by. The subtlety of that metaphor is fascinating, but not as clear and defined as the purposefulness of the many reveals that address hierarchy, social status, and powerful maternal allegiances that live within, not to mention the Devilishly compelling story of childbirth that emulates through the folk horror of a mute Cabell’s Mary. All are metaphorically compelling if not fully fleshed out for consumption. A framing which is not exactly a bad thing, but it does leave us wanting more from these gifted performers and their captivatingly detailed creations. Each could be singled out for a heartbreaking or invigorating moment of praise, but it’s in their unity and complexity, as well as their direction, that gives The Welkin its completely wild bit of wonderment and engagement.

(back row) Mary McCann (Charlotte Cary), Jennifer Nikki Kidwell (Ann Lavender), Ann Harada (Judith Brewer), Nadine Malouf (Emma Jenkins), Emily Cass McDonnell (Helen Ludlow), MacKenzie Mercer (Katy Luke), Hannah Cabell (Sarah Hollis), Susannah Perkins (Mary Middleton), Dale Soules (Sarah Smith), Simone Recasner (Peg Carter); (kneeling) Paige Gilbert (Hannah Rusted), and Tilly Botsford (Kitty Givens) in ATC’s The Welkin. Photo by Ahron R. Foster.

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My love for theater started when I first got involved in high school plays and children's theatre in London, Ontario, which led me—much to my mother’s chagrin—to study set design, directing, and arts administration at York University in Toronto. But rather than pursuing theater as a career (I did produce and design a wee bit), I became a self-proclaimed theater junkie and life-long supporter. I am not a writer by trade, but I hope to share my views and feelings about this amazing experience we are so lucky to be able to see here in NYC, and in my many trips to London, Enlgand, Chicago, Toronto, Washington, and beyond. Living in London, England from 1985 to 1986, NYC since 1994, and on my numerous theatrical obsessive trips to England, I've seen as much theater as I can possibly afford. I love seeing plays. I love seeing musicals. If I had to choose between a song or a dance, I'd always pick the song. Dance—especially ballet—is pretty and all, but it doesn’t excite me as, say, Sondheim lyrics. But that being said, the dancing in West Side Story is incredible! As it seems you all love a good list, here's two. FAVORITE MUSICALS (in no particular order): Sweeney Todd with Patti Lupone and Michael Cerveris in 2005. By far, my most favorite theatrical experience to date. Sunday in the Park with George with Jenna Russell (who made me sob hysterically each and every one of the three times I saw that production in England and here in NYC) in 2008 Spring Awakening with Jonathan Groff and Lea Michele in 2007 Hedwig and the Angry Inch (both off-Boadway in 1998 and on Broadway in 2014, with Neal Patrick Harris, but also with Michael C. Hall and John Cameron Mitchell, my first Hedwig and my far), Next To Normal with Alice Ripley (who I wish I had seen in Side Show) in 2009 FAVORITE PLAYS (that’s more difficult—there have been so many and they are all so different): Angels in American, both on Broadway and off Lettice and Lovage with Dame Maggie Smith and Margaret Tyzack in 1987 Who's Afraid of Virginai Woolf with Tracy Letts and Amy Morton in 2012 Almost everything by Alan Ayckbourn, but especially Woman in Mind with Julia McKenzie in 1986 And to round out the five, maybe Proof with Mary Louise Parker in 2000. But ask me on a different day, and I might give you a different list. These are only ten theatre moments that I will remember for years to come, until I don’t have a memory anymore. There are many more that I didn't or couldn't remember, and I hope a tremendous number more to come. Thanks for reading. And remember: read, like, share, retweet, enjoy. For more go to


Live From The Hotel Edison Times Square Chronicles Presents Kelley Curran and Frank Wood



We are so pleased to announce our guest this week are Kelley Curran and Frank Wood

Kelley Curran

Kelley can be seen, as Turner, in Julian Fellowes The Gilded Age for HBO. Prior to the intricate characters she will now tackle in The Meeting: The Interpreter, she appeared off-Broadway in Half-God of Rainfall at NYTW; at The Public Theater opposite Glenn Close in Mother of the Maid, and as Clytemnestra in Ellen McLaughlin’s world premiere of The Oresteia at The Shakespeare Theatre Company. Kelley has also appeared on Broadway in Present Laughter with Kevin Kline, and at The Signature Theatre, Classic Stage Company, Theatre For a New Audience, and LAByrinth Theatre Company, among others. She made her network television debut on NBC’s The Blacklist, and recently appeared on the CBS drama God Friended Me. In 2019 she made her feature film debut in The Man Who Killed Hitler and Then The Bigfoot.  Kelley was nominated for a SAG Award, won The Callaway Award, Emery Battis Award, NTC Emerging Professional Award, and in 2016 was nominated for a Drama League Award alongside Lupita Nyong’o, Michelle Williams and Lin Manuel-Miranda. She has also been nominated for both a Princess Grace and Helen Hayes Award.

