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Stratford Festival Non-Verbalizes a Powerfully Moving Frankenstein Revived



Marcus Nance as The Creature and Charlie Gallant as Doctor Victor Frankenstein with Laura Condlln as Mary Shelley in Frankenstein Revived. Stratford Festival 2023. Photo by Cylla Von Tiedemann.

A large circle of light takes over the back wall with a vengeance, highlighting a darkly clad woman in a full-length period dress rising up as if lifted by her own legendary Elements. She is, in fact, the famous author, Mary Shelley, played hypnotically by the actor Laura Condlln (Shaw’s Casey and Diana), leading us through the unpacking of her Frankenstein. The billowing of her gown, courtesy of the fine work done by costume designer Dana Osborne (Stratford’s Chicago), emphasizes the sway she has in the room, and the high Romantic idealism that takes over Stratford’s Avon Theatre. From the moment this intellectual study of movement and art brilliantly combine to unpack the tale of its Romantic hero, or anti-hero, the story is hers to tell, yet in Morris Panych’s dynamic and powerful rendition, purposefully called Frankenstein Revived, the words she once used to tell the story of the doomed scientist who dared to wrestle with Death and the unknown, has been taken away from her, and it is only through the framework of all those magnificent contoured bodies in motion that the story we know and love unwraps itself before us. Wordlessly.

A trap door center-stage opens, and the bedeviled story rises up and crawls out, ready and able to contort itself in shadows and light spectacularly and monstrously. Created with exacting elegance and sharply defined formulations by creator and director Panych (Stratford’s Wanderlust), Frankenstein Revived expands the limits of the known theatre world, filling in the spaces that are usually held by the spoken word, with unfathomable movement so well defined that the poetry we associate with Shelley and her brooding literary masterpiece somehow feel unneeded, and actually unwanted. The electric motions of the exceptional black-clad Elements (listed below) flow through their muscular frames with an unspoken force, thanks to movement choreographer Wendy Gorling (Stratford’s Moby Dick) and dance choreographer Stephen Cota (Grand’s Mary Poppins), populating the space with their energy and sharp focus. It’s almost too captivating to take in, as these forms sensually and powerfully flow in with such elegance and determination.

Charlie Gallant as Doctor Victor Frankenstein with Laura Condlln as Mary Shelley in Frankenstein Revived. Stratford Festival 2023. Photo by Cylla Von Tiedemann.

Biting into the apple of knowledge with a dark curiosity, the fantastically powerful Dr. Frankenstein, embodied most handsomely and hypnotically by Charlie Gallant (Stratford’s Richard II), rises up from the fog and ushers forth this emotionally exuberant piece of theatre and movement. He’s stunningly sensual in his madness and manners, forever guided by the presence of the tumultuous morality of Mary Shelley, portrayed solidly by the quill-holding Laura Condlln (Stratford’s Casey and Diana). Like the woman herself, who had an insatiable desire to question the origins of our life force, the piece is daring and provocative. She stands above and just beyond with an unmistakable force, leading us all through the dark spaces like a magician, designed impeccably by set designer Ken MacDonald (Soulpepper’s Parfumierie), and lit most gorgeously by lighting designer Kimberly Purtell (Stratford’s Hamlet) with a strong finely composed sound design by Jake Rodriguez (ACT’s Fefu and Her Friends) unpacking the compelling music by David Coulter (The Black Rider).

Members of the company in Frankenstein Revived. Stratford Festival 2023. Photo by Cylla Von Tiedemann.
The Elements: Eric Abel, Carla Bennett, Davon Michael Brown, Amanda De Freitas, Mateo G. Torres, Eddie Glen, McKinley Knuckle, Gracie Mack, Ayrin Mackie, Anthony MacPherson, Heather McGuigan, Kyla Musselman, Trevor Patt, Jason Sermonia.

The story unfolds hypnotically, as we watch the doctor ride the rotating train of knowledge through the landscape of long-held scientific beliefs and assumptions concerning the power of God, the natural force of life, and the unknown limits of the human mind. The drama unfolds with precision and an expertise that astounds, even when the sometimes thoughtful, sometimes overwrought set pieces, symbolizing nerve systems as trees feel a tad clunky rolling in and rolling out from the wings. I entered hesitantly, wondering if the story would captivate without the use of the spoken word, but as the blood majestically flows down from the heavens into the body of The Creature, embodied by the powerful Marcus Nance (Broadway’s Jesus Christ Superstar), brought to life through the currents of electricity. Unlike the horrified Doctor, who recoils and hides at first from his self-created monster, the story rises up fascinatingly, much like the slowly evolving monster, making us lean in with awe and take surprising notice of the tale revived.

