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It’s a Fabulous Zoomed Performance Weekend Overflowing with Pride-filled Men From The Boys and Molière Madness Avec Raúl’s Tartuffe

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It’s been a pretty busy few weeks, filled to the brim with Zoomed play readings and performances.  It’s almost getting too much, I have to say. So many things to chose from, and so little time to work and write.  I started out this whole lockdown thing obsessed (a wee bit) with Stars in the House, but twice a day, every day, quickly reached its saturation point. Especially when theatre companies all over the world, like the National TheatreShakespeare’s GlobeThe Old VicThe Young VicStratford FestivalCheek by JowlLincoln Center TheatreDonmarChichester Festival, and so so many others started getting into the game by streaming previously recorded full productions for our fun and entertainment. It was a gloriously overflowing banquet of theatrical choices; a smorgasbord that (I must admit) could have used a bit more diversity (soooo much Shakespeare), but was none the less, completely satisfying and invigorating.  The filmed versions felt a bit more engaging to be honest, over the zoom readings of old fun plays, but the talent that we are being given to take in is excitedly exceptional, and the scope is almost overwhelming.

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This weekend, the weekend of Gay Pride and the true beginning of the two months of summer is filled to overflowing.  Playbill‘s presentation of Donja R. Love’s one in twoBrave Smiles…Another Lesbian Tragedy by The Five Lesbian Brothers, and MJ Kaufman’s Masculinity Max, streamed in with all the colors of the rainbow for the 2020 Pride Plays festival, produced by Michael Urie and Doug Nevin, with festival direction by Nick Mayo. One couldn’t ask for anything better to find celebration and a strong drive to demand change from this line-up, capping off with a one-night-only Playbill Pride Spectacular concert June 28th at 8PM ET, benefiting Broadway Cares/Equity Fights AIDS. But before we got to the main event [which I am so excited to watch tonight], we were invited to join the party with a deliciously directed, thanks to Zachary Quinto, presentation by Playbill of Mart Crowley’s The Men From the Boys, the 2002 sequel to The Boys in the Band on June 26th (available here for streaming through June 29th).

The play gloriously revisits a number of the iconic characters from The Boys in the Band, which won the 2019 Tony Award for Best Revival of a Play, with a few new and young attendees finding their way into the witty barb-fest that Crowley is known for. The origin play brought the gaggle of gays together for a celebratory birthday party that gets out of hand at a time when such gatherings of gay men were deemed illegal. But with the follow-up, The Men From the Boys, the group has gathered for a more somber event, but rather than everyone being utterly morose, the play zings along with sharp lines and precise digs. It attempts, fairly successfully, to gauge how these men have changed and evolved over the years, especially as they slam up against a new generation of gay men, happily (or not so much) in their prime, who engage and connect in a number of very different and telling ways.

The play reading brings back to the apartment a solid cast of pros that includes Mario Cantone as Emory, Kevyn Morrow as Bernard, Denis O’Hare as Michael, Lou Liberatore as Harold, Rick Elice as Donald, and Joseph James O’Neil as Hank. The new boys to the table are the delightful Telly Leung as Rick, Carson McCalley as Scott, and Charlie Carver as Jason. [side note: on Broadway: Jim Parsons played Michael, Matt Bomer played Donald, Robin De Jesús was Emory, Tuc Watkins was Hank, Michael Washington was Bernard, Zachary Quinto was Harold, and Charlie Carver was Cowboy, a character that doesn’t make an appearance in this play.] It’s solid and well crafted in that particular Zoom fashion, with the stellar cast bringing the somewhat dated play to full and fun life through a full force of will and abandonment.  It’s sharp, a bit over-the-top, but definitely worth your time, especially over this every-so Gay Pride weekend.

Molière in the Park tries to up the game a wee bit by attempting to bridge the art of the Zoom into a theatrical structure, giving us graphics and a sense of festive place and time with this impeccably tuned-in cast. The energy put forward by the tech crew is somewhat distracting, but ultimately playful and good-natured. Co-presented with the French Institute Alliance Française (FIAF) in partnership with the Prospect Park Alliance and LeFrak Center at Lakeside, Richard Wilbur’s deliciously strong translation of Molière’s Tartuffe, directed by MIF’s Founding Artistic Director Lucie Tiberghien swings and frolics with a superb case of effortless timing. The cast, all delivering of the highest order, deservedly gets “Tartuffified” at every turn of the phrase, and we couldn’t be more pleased.

