Category Archives: Events


(via John Wyszniewski, Everyman Agency)

Here’s what is going on at ARS NOVA:

Debut of Ars Nova Supra, New Digital Streaming Platform

New $150,000+ Vision Residency Program
P.S., Durational Theatrical Experience from Teddy Bergman, Sam Chanse, Amina Henry, Kimie Nishikawa

$100,000 in Artist Flash Grants
The Ars Nova Forever Telethon


Heather Christian’s Oratorio for Living Things
nicHi douglas’s (pray)


Ars Nova, “an essential civic institution” (Adam Feldman, Time Out New York), under the leadership of Founding Artistic Director Jason Eagan and Managing Director Renee Blinkwolt, is pleased to announce details for its upcoming 2020–2021 season. As New Yorkers continue to grapple with daily life amidst a pandemic that prevents us from gathering safely, and work to eradicate and undo the harm caused by our collective and individual racism, Ars Nova is committed to artistic and operational activities that build an anti-racist foundation and create a platform for diverse, adventurous artists. Ars Nova has planned a season centered on its core values, radical artist support, collective curatorial vision and unique theatrical experiences meant to forge a human connection in a time of distance. Although the timeline for gathering together for in-person events is uncertain, Ars Nova remains committed to responding to the needs of its artists, audiences, and community in a variety of meaningful ways.



Ars Nova is pleased to announce the accelerated debut of Ars Nova Supra, a new digital platform dedicated to showcasing some of New York City’s most promising emerging artists. Originally slated to launch next year as a digital extension of Ars Nova that embraces audiences worldwide, Ars Nova Supra will serve as the online home for the majority of Ars Nova presentations this season. Tickets for Ars Nova Supra livestreams are $5-10 per event, with subscriptions available for $15 per month. Subscribers receive access to all monthly livestreams at one low price, plus exclusive on-demand access to the Ars Nova Supra library, where they can catch any shows they may have missed. 

“I don’t see a future for the performing arts that doesn’t include a full embrace of digital mediums,” says Founding Artistic Director Jason Eagan. “That was true before COVID-19, and the pandemic drilled home a whole new set of reasons why. Ars Nova Supra will help us address today’s urgent need to keep artists working, and keep audiences entertained from the safety of their homes.”


Ars Nova’s 2020–2021 season also includes the launch of Ars Nova Experiences, featuring new forms of physical, tactile, and off-screen happenings for the COVID-19 age. It begins with P.S., a durational theatrical experience created collaboratively by director/developer Teddy Bergman (KPOP) and playwrights Sam Chanse and Amina Henry (both alumni of Ars Nova’s Play Group) with materials designed by Kimie Nishikawa (Dr. Ride’s American Beach House).


Unfolding in real time beginning this November, P.S. will bring intimate storytelling directly into the hands of audiences, as they receive letters sent between two characters isolated from each other during the pandemic. Arriving in the mail every few weeks, the letters and objects the characters exchange will weave a story that responds to the world we are living in until it’s once again safe to gather together. The final act of P.S. will culminate with a live, in-person performance that reunites these characters — and welcomes audiences back — for a cathartic recognition of the historic period we’ve endured. Tickets for the Letters phase of P.S. are $35 per household and go on sale October 1.


A second Ars Nova Experience, taking place in Spring 2021, will be announced at a later date.

Equally as important as its public programming, Ars Nova is pleased to announce the launch of two major development programs,  Flash Grants to its current Resident Artists, and a new musical commission, flexing its artist support programs to meet the extraordinary needs of the current moment.



Designed to foreground Ars Nova’s values through the creation of more equitable and power-sharing curatorial practices, the Vision Residency will expand Ars Nova’s artistic vision by inviting seven artist-curators to populate our digital platform with their own work as well as work by artists they champion and admire. Each Resident will be given broad support from Ars Nova’s full staff, spending two months planning for one month of activity on Ars Nova Supra. Each will receive a $7,500 fee for their curation and administrative work, along with a $12,000 budget to allocate towards the creation, development and presentation of work during their curated month. Vision Residents will be encouraged to invite other artists they feel inspired by, want to collaborate with, or simply wish to amplify, to make and share work using the budget and resources of the residency during their month of programming. The 2020-2021 Vision Residents are Starr BusbynicHi douglasJJJJJerome Ellisraja feather kellyJenny KoonsDavid Mendizábal, and Rona Siddiqui.


Founding Artistic Director Jason Eagan commented, “I feel so fortunate to get to share the curation of our season on Ars Nova Supra with this newly formed cohort. Bringing this incredible group of artists and thinkers into conversation about who and what will be featured on our platform this year expands our — and their — potential. The Ars Nova community has always thrived most when it is looking forward, and I am thrilled to discover where these visionaries will take us next.”