The Elements; Members of the company in Frankenstein Revived. Stratford Festival 2023. Photo by Cylla Von Tiedemann.

Frankenstein Revived climbs mountains with those intricately arranged bodies as obstacles, dynamically racing forward with torches aggressively ignited in search of what the townsfolk all fear. The second act feels less precise, but more complex in its storytelling ideals as the moving tale travels forth powerfully to the beautiful bitter end ever so forcibly like a black-and-white graphic novel lifting itself up from the page. The boundless story is told almost obsessively, dramatically bounding over the limits of what we know of the gothic tale and the desired framework with ballet-like precision – huge kudos to the Elements, who really move and shape the piece magnificently at every turn and junction. Shelley holds tight to her glorious deadly monster, guiding the story with a grave studied interest as the Michelangelo fingers touch, igniting the whole theatre with its uncompromised spark of expansiveness and creativity. It’s a passionate piece of storytelling, climbing mountains of expectations with a worldless movement that astounds. Don’t hold back from engaging in this experience. Put down the novel (that I can’t wait to read for the first time), and get yourself to the Stratford Festival to see imagination and skill unbounded by preconceived notions come alive with force on that Avon Theatre stage. It really is something that must be seen and experienced. No words can really explain its monstrous beauty.

Marcus Nance, Frankenstein Revived. Stratford Festival 2023. Photography by Ted Belton.

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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


Prince Mario-Max Schaumburg-Lippe: Hollywood, Tikky Birthday NYC, Hamptons Super Saturday and Polo.



H.H. Dr. Prince Mario-Max Schaumburg-Lippe

Prince Mario-Max the Television and interactive Media Producer: 

I just have been working tirelessly behind the scenes to bring shows to life producing und directing. Our roles are diverse, complex, and demand a unique blend of creativity, organization, and leadership. From the inception of an idea to the final distribution of a show, we producers are involved in nearly every aspect of the production process, ensuring the smooth execution and successful delivery of captivating content to audiences worldwide. My last two weeks in Hollywood had 19 hour days. And I love it, the more I work the more energy accumulates. Being a working Royal in entertainment rocks!

I love development. In this initial stage, innovative and engaging ideas for a new docu or show melt together, pre-production is a must but very administrative and then filming and production is the most fun. In post-production you re-live the entire hard work and busy production time and figure out what shows best on TV and online.

The highlight was an excursion to the Emmy’s event in Glendale and as an Academy member AI was just eye opening: I wrote about it a few days ago Prince Mario-Max Schaumburg-Lippe the Prince of AI and the Evolution of Artificial Intelligence Live from Hollywood

Philip and Tikky in NYC: 

I am super exited to celebrate the birthday of Tikki Nicozisis with her husband Philip and our friends in Manhattan. My Palm Beach, Florida, besties couple and their daughter Pia rocks. They are the most beloved Palm Beach young powertrio and legendary for their wonderful receptions, and especially dear to my heart because I know Philip and his amazing parents Lou and Helen through the Queen of Palm Beach, Lexye Aversa, for almost a decade. I can not await to celebrate them in Manhatten. By the way i just ordered Philip’s great bestseller book and loved the first pages already:

Hamptons Super Saturday thanks to our very own legendary Susanna Bowling: 

Manhattans Journalist powerhouse, our very own Suzanna Bowling, who is not only our rockstar publisher and editor but also the best singer (hear: Live From The Hotel Edison Times Square Chronicles Presents His Highness Dr. Mag. Prince Mario-Max zu Schaumburg-Lippe of Germany, MAS, LL.M)

made a very special introduction and appearance happen. I am going to host Hamptons Super Saturday of Hamptions fashion week and am excited for THIS saturday to meet many of my friends and readers. Stop by: His Highness Prince Mario-Max Schaumburg-Lippe announced as host for Hamptons Fashion Week Super Saturday

Polo Saturday – A Royal Sport: 

I love polo, of course! But for the city-folks here some words and history to the Polo Pony’s favorite occupation: Polo is a team sport played on horseback with the objective of scoring goals by hitting a small white ball into the opposing team’s goal using a long-handled mallet. It originated in ancient Persia over 2,000 years ago and is often considered one of the oldest known team sports. Two teams of four players each compete on a large grass field. Each team member has a designated role: Number One (offense), Number Two (combination of offense and defense), Number Three (playmaker), and Back (defense).