Frank Wood

Frank Wood was first celebrated for his work on the Broadway production of Side Man, a performance that earned him both a Tony Award and a Drama League Award. His portrayal of Gene, a jazz musician grappling with personal and professional turmoil, highlighted his profound emotional depth and versatility. It’s a role that parallels the soul searching experience of The Interpreter in many profound ways. Wood has an impressive array of Broadway credits, including notable performances in The Great Society, Network, The Iceman Cometh, Clybourne Park, August: Osage County, Born Yesterday, and Hollywood Arms. Off-Broadway, he earned a Lucille Lortel nomination for Toros at Second Stage and has graced stages at Signature Theatre, Vineyard Theatre, Lincoln Center, Atlantic Theater Company, Manhattan Theatre Club, and Playwrights Horizons. His filmography includes roles in acclaimed films such as She Said, Joker, St. Vincent, Changeling, Dan in Real Life, Thirteen Days, In America, Down to You, and The Royal Tenenbaums. On TV, he appeared in series like Billions, The Blacklist, The Night Of, Mozart in the Jungle, The Newsroom, Girls, Flight of the Conchords, The Sopranos, and had a recurring role on

Law & Order: SVU.
These Two brilliant actors are starring in The Meeting: The Interpreter, a new play written by Catherine Gropper and directed by Brian Mertes, Previews begin Monday, July 29 with an opening night set for Sunday, August 4 at the Theatre at St. Clements 423 W 46th Street .

Set against the backdrop of the infamous Trump Tower Meeting of 2016, the play tells the story of an international interpreter thrown up against government systems of congressional and senate interrogations, catapulting him into circumstances beyond his control. “This man could be everyman … one of us,” says playwright Catherine Gropper.

This play is about the loss of individuality and privacy is based on actual events (a chance meeting between the playwright and an actual government interpreter). This two-person play supports a cast of thousands thanks to Mertes’ production scheme including puppetry, film sequences, projections, and intricate lighting and sound.

We are so proud and thrilled that Variety Entertainment News named us one of Summer’s Best Picks in the category of Best Television, Radio, Podcasts.

Host Suzanna Bowling was also just named Most Engaging Hosts on TV, Radio and Podcasts on “The Daily Geek Report.” We are so grateful.

“Live From The Hotel Edison Times Square Chronicles Presents ”, is a show filmed at the iconic Hotel Edison, before a live audience. To see our past episodes; First episode click here second episode click here,  third episode click here, fourth episode click here, fifth episode click here, sixth episode here, seventh episode here, eighth episode here, ninth episode here, tenth episode here, eleventh episode here, our twelfth episode here, thirteenth episode here, fourteenth here, fifteenth here , 16th here, 17th here, 18th here, 19th here, 20th here, 21st here and 22nd here.

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Off Broadway

Oscar, Tony, And Pulitzer Prize WinnercJohn Patrick Shanley New York Debut Of Banshee At The Chain Summer One-Act Festival



Chain Theatre, Kirk Gostkowski, Artistic Director, Rick Hamilton, Managing Director, Christina Elise Perry, Director of Development, is pleased to announce the 2024 edition of the Chain Summer One-Act Festival, featuring the New York premiere of Banshee by award-winning writer John Patrick Shanley,  the world debut of the Jesse Eisenberg-produced Catch by Jeryl Brunner, and two new plays by 2024 ScreenCraft Stage Play Competition grand prize winner Matthew McLachlan. The festival will feature over 50 new plays at the Chain Theatre (312 W 36th St, 3rd Floor, New York, NY, 10018). The festival begins Thursday, August 8 and continues through Sunday, September 1.  Tickets will be $23 in advance and $26 at the door. More information available at

Now one of the largest theatre festivals in New York City, The Chain Summer One-Act Festival will celebrate over 50 plays this summer. The festival is a hub for new work by established and emerging artists. Chain Theatre is once again opening its doors to New York City’s playwrights, actors, and directors for a festival of original works. All productions are carefully curated and designed to create a ‘mix-tape’ of Live Theatre. Past festivals have included original works by Broadway’s Lyle Kessler (Orphans) and award-winning actor, and writer Eric Bogosian (AMC’s Interview With The Vampire).  Show your support for the arts and join us for an exciting festival of live performances created by the best artists at one of the top independent theatre venues in New York City.