Tartuffe Online poster no logo

The cast includes Emmy and SAG Award winner Samira Wiley (Hulu’s “The Handmaid’s Tale,” Netflix’s “Orange Is the New Black”) as the stupefied Orgon, pulled under the spell of the dubiously pious crook, Tartuffe.  Wiley’s Orgon is naive and lost, trying to convince himself and his family that he knows what he is doing.  She makes a solidly game Orgon, although it doesn’t carry the aging patriarchal energy very far inward. The rest of the cast; Kaliswa Brewster (Showtime’s “Billions”), Toccarra Cash (Broadway’s The Play That Goes Wrong), Christopher Henry Coffey (2ST’s Water by the Spoonful), Naomi Lorrain (EST’s Behind the Sheet), Jared McNeill (BAM’s Battlefield), Rosemary Prinz (Broadway’s Tribute) and Carter Redwood (EST’s When January Feels Like Summer) deliver exceedingly fine performances, which, I might add, is quite the difficult thing to do from the safety and security of your own home, alone, and with only a computer screen to connect with. Jennifer Mudge (RTC’s Into the Woods, MTC’s Of Good Stock) as whip-smart maid, Dorine is a stand-out, finding endless ways to give us more and more tasty morsels to bit into from every scene she is in.

Raul Esparza (high res)
Raúl E. Esparza

But it is four-time Tony Award nominee and Obie Award winner Raúl E. Esparza (MCC’s Seared, Broadway’s Company) as the legendary Tartuffe, where we see the mastery of a ridiculous Rasputin fly outward with perfect pitch giving a sharpness and clarity to almost every line delivered. His performance vibrates with hilarious energy, but also finds clear quiet authenticity when he needs it. “I may be pious, but I am human too,” he states, directly and with simple passion, and we find absolute engagement with his delicious lies and deceit, even as we hold our breath waiting for his downfall. I saw Denis O’Hare play Tartuffe on the National Theatre‘s stage in the summer of 2019 with a wild hipster freewheeling charm. He captivated us all with his outrageousness, cross-legged hobo-like demeanor planted firmly inside Blanche McIntyre’s perfectly funny production, but his charlatan trickster, donning the man-bunned garb of a pseudo-cult leader doesn’t come close to the Zoomed-in gloriousness of Esparza’s deliciously demented portrayal. I’d love to see this cast on stage working with one another face to face. It would be electric.

It’s a most needed vantage point, this Molière’s Tartuffe; to look at those who claim to know so much about the truth, but are blinded by the devious ways of fraudulent swindlers, like Tartuffe, or Fox News, for example. In a statement from Founding Artistic Director Lucie Tiberghien and Co-Founding Producer Garth Belcon, they rightly state that they “are disturbed and appalled by the corrosive and dangerously divisive nature of religious double standards and questionable moral righteousness we are currently witnessing. Turning to Tartuffe, with this company of actors and creative team has been healing. Our goal is to reinforce the power of faith, love, and respect for every human life, versus religious posturing for economic or political gain.” And although the streaming that went live on Saturday, June 27 at 2pm EST and 7pm EST has passed by, there is still a way to jump into this impeccably well-done Molière madness. A recording of the stream will be available on MIP’s YouTube channel (click here) through Wednesday, July 1, 2pm EST. Running time is approximately 90 minutes. Viewing is free. Reserve here.

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So find your way into either one of these fun and smart Zoomed play readings. And even though I’m reaching my threshold on this structure, these two made it all worth sitting down at my desk and tuning in via my laptop. I must admit that the best of the bunch, so far, or at least the one that felt most like theatre, was The Old Vic‘s live streaming of Lungs. It sent shivers down my spine and reminiscent tears down my cheeks, reminding me just what real-life live theatre truly can deliver to us. I can’t wait to return and sit my ass down in a real live theatre and wait for the curtain to rise, clapping my hands with enthusiasm as I tend to do (just ask my friends). But until then, these fabulously inventive artists are  putting their thinking Zoom caps on and delivering just what the doctor ordered, especially during this Pride weekend.