A polo match is divided into periods called chukkas, each lasting seven and a half minutes. The team with the most goals at the end of the match wins. Polo requires exceptional horsemanship, coordination, teamwork, and strategic thinking. While often associated with luxury and high society, it is also a physically demanding and challenging sport.

All of that coming up, only on T2conline. Sincerely Yours, H.H. Dr. Prince Mario-Max Schaumburg-Lippe.

*Prince Mario-Max of Schaumburg-Lippe is the son of Dr. Princess Antonia of Schaumburg-Lippe and Prince Waldemar of Schaumburg-Lippe and a German Prince and European Working Royal based in America.

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The Glorious Corner



ELTON: NEVER TOO LATE — (Via NME) Elton John: Never Too Late will show John’s journey through the Farewell Yellow Brick Road Tour, which began in 2018 and wrapped up in Stockholm last July. It was the first-ever concert tour to earn over $900 million (£708 million) in gross ticket sales, making it the highest grossing concert tour of all time.

According to  Music News, the documentary will also “pull the back the curtain” on the superstar’s life, featuring “never-before-seen concert footage of him over the past 50 years, as well as hand-written journals and present-day footage of him and his family”

Some of the footage taken from the farewell tour was filmed at his final US performance at the Dodger Stadium in November 2022. The concert was live-streamed by Disney+ and subsequently issued on the streaming platform as Elton John Live: farewell from Dodger Stadium.

Elton John: Never Too Late is jointly directed by R.J. Cutler and David Furnish, John’s husband. The film will screen at the festival sometime in September, with a Disney+ release scheduled for a later date.

At John’s final date in Stockholm, he told the crowd: “Fifty years of pure joy playing music… how lucky am I? I wouldn’t be sitting here… it wasn’t for you. You bought the singles, the CDs, the albums, the cassettes… [and] more importantly, you bought the tickets to the shows. You know how much I love to play live. It’s been my lifeblood to play for you guys. You’ve been absolutely magnificent.”

Meanwhile, John is not done releasing new music just yet. In May, his friend and co-writer Bernie Taupin revealed that John’s 32nd studio album is “all done and recorded.”  “I think it’s quite brilliant and quite contemporary and it will certainly surprise a lot of people and excite a lot of people and hopefully be successful,” Taupin teases. A book covering his farewell tour, authored by John himself, is also due to publish in September.

THE KID AND I — A good portion of my middle-industry career was taken up by the band Kid Creole & The Coconuts.

Seymour Stein.

They were originally on the upstart ZE Records and were later navigated over to Sire Records by the infamous Seymour Stein. Stein had talent for sure and a knowing nose for the business – he worked for Billboard eons ago. He also signed Madonna with the help of DJ- Mark Kamins. The Kid and company – released several LPs, including the brilliant TropicalGangsters, but even Stein (and Sire PR-gal Audrey Strahl)) couldn’t move the needle for them domestically. In Europe, however, they simply exploded racking up one hit after another. and appearing at type-A events like the Prince’s Trust.  Prince even wrote a song for them called “Just For The Sex Of It.”

They had a great run (Tommy Mottola even managed them for a while; then Ron Rainey) then it all sort of stopped. After a decade away, Kid Creole & The Coconuts seems to have re-appeared with Eve Tudor-Jones at the helm as manager. Here’s a fantastic review (certainly from a committed fan) of their comeback performance:

 ZE Records’ Deb Caponetta said it best: Would love to see just one more KC show!”