Three highlights of the festival include:

  1. The New York premiere of Banshee by John Patrick Shanley. Starring Elizabeth Bays (Off-Broadway Simpatico) and Erik Betancourt (Broadway’s Cost Of Living, Between Riverside And Crazy) directed by Chain Summer One-Act Festival. (Off-Broadway Simpatico), Banshee is a mystical comedy about a banshee, a fantastical Irish spirit, who pays an ailing teacher a visit and makes him an otherworldly proposal.
  2. Academy Award-nominee Jesse Eisenberg returns to the Chain as the co-producer of Catch by Jeryl Brunner. Eisenberg and Brunner originally collaborated on the critically acclaimed Dill during the Chain Winter One-Act Festival, which marked Eisenberg’s stage directorial debut. Eisenberg co-produces Catch with Anna Strout and Barbara Toy.
  3. Lastly, Matthew McLachlan returns to the Chain with two new plays: Online Dates Are Hard To Handle, directed by David Zayas Jr., and Who You Are To Me, directed by Lee Zayas. McLachlan is the 2024 ScreenCraft Stage Play Competition Grand Prize Winner for This G*D Damn House, which was a world premiere at the Chain Theatre in 2023.

Chain Summer One-Act Festival boasts a production team featuring Spencer Giles (Hofstra University Graduate), Uma Rao-Labrecque  (Simpatico), Evie Brandford, Stewart Harrison, and Megan Sophie Gore. Publicity by Katie Rosin, Kampfire PR.

Running Time: 60-90 minutes depending on the program block


IG: @chaintheatrenyc FB: ChainTheatre

Chain Theatre always seeks to reflect and react to the world around us. Culturally. Politically. Socially. Audiences can find investment in the work at the Chain, because the work is about them, no matter what it might be. It’s a place where artists and audiences can expand their perspectives.

The critically-acclaimed Chain Theatre (NYT Critic’s pick macbitches) is a premiere Off-Broadway producing organization in midtown Manhattan. Chain Theatre produced the World Premiere of ​Garbageman​ by Emmy-nominated Keith Huff (A Steady Rain, Mad Men, House of Cards) and has also collaborated with Tony Award winner David Rabe (Streamers) Past award-winning productions include ​Hurlyburly​ by David Rabe, ​One Flew Over the Cuckoo’s Nest​ by Dale Wasserman, and ​Talk Radio​ by Eric Bogosian. Most recent hit productions include A Will to Live, This G*d Damn House, and What Passes for Comedy. Chain Theatre is located at 312 W. 36th Street, 3rd and 4th Floor, New York, NY 10018 For more about the Chain Theatre visit ​ @chaintheatrenyc

Chain Theatre is a 501c3 not-for-profit organization. All donations are tax-deductible.

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Theatre News: Teeth, Soft Power, Redwood, BOOP! The Betty Boop Musical and Pre-Existing Condition



Jenna Rose Husli, Wren Rivera, Alyse Alan Louis, Phoenix Best and Helen J Shen in Teeth (Photo: Chelcie Parry)

Teeth is coming back to New World Stages in the fall for an open-ended run. The transfer begins on October 31, Halloween night, as its official opening. While casting for the commercial remount is yet to be announced, the Playwrights Horizons cast featured Alyse Alan Louis, Steven Pasquale, Will Connolly, Jason Gotay, Jared Loftin, Courtney Bassett, Phoenix Best, Jenna Rose Husli, Lexi Rhoades, Wren Riveras and Helen J. Shen.

The off-Broadway cast album for Teeth, written by written by Pop! creator Anna K. Jacobs (book and music) and Pulitzer Prize-winning A Strange Loop creator Michael R. Jackson (book and lyrics), is now available to stream on all major music platforms. The physical CD will be released August 30. Teeth opened its off-Broadway world premiere at Playwrights Horizons in March with direction by Sarah Benson and choreography by Raja Feather Kelly.

Based on Mitchell Lichtenstein’s screenplay for the cult-classic 2007 horror comedy, Teeth is a tale of revenge and transformation that tears through a culture of shame and repressed desire one delightfully unhinged song at a time. The musical follows Dawn O’Keefe, an evangelical Christian teen struggling to be an exemplar of purity amongst her community of fellow Promise Keeper Girls. As Dawn’s desires become tested and twisted by the men in her life, she discovers a deadly secret not even she understands: when men violate her, her body bites back—literally.