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Now it’s almost time for the one-night-only Playbill Pride Spectacular concert June 28th at 8PM ET, benefiting Broadway Cares/Equity Fights AIDS featuring Michael R. Jackson, John Cameron MitchellHarvey FiersteinJenn Colella, Matt Gould and Griffin Matthews, Mj Rodriguez, L Morgan Lee, and moreFrom Playbill, click here for the virtual offerings this weekend. For more information, check out Playbill’s Streaming Calendar, presented in partnership with Broadway Podcast Network.  Now tune in and fly that updated Pride flag with fierce determination. This is no time to be passive about LGBTQIA+ rights. We must stand up for us all. “No Pride for some of us without liberation for all of us” – Marsha P. Johnson.

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For more, go to frontmezzjunkies.com

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 last...so 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 frontmezzjunkies.com

Broadway

The Wiz’s Eases Back Onto Broadway

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There is much to love about the Broadway revival of The Wiz, which opened tonight at the Marquis Theatre. This beloved musical originally opened on Broadway in 1975, was made into film in 1978 and is back with a score by Charlie Smalls, that sparkles due to the orchestrations by Joseph Joubert and vocal arrangements by Allen René Louise. I love the Lalo Schifrin sound.

Nichelle Lewis, Melody A. Betts Photo By Jeremy Daniel

Directed by Schele Williams and an updated book by Amber Ruffin, what this revival has is heart, what it is missing is style.

Deborah Cox


Now Dorothy (a terrific Nichelle Lewis, a newcomer making her Broadway debut) has moved to Kansas to live with her Aunt Em (Melody A. Betts, who shines as  the beloved Aunt, but isn’t evil enough as the wicked witch Evillene, due in part to the sound designer Jon Weston and costume designer Sharen Davis). Dorothy has lost her parents and apparently her dog (no Toto), is being bullied, feels lost and alone, until a tornado sends her hurling to Oz. Her house still kills the wicked witch of the East, but Dorothy is introduced to golden glittery Glinda (Deborah Cox), by Addaperle ( a vocal glorious Allyson Kaye Daniel). She is sent to meet the powerful Wizard (a phenomenally grounded Wayne Brady) to get back home. Along the way meets the scarecrow (Avery Wilson) in need of a brain, the tinman (Phillip Johnson Richardson) wanting a heart and a lion (Kyle Ramar Freeman) in need os some courage.

Avery Wilson, Nichelle Lewis, Phillip Johnson Richardson Photo By Jeremy Daniel

All shine in their performances and vocals though the sound design threatens to derails them. Ms. Cox who is gloriously in voice, is not well mic’d, nor is anyone else. I was in the sixth row and it was hard to hear and I really did want to as the vocals were terrific.

Wayne Brady and Emerald City Photo By Jeremy Daniel

The choreography, by JaQuel Knight, is clunky with numbers seeming not to gel with each other. Each number looks like it belongs in a different show. However the individual performances take the movement to levels that work. Mr. Wison’s scarecrow, is all limbs and displays his flexibility and acrobatic tricks to the nth degree. Mr. Richardson gives the tinman a heart with his soulful “What Would I Do If I Could Feel”. Freeman’s lion, is an amusing scaredy cat who breaks though.

Kyle Ramar Freeman, Nichelle Lewis, Wayne Brady, Phillip Johnson Richardson, Avery Wilson wanting a heart and a lion Photo By Jeremy Daniel

Wayne Brady is a standout as The Wiz and I was wow’d by him.
Lewis is a find as the teenager trying to find herself. “Home”, is now the final song and she nails it making us fall in love with this revival despite it’s designer flaws.

The Oscar-winning production designer Hannah Beachler and costume’s look like they were designed on acid with no filter and no funding. The color choices and styles all look tacky. I really wanted to rip the tablecloth looking skirt off the lion and still do.