SHORT TAKES — One man’s poison is another man’s pleasure! The New York Posts’ Steve Cuozzo sort of tipped-the-scales the other way about NY’s beloved Neary’s closing after opening in 1967 (57 years!). Take a read  …


SIGHTING: PR-pasha David Salidor at NYC’s Gupshup celebrating his wedding anniversray! … Hard to believe the West Bank Cafe (closing soon) opened in 1978 …

Carlos Santana

What an odd interview with Carlos Santana and  NBC’s Jose Diaz-Balart.  Jose looked liked he was auditioning for something. He also looked somewhat unprepared; never a good move for a journalist. There’s no denying Carlos Santana’s influence, but this was an odd take for sure. Watch it here: …Micky Dolenz/Buddy Holly? Stay tuned … Old-pirate Dave Mason slogging his book (Only You Know and I Know) signed for $44.95 – with a free CD thrown in.  Wow. He must feel his story is extra-extra special … GUESS WHO DON’T SUE: What 80’s performer, coming to NYC shortly, said no to a former inside team-player request for tickets. Odd, since they successfully guided her through her first two albums. Loyalty again, is a tough play in the music-biz these days. Sad for sure! … RIP Don Buchwald; Happy BDay Buddy Casimano!

 NAMES IN THE NEWS — Harry Burton; Andy Skurow; Nancy Ruth; Teresa Knox; Carson Daly; Elizabeth Taylor; Jane Blunkell; Buddy Holly; Steve Earle; Tony King; Coati Mundi; Peter Schott; Carol Coleman; Winston Grennen; Deb Caponetta; Melissa Davis; Ed Steinberg; Cory Robbins; Rupert Holmes; Tom & Lisa Cuddy; Race Taylor; Joe Nolan; William Schill; and ZIGGY!

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Tom and Michael D’Angora, Tim Guinee and Joe Iconis Are Back To Save The West Bank Cafe



Steve Olsen, has his band of Merry Men with Tom and Michael D’Angora, Tim Guinee and Joe Iconis. In 2020, with a GoFundMe and a a star-studded Christmas Day Telethon they raised $345,422 (the target was $250,000). This year they are back with GoFundMe page and are in the midst of planning a star-studded gala event to assist with fundraising.  They have raised $18,755, but are looking for $850,000.
Steve Olsen has stated “Our business quadrupled last week since we announced our closing, There is a movement to keep our doors open a little longer.”
This is Tom D’Angora’s pitch on GoFundMe
Four years ago, we came together as a community and created a miracle to make sure that The West Bank Cafe/Laurie Beechman Theatre would survive the pandemic. Now Michael D’Angora, Tim Guinee, Joe Iconis and myself are asking you all to come together to create one last miracle so The West Bank Cafe can not only survive but THRIVE.
For 46 years West Bank Cafe has been a popular theater district haunt. It has been a launching pad for countless musicians, actors, comedians, and writers — a “must visit” for tourists, a “go to” for locals and a perfect spot for a business meeting, a pre-theater meal or after show drinks with friends.
The road post-pandemic has not been an easy one, but Steve Olsen and the incredible staff at The West Bank Cafe have soldiered on and sacrificed to keep the Cafe afloat. Unfortunately, the challenges have become overwhelming and without our help, our beloved Cafe will close for good in late August.
There were many factors that have led to this situation, but the largest and most unjust was that The West Bank Cafe was overlooked for the RRF grant, which is the reason most restaurants were able to make it post-pandemic. To make matters worse, due to an unfair and ridiculous technicality they were also denied the SVOG. Either of these grants would have made it possible for The West Bank to flourish over the past three years. Being denied both has resulted in the current situation.
It is left up to us as a community to once again step up and take care of our own. The West Bank Cafe will turn 50 in four years, and we must make sure that we are able to toast Steve, eat risotto balls together on the day of the iconic venue’s golden anniversary.
The West Bank Café is more than a restaurant and performance space. So many of us have celebrated birthdays, weddings, opening nights, closing nights, Tony wins, Tony losses, and everything in between there. Everyone is treated like a VIP when they walk through those doors.
The West Bank is home to The Laurie Beechman Theater -a legendary venue that is as vital to the New York theater scene as any Broadway house or Non-profit theater. There are less and less rooms in Manhattan for artists to birth new work in a safe and supportive environment. The loss of the downstairs performance space at the West Bank would be devastating to the community.. The Laurie Beechman is more than a beloved cabaret, it is an important piece of New York City theatrical history.
It is the stage where Joan Rivers performed her final set. It is the room where the original cast of Sunday in the Park With George rehearsed. It is where the Tony Award-winning play Side Man debuted, where Aaron Sorkin’s first two works were produced, where Lewis Black and Rusty Magee cut their teeth, Where countless Oscar, Grammy, Emmy, Tony, and MAC Award-winning artists have developed new pieces. So many stars have not only played but have been born at the Laurie Beechman Theater.
What is more clear than ever is that this restaurant does not just belong to Steve and Janet, it belongs to all of us. It is truly our Westbank Cafe and I believe we can once again pull off a miracle TOGETHER.
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Off Broadway