I loved Jeanine Tesori and David Henry Hwang’s SoftPower when it appeared at The Public, now it’s coming to the Signature Theatre in Washington  D.C., newly revised production and directed by Signature Associate Artistic Director Ethan Heard. The show opens August 6 and runs until September 15. Could NYC be next? The cast will feature Steven Eng as DHH, Daniel May (Flower Drum Song) as Xue Xing, and Grace Yoo (Hadestown) as Hillary Clinton with Eymard Cabling (Miss Saigon national tour) as Randy Ray and others, Andrew Cristi (A Christmas Story) as Chief Justice and others, Jonny Lee Jr. as Bobby Bob and others, Quynh-My Luu as Waiter and others, Christopher Mueller as VEEP and others, Ashley D. Nguyen as Jīng and others, Chani Wereley as Betsy Ross and others, Nicholas Yenson as Holden Caulfield and others, and Sumié Yotsukura as Flight Attendant and others. Olivia Clavel-Davis, Brian Dauglash, Emily Song Tyler, and Joey Urgino are swings.

After the 2016 election, when a Chinese American playwright is attacked by an unknown assailant, he hallucinates a Golden Age musical comedy about a Chinese theater producer and Hillary Clinton falling in love. Hilarious and biting, this political satire dares to ask: Does American Democracy still work? And is it worth believing in?

An exhilarating ride through political absurdity with a faceoff between Chinese and American exceptionalism, Soft Power makes an electric debut in the nation’s capital.

Idina Menzel, will open at the Nederlander Theatre in Redwood. This new Broadway musical starts previews January 24,  with a February 13 opening. Written and directed by Tony Award nominee Tina Landau, Redwood features music by Kate Diaz and lyrics by Diaz and Landau. The show is conceived by Landau and Menzel, with additional contributions by Menzel. The musical premiered earlier this year at La Jolla Playhouse. “I made my Broadway debut at the Nederlander Theatre in Rent almost 30 years ago, so to be returning there with Redwood is very emotional for me as it feels like a real homecoming. It has been such a gift to collaborate with Tina and Kate on this show, and I’m so proud to bring it to Broadway” stated Menzel. Redwood follows Jesse (Menzel), a successful businesswoman, mother and wife who seems to have it all, but inside, her heart is broken. Finding herself at a turning point, Jesse leaves everyone and everything behind, gets in her car and drives. Thousands of miles later, she hits the majestic forests of Northern California, where a chance meeting and a leap of faith change her life forever.

BOOP! The Betty Boop Musical has found is set to open at Broadway’s Broadhurst Theatre on April 5, 2025. Tony Award®-winning director/choreographer Jerry Mitchell brings the Queen of the Animated Screen to the theater  with celebrated multiple Grammy® Award-winning composer David Foster, Tony Award®-nominated lyricist Susan Birkenhead and Tony Award®-winning book writer Bob Martin. This score is fabulous and we can’t wait to hear the rest of it.

Edie Falco Photo by Emilio Madrid

Today, producers O’Henry Productions, The Cohn Sisters, Jessica Chase, Taylor Williams, David Blum, Jesse Eisenberg and Charlie Kaufman announced that Pre-Existing Condition by Tony Award® nominee Marin Ireland will extend for two weeks through August 17 and will star Emmy Award® winner Edie Falco in the rotating role of “A” beginning on August 6

Pre-Existing Condition, directed by Maria Dizzia, is currently playing at the Connelly Theater (220 East 4th St.) in the intimate 60-seat Upstairs space. The play was originally set to close on August 3.

Pre-Existing Condition is a play exploring the challenges, shared community, and everyday indignities of learning to move forward after a life-altering, harmful relationship.

About the play, Ms. Falco said, “I am thrilled at the opportunity to be a part of something that moved me so much as a spectator. It involves an intimacy and vulnerability that I’ve sorely missed in the theater. I can’t wait to work with these people who I deeply respect so that hopefully more people can see and feel what I did when I saw the play.”

The role of “A” has rotated throughout the production and is currently played by Tony Award® winner Deirdre O’Connell (Dana H.). Tavi Gevinson (“American Horror Story”) will play the role from July 24-August 3 with Ms. Falco starting August 6-August 17. Previously, the role was played by Emmy Award® winner Tatiana Maslany (“Orphan Black”), Julia Chan (Uncle Vanya) and Tony Award® nominee Maria Dizzia (In the Next Room).