I have such fond memories of this show and I left with them intact. Sometimes things do not have to be perfect in order to shine.

The Wiz: Marquis Theatre, 210 W 46th Street, until April 18th.

 

 

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Barry Manilow, Bruce Sussman and More At The Museum of Broadway As Harmony Is Honored

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On Thursday, April 18th Barry Manilow, Bruce Sussman, The Comedian Harmonists Sean Bell, Danny Kornfeld, Zal Owen, Eric Peters, Blake Roman and Steven Telsey, as well as Company members including Chip Zien, Kate Wesler, Kyla Stone, Matthew Mucha, Stuart Zagnit, Zak Edwards, and more TBA will be at The Museum of Broadway to unveil a brand-new window display dedicated to the Broadway musical Harmony. Barry Manilow and Bruce Sussman brought the long-forgotten story of The Comedian Harmonists, a German singing group of six young men whose fame was abruptly cut short by the rise of Nazism, to life in the 2023 hit Broadway musical Harmony.

The Museum of Broadway will honor their story with a dedicated window featuring exclusive items donated by Manilow and Sussman, and historical items dating back to the 1920s.

The program will include a special a cappella performance by the OBC Comedian Harmonists.

Harmony, featured an original new score by legendary Tony, Grammy, and Emmy Award® winner Barry Manilow with lyrics and book by Drama Desk Award Winner, Bruce Sussman. Directed and choreographed by Tony Award winner Warren Carlyle (The Music Man, Hello Dolly!), this timely and captivating rags-to-riches story lost to history came to dazzling life with a sensational cast of Broadway favorites.

Based on an unbelievable true story, the musical told the tale of the most successful entertainers you’ve never heard of. . . until Harmony. In the 1920s and 30s, The Comedian Harmonists sold millions of records, made dozens of films, and sold-out the biggest theaters around the world. Their heavenly harmonies and musical comedy antics catapulted these six talented young men from singing in the subway tunnels of Berlin to international superstardom.  What happened next was the story of Harmony.

The female-founded award-winning Museum of Broadway is the world’s first-ever permanent museum dedicated to the storied history and legendary artists, creators and stars of Broadway musicals and plays, past and present. Offering unrivaled “backstage” access, the Museum of Broadway goes behind-the-scenes to show guests of all ages how a Broadway show is made from conception to curtain call.  A one-of-its-kind entertaining and educational celebration of Broadway for the theatre enthusiast and insider alike, the Museum of Broadway transports visitors visually through centuries of time.  Experience a stunning, ever-evolving curation from the 1700s-present day one dazzling, unforgettable exhibit, costume, prop, rendering and rarity at a time. Through each piece, the Museum of Broadway honors the legacies of those who paved the way for today’s Broadway and the next generation of theatregoers and creators.

Founded in November 2022, the Museum of Broadway highlights more than 500 showstopping and hidden gem productions across three floors of exhibits.  Open seven days a week and welcoming thousands of guests weekly from all over the world, the museum also offers free educational programming, special events with your favorite Broadway casts and creatives, a membership program, merchandise from your favorite shows, and so much more. A portion of proceeds from every ticket sold is donated to Broadway Cares/Equity Fights AIDS.

Be sure to follow @MuseumofBroadway on all social channels for the latest artifact drops, special offers, events and happenings and visit themuseumofbroadway.com to complete your perfect day on Broadway.

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Lempicka Brings An Artist Work Back To Life

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In 1984, I saw the interactive show Tamara based on the life of the artist Tamara de Lempicka in LA and fell in love with it, so much so that it has stayed one of my favorites to this day. Lempicka is a new musical based more on her sexual choices than her stylized Art Deco portraits that changed and inspired generations. She was one of the first feminists, as Tamara choose art, sexual freedom and a lifestyle in a time of war and destruction.