MART Foundation presents Arlekin in Residence at Off-Broadway’s Classic Stage Company with Two Productions




After its sold-out run at Brooklyn Academy of Music in winter 2024, the off-Broadway production Our Classby Polish playwright Tadeusz Slobodzianek, and helmed by Ukrainian-born, Jewish director Igor Golyak, will transfer to Classic Stage Company’s Lynn F. Angelson Theater (136 E. 13th Street between 3rd and 4th Avenues) in Manhattan for a limited run September 12-November 3. It will be immediately followed by Golyak’s adaptation of The Merchant of Venice November 22-December 22 featuring the same cast. As wars rage in Israel and Gaza, and in Ukraine, neighbor fights neighbors, and antisemitism rises across the globe, these two plays are acutely relevant and timely, and together comprise a powerful four-month artistic residency Arlekin in New York, presented by MART Foundation.

Our Class follows ten Polish classmates, five Jewish and five Catholic, growing up as playmates, friends, and neighbors, who then turn on one another with life and death consequences. The piece comes at a time when the world is facing an increase in antisemitism across the globe. Our Class was a featured production of the 2024 Under the Radar Festival and has received multiple award nominations: a Drama League Award Nomination for Outstanding Revival of a Play; an Outer Critics Circle Award Nomination for Outstanding Featured Performer in an Off-Broadway Play (Gus Birney); and a Drama Desk Award Nomination for Outstanding Projection and Video Design (Eric Dunlap).

Critics raved about the New York Premiere production of Our Class at the Brooklyn Academy of Music (BAM). The Wall Street Journal cheered, “An epic and intimate drama…stark and uncompromising,” and the Boston Globe agreed, saying “This production is a dead-serious indictment of antisemitism and bigotry from a dizzyingly kaleidoscopic array of angles. The entire cast is excellent!”

Our Class is the first of two productions that comprise Arlekin in Residency at Classic Stage Company, directed by Igor Golyak, playing back-to-back on the Lynn F. Angelson stage.

The second is a new adaptation of Shakespeare’s The Merchant of Venice. Adapted by Golyak and starring Richard Topol as Shylock, the play will feature much of the same cast as Our ClassThe Merchant of Venice will be performed for the first time in New York from November 22-December 22.

The cast of Our Class features Gus Birney (The Sign in Sidney Brustein’s Window) as Dora, Andrey Burkovskiy  (Call DiCaprio!) as Menachem, José Espinosa (Take Me Out) as Rysiek, Tess Goldwyn (New Amsterdam) as Zocha, Will Manning (As Reaper in the Summer Gain) as Heniek, Stephen Ochsner (Chicks) as Jakub Katz, Alexandra Silber (Fiddler on the Roof) as Rachelka/Marianna, Richard Topol (Indecent; The Normal Heart) as Abram, Ilia Volok (Gemini Man, The Gaaga) as Władek and Elan Zafir (Hedda Gabler) as Zygmunt.

Much of the company will return for The Merchant of Venice. Richard Topol will play Shylock, joined by Birney, Espinosa, Goldwyn, Ochsner, and Alexandra Silber as Portia. Additional casting to be announced.

The creative teams consist of artists from New York and across the world. For Our Class, scenic designer Jan Pappelbaum of the Schaubuehne, сostume design by Sasha Ageeva, lighting design by Adam Silverman, music by Oscar® winner Anna Drubich (Navalny), music direction by Lisa Gutkin, projections design by Eric Dunlap, chalk drawings design by Adreea Mincic, choreography by Or Schraiber, intimacy design by Leana Gardella, hair & makeup design by Timur Sadykov, and dramaturgy by Dr. Rachel Merrill Moss. Kyra Bowie is the production stage manager. Helmed by Golyak, this cross-cultural collaboration between actors, designers, producers, artists, and technicians is an effort to untangle traumas of the past and wrestle with these same questions of today. Our Class is co-executive produced by MART’s Sofia Kapkova and Arlekin’s Sara Stackhouse.Stackhouse also executive produces The Merchant of Venice.