The cast also includes Sarah Steele (“The Good Fight”), Dael Orlandersmith (Pulitzer Prize Finalist, Yellowman), Greg Keller (Alliance); with Raquel Chavez (Uncle Vanya) and Gregory Connors (The Sign in Sidney Brustein’s Window), understudies.

Tony Award® nominee Anne Kauffman (Mary Jane) serves as Creative Consultant on the production. In addition to Ms. Kauffman, the creative team includes Louisa Thompson (A Simulacrum), Set Designer; Tony Award® nominee Enver Chakartash (Stereophonic), Costume Designer; Tony Award® nominee Isabella Byrd (Enemy of the People, Cabaret at the Kit Kat Club), Lighting Designer; Tony Award® nominee Palmer Hefferan (The Skin of Our Teeth), Sound Designer. Taylor Williams is Casting Director, Ashley-Rose Galligan is Production Stage Manager, Eric Nolan Mattingly is Assistant Stage Manager with Wagner Johnson Productions serving as General Management.  Associate Producer is Joe Meyer. David Manella at Loeb & Loeb LLP serves as Production Counsel.

For information on performance dates, ticketing lottery information please visit Tickets start at $49.

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Off Broadway

Coney Island Nursery Rhyme Is a New Play Still In Its Embryonic State



In the press release and on their own site Coney Island Nursery Rhyme sounds so intriguing. This historical fiction set in Connecticut and New York in the 1930’s is based on a true story. They state; Follows the esteemed incubator-doctor, showman, and unofficial father of Neonatology, Martin A. Couney. In a time where eugenics-focused medical culture refused to employ incubator technology. Martin A. Couney took it upon himself to save premature babies in his own incubators at a sideshow at Coney Island where funds were used to hire nurses and essentially create an unofficial hospital. We focus on Beatrice Winthrop, a woman from the American gentry who seeks Couney’s assistance after giving birth prematurely.

This is what we are told, but what the play is about, is less about the doctor and more about Raymond Abbot (Zachary Speigel) a fool who has a secret to confess. His friend Beatrice Winthrop (Jessica Noboa) has had a premie and her mother Candace Lahey (Phyllis Lindy) thinks the child would be better off dead. The doctor in charge (Judge Boothby) doesn’t hold out much hope and wants to send the child to Chicago. In the meantime Lt. Peter Petrovick (Pete Marzilli), wants to capture the killer of Mrs. Winthrop husband who was shot dead by his friend.

Jessica Noboa

The play by Lubomir Rzepka spends the first hour teaching us nothing about eugenics, making us wonder why we are here. We are introduced to Martin A. Couney (Mike Timoney), but Mrs. Winthrop dismisses him, until Raymond Abbot steals the child, saving the child’s life.

Mike Timoney, Jessica Noboa, Phyllis Lindy

Rzepka also directed the piece, but this was a mistake, as the actors for the most part scream for two hours.

Mike Timoney, Zachary Speigel

So little is spent on “The Infantorium”, in which visitors paid 25 cents to view prematurely born babies displayed in incubators. Thanks to Couney, who was one of the first advocates for premature babies, and his Infantoriums have become widely accredited with saving the lives of over 6,500 premature babies in the 30’s. Couney is additionally recognised as one of the first pioneers of neonatological technology. Now that is interesting.

Coney Island Nursery Rhyme: 754 9th Ave 4th floor (word of warning NO elevator). Premiering for 8 select shows July 12 through July 20th as an Equity Approved Showcase at the NuBox Theatre.

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Ken Fallin's Broadway

Ken Fallin’s Broadway:​ Inspired By True Events A New Play by Ryan Spahn



Off-Broadway’s Out of the Box Theatrics is presenting Inspired By True Events, a new play by Ryan Spahn.

In the green room of a community theater in Rochester, the Uptown Players are getting ready to play to a full house after opening to rave reviews the night before. When their star actor arrives in a dangerously unhinged state, they must improvise on and off stage in ways they could not have imagined. By turns hilarious, harrowing, and horrifying, Inspired By True Events follows a tenacious group of show people who must determine at what cost the show must go on.

Inspired By True Events received development workshops with New York Stage & Film, Vineyard Theatre and EST.

Knud Adams is directing, and the cast will feature Lou Liberatore, Jack DiFalco, Mallory Portnoy, and Dana Scurlock. The play opens July 17 at 154 Christopher Street (formerly the New Ohio Theatre). The play was developed by Michael Urie.

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