The musical starts out on a park bench in LA as an older Tamara (Eden Espinosa) reflects on her life. Flash back to Warsaw, Poland as Tamara is to be wed to Lempicka (Andrew Samonsky) an aristocrat and is to live a life of luxury. Then the Bolshevik’s in prison her husband, she uses sexual favors to free him and they flee to Paris with their daughter. When her husband is unwilling to work she becomes a painter and uses the name Lempicka. There she is befriended by a wealthy art patron (Nathaniel Stampley) and his wife (Beth Leavel), is influenced by Marinetti (George Abu), the founder of the Futurist art movement, and is inspired and in love with Rafaela (Amber Iman). Both Lempicka and the musical come alive at this point. Tamara finds friendship and solace with a nightclub owner, Suzy (Natalie Joy Johnson), who gives her and others like her a refuge, until the Nazi’s invade. In the end, while breaking ground Lempicka’s life style becomes rather self centered or should I say one of self preservation as she loses her husband, her daughter and her lover.

Amber Iman, Eden Espinosa Photo by Matthew Murphy/Evan Zimmerman

Matt Gould’s music and Carson Kreitzer’s lyrics are well sung and the show sounds glorious. This is a new take on pop music. The problem here is the minor characters get the songs that make the show come alive. Iman, Abu and Johnson almost steal the show with their numbers. Level gets the 11 O’Clock number and breaks our hearts. Though Espinoza has some good numbers and sells them, none of them really stand out.

George Abud photo by Matthew Murphy/Evan Zimmerman)

Kreitzer also conceived the book and wrote it with Gould. Again the show does and doesn’t work. Instead of focusing on Lempicka’s art, the changing world around her and the fact that she was one of the first feminists, the story is more focused on lesbian repression. The show is billed as a triangle of love, but her husband once they get to Paris is in his own world until she gets together with Rafaela a prostitute. Rachel Chavkin’s direction makes the scenes between Rafaela and Lempicka beautiful and in a strange sense if feels a little like Indecent, however the show as a whole doesn’t jell.

Photo by Matthew Murphy/Evan Zimmerman

I did like Raja Feather Kelly’s choreography that seemed to evoke the changing world around.

Riccardo Hernández’s set of steel, seems like the world is on the verge of collapse and rebuilding. The lighting by Bradley King and projections by Peter Hylenski and Justin Stasi added to that effect. Paloma Young’s costumes missed the mark and seemed like they were in two different stories.

The reason to see Lempicka is it is sung and acted gloriously.

Once you see Lempicka, you will realize how much Tamara de Lempicka’s art change and influenced the world of art. This was a woman who survived at all costs and that should always be admired.

Lempicka: Longacre Theatre, 220 West 48th Street.
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Ken Fallin’s Broadway: The Outsiders

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These boys are taking Broadway by storm Jason Schmidt, Sky Lakota-Lynch, and Brody Grant. In Tulsa, Oklahoma, 1967, the hardened hearts and aching souls of Ponyboy Curtis, Johnny Cade and their chosen family of “outsiders” are in a fight for survival and a quest for purpose in a world that may never accept them. A story of the bonds that brothers share and the hopes we all hold on to, this gripping new musical reinvigorates the timeless tale of “haves and have nots”, of protecting what’s yours and fighting for what could be.

The Outsiders opened on Broadway at the Bernard B. Jacobs Theatre, 242 W 45th Street.

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We Say Good Bye To Costume Designer Extraordinaire Carrie Robbins

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I met Carrie Robbins at an art gallery with Louis St Louis, Baayork Lee and Judy Jacksina. The four of us stayed well into the morning talking, laughing and having a fabulous time. Carrie and I bonded after that as she turned to playwriting. It broke my heart to learn that on the evening of April 12, 2024 Costume Designer extraordinaire Carrie Robbins passed away.

Carrie’s work has been featured in over 30+ Broadway shows, including Class Act, Grease (original), Agnes of God, Yentl, Octette Bridge Club, Sweet Bird of Youth (Lauren Bacall), Frankenstein, Happy End (Mary Streep), Boys of Winter, Cyrano (Frank Langella), & Shadow Box (Mercedes Ruehl).