The Arlekin Residency at Classic Stage Company (September 12–December 22) is helmed by Arlekin artistic director Igor Golyak and producing director Sara Stackhouse (The OrchardJust Tell No One; State vs. Natasha Banina), in partnership with Sofia Kapkova of MART Foundation.

Tickets for Our Class are available on the official website ( Our Class plays Tuesdays at 7:00pm, Wednesdays at 7:00pm, Thursdays at 7:00pm, Fridays at 7:00pm, Saturdays at 2pm & 7:30pm, and Sundays at 1:30pm.

Tickets for The Merchant of Venice are available on the Classic Stage Company website ( The Merchant of Venice plays Tuesdays at 7:00pm, Wednesdays at 7:00pm, Thursdays at 7:00pm, Fridays at 7:00pm, Saturdays at 2pm & 7:30pm, and Sundays at 1:30pm & 7:00pm.

Golyak, founder of Boston’s Arlekin Player Theatre, was born in Kyiv and came to the US as a Jewish refugee at age 11. The New York Times praised him, saying “Igor Golyak is among the most inventive directors working in the United States” and The Forward called Igor “a visionary theater maker [who] never thought he’d be ‘Jewish Director’ — then the times demanded it.’’ In 2022, Golyak conceived and directed The Orchard at Baryshnikov Arts Center starring Mikhail Baryshnikov and Jessica Hecht. Golyak received global acclaim during the pandemic as he conceived and directed WITNESS, chekhovOS/an experimental game/ and State vs. Natasha Banina, each playing virtually around the world and receiving multiple New York Times Critics Picks.

The Company of Our Class Photo: Pavel Antonov.

Arlekin has been warmly welcomed for this artistic residency by CSC Producing Artistic Director Jill Rafson. “We’re so pleased to welcome Arlekin and the riveting work of Igor Golyak into our theater,” says Rafson. “We’re thrilled to bring in work that is aligned with CSC’s mission and that uses our unique space both to expand the canon and to embrace the theatricality of the Lynn F. Angelson Theater. We’re excited about this Arlekin residency and the collaboration with MART Foundation that is making it possible, and we can’t wait to share these plays both with the CSC communities and audiences who will set foot in our space for the first time.”

During its premiere at BAM earlier this year, Our Class struck a nerve and took on a life of its own that continues to grow as world events unfold. With this Our Class transfer to the illustrious Classic Stage Company, we have the opportunity to share it with more audiences, this time with a powerful companion,” said Igor Golyak. “I feel compelled to pair it with The Merchant of Venice because the human tendencies illuminated in Our Class track back through the centuries, and there is an artistic connection between the two pieces — they speak to each other. There are powerful threads that link these incredible stories and our lives today. We think it’s important and timely that both plays will be performed all Autumn, on stage in the same theater, with many of the actors acting in both productions and with the magnificent Richard Topol playing Rabbi Abram and then Shylock. There is no project that feels more important to direct right now than this one.

The Company of Our Class Photo: Pavel Antonov.

Arlekin in Residence at Classic Stage Company is presented by MART Foundation with support from Jadow Productions.

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Prince Mario-Max Schaumburg-Lippe: Meet me at the Show Low Film Festival Arizona!



H.H. Dr. Prince Mario-Max Schaumburg-Lippe

A Royal in Arizona: 

H.H. Dr. Prince Mario-Max Schaumburg-Lippe is honored to be in the Honorary Advisory Board of the prestigious Show low film festival with Kat Kramer, Bev Moore, Jimmy Star, Pete Wooster, Wolfgang Bodison and Jeff Reynolds.

“The fabulous Martina Beate Webster invited me to join the Advisory Board of her legendary film festival, and I can not wait to be there in person in October 2024 to award the hottest new films in the industry”, H.H. Dr. Prince Mario-Max Schaumburg-Lippe the German Prince and Royal states. “My father Prince Waldemar and my mother Princess Antonia zu Schaumburg-Lippe are filmmakers and working Royals and so am I and therefore i love to dedicate my time to this artistic cause in the industry”, and even Prince Mario-Max Grandmother Her Royal Highness Princess Feodora of Denmark has been a film-lover. Very eclectic films Prince Waldemar often commented about his Royal mother.

The Prince hopes that many readers will join his friends and family up in the wonderful mountainscape:


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