Her awards and nominations included: 2012 recipient of the Irene Sharaff Lifetime Achievement Award presented by the Theatre Development Fund & the tdf/Costume Collection with the support of the Tobin Theatre Arts Fund. 2 Tony (Noms.), 5 Drama Desks, Maharam, USITT/Prague International, L.A. Dramalogue, Henry Hughes, F.I.T-Surface Design, & Audelco, among others.

Robbins’ costumes for the Irving Berlin musical White Christmas played major cities in the USA, Broadway, and Great Britain. Her regional work included M. Butterfly and On the Verge, for director Tazewell Thompson (Arena Stage) and the Gershwin musical American in Paris by Ken Ludwig for director Gregory Boyd (Alley Theatre, Houston) as well as The Tempest (Anthony Hopkins as Prospero) & Flea in Her Ear (director Tom Moore at Mark Taper Forum), many productions for the Guthrie (MN), Williamstown, and many others from Alaska to Buffalo.


Locally, in NYC, Robbins designed for many productions for The Lincoln Center Repertory Theatre, Chelsea Theatre at BAM, Acting Company at Juilliard and NY Shakespeare Festival.

She also designed for the Opera and they included Death in Venice for Glimmerglass (’08 Prague International Design Exhibit), Samson et Dalila (San Francisco Opera, Houston Grand, more), and many productions for Sarah Caldwell’s Opera Company of Boston. Her work has also been seen at the Hamburg StatsOper.

For film Robbins designed the movie “In The Spirit” (Elaine May, Peter Falk, Marlo Thomas); TV design included: Saturday Nite Live, PBS Arts in America, & several unseen pilots.

Robbins has designed clothes for several seasons of Queen Esther Marrow and The Harlem Gospel Singers’ European Tour. She also did the designs for The Cincinnati Ballet’s new Nutcracker, in December of 2011

Robbins was an MFA grad from the Yale School of Drama and was Master Teacher of Costume Design at the NYU Tisch School of the Arts for many years. She is extremely proud of the extraordinary number of award-winning, successful young costume designers and costume teachers across the country who came out of her classes.

Besides being a costume designer Carrie also was a playwright. In August 2010, her play, The Death & Life of Dr. Cutter, a Vaudeville, based on the true stories told by her husband Dr. R.D.Robbins, had its 4th reading at the Snapple Theatre Center; it was chosen by Abingdon Theatre Co, NYC, to be part of its First Readings Series in Fall, 2009. In 2011-12 the  League of Professional Theatre Women chose The Dragon Quartet as part of its 30th year anniversary celebration. In 2012-13, La MaMa (oldest off-off-Broadway theater in NYC at 51 years) chose The Diamond Eater for its “Concert Reading Series”. In 2013: TACT (The Actors Company Theatre, chose Sawbones for part of its newTACTics New Play Festival. In 2014 both The Diamond Eater and Sawbones  received 6 Nominations from N.Y. Innovative Theatre Awards (the most nominations given out in the 2014 season). In 2015, Le Wedding Dress, was a semi-finalist in NYNewWorks Theatre Festival. In 2016: Obsessions Of An Art Student chosen by NYNewWorks Theatre Festival. In 2016, The Actress, was a finalist in NY Thespis Summer Festival. In 2017, My Swollen Feet, chosen by NY Summerfest Theatre Festival/ Hudson Guild Theatre. In 2018 The Diamond Eater , semi-finalist at the 14th St. Y competition War + Peace/2018/19 season and The Dragon Griswynd, was chosen by Theater for the New City for its “Dream-Up Festival” In 2019 Pie Lessons, was invited by Crystal Field, Exec. Artistic Director of Theater for the New City, to be part of “Scratch Night at TNC”.

The last thing Carrie was working on was For The Lost Children Of Paris. This play was about how the Nazis, with help from the Vichy Government, collected French-Jewish schoolchildren and delivered them to Auschwitz. Excellent German record-keeping revealed 11,400 children were taken. At the liberation, only 200 were found alive. This is the story of one classroom’s collection day and its aftermath.

She did this play using puppets as the children.

Carrie had a voice that she used in a multiple of ways. She was a caring friend, a dedicated teacher, a prolific writer and costume designer, who always cared about others first. Carrie you will be missed.

 





 

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