Another new developmental program will deepen Ars Nova’s commitment to early career comedy artists at a time when their support systems in NYC have decreased. CAMP will provide a dynamic group of creators with peer support and artistic feedback as they work on developing new comedic work in weekly meetings facilitated by Co-Directors Mahayla Laurence and Matt Gehring. Resident comedy teams, including dance, sketch, or improv collectives, or individuals such as character comedians and storytellers will also share material in monthly live shows, and culminate their CAMP residencies in full-length performances on Ars Nova Supra. Members will be selected through an open submission process beginning September 22. Apply online at



Ars Nova will also continue developing the voices and new work of its current Resident and Commissioned Artists by extending their commission timelines and residencies through 2021 and providing each individual with a $2,500 no-strings-attached Flash Grant to be used however best sustains each artist during this time—whether that’s creating art or paying rent. Should they feel inspired to create, they have an open invitation to share their work on Ars Nova Supra.


Ars Nova’s Resident Artists are: Melis Aker, Preston Max Allen, Kevin Armento & Sammy Miller, Serena Berman, Michael Breslin & Patrick Foley, John J. Caswell, Jr., Heather Christian, Manik Choksi & Zi Alikhan, Vichet Chum, Guadlís Del Carmen, Erika Dickerson-Despenza, nicHi douglas, Laura Galindo, Gracie Gardner, Dylan Guerra, Deepali Gupta, Gethsemane Herron-Coward, Jerome & James, David Mendizábal, Nightdrive, Antoinette Nwandu, Ife Olujobi, On the Rocks Theatre Co., Joél Peréz,  Emma Ramos, Michelle J. Rodriguez, Omar Vélez Meléndez, Jillian Walker, Ray Yamanouchi, and Zack Zadek.


Additionally, Ars Nova welcomes Khiyon Hursey to this community through a new musical commission.

Continue reading


(Ciara L. Murphy’s article appeared in The Irish Times, 9/17; Photo: The Irish Times: Druid combines representations of raw sorrow, naked nationalism, and raucous humour to honour Gregory’s legacy.)

Revival of Lady Augusta Gregory’s neglected works is of vital importance


At Coole, the collision of past and present is delivered through a collection of Lady Augusta Gregory’s neglected works. Druid combines representations of raw sorrow, naked nationalism, and raucous humour to honour Gregory’s legacy at her home, the historical site of Coole Park.

Gregory’s plays have been notably absent from Irish stages for far too long. This revival is of vital importance, not only for a canon in urgent need of revision, but also because, despite the common view, Gregory’s plays provide worthy and clever snapshots of an important moment in Irish theatre history.

The nationalism that underpins two of her best-known texts, The Rising of the Moon and Cathleen Ní Houlihan, can appear a blunt instrument in contemporary times. However, these political allegories bookend DruidGregory, highlighting the political significance of Gregory’s work.

The setting of The Rising of The Moon is perhaps the most effective of the entire series, drawing fully on its surroundings. In Cathleen, Marie Mullen is striking as The Old Woman, leaning into moments of stillness and silence, presenting this well-known character as a literal monument of significance.


Francis O’Connor’s light touch approach to set design allows the natural beauty of Coole Park to take centre stage across the five short plays. Augmented by Barry O’Brien’s simple yet exquisite lighting design, the entire performance places the audience along a porous boundary line between the historical and the contemporary. These threshold spaces hold the power of this performance.

Unexpectedly, the standout performance moves away from nationalist rigour and atmospheric mystique. Gregory’s raucous comedy, Hyacinth Halvey, is the ideal centrepiece of the production. Gregory’s humour is often overlooked, and Hyacinth Halvey rivals Synge for its considered parody of rural twentieth century Ireland.

Presented as a delightful farce, it delivers comic relief and a breadth of capable performances from the ensemble. Here, the set allows for a more ostentatious addition to the traditional setting, which only accentuates its high-energy delivery.

(Read more)



Credit…David S. Allee for The New York Times; via Pam Green.)

Dr. Anthony Fauci said a vaccine would need to exist for nearly a year before people might feel comfortable returning to theaters unmasked, which he said would likely be mid- to late 2021.

As theaters look to see how they might reopen with safety accommodations including mask use, Dr. Anthony Fauci says it will likely be more than a year before people feel comfortable returning to theaters without masks.

“If we get a really good vaccine and just about everybody gets vaccinated,” he said in an Instagram Live interview with the actress Jennifer Garner on Wednesday, “you’ll have a degree of immunity in the general community that I think you can walk into a theater without a mask and feel like it’s comfortable that you’re not going to be at risk.”

He said that would most likely not be until mid- to late 2021.

But that doesn’t mean he is saying when it would be safe to go to the theater without a mask. Dr. Fauci, the country’s leading infectious disease expert, clarified in a phone interview on Friday that he was referring to when people could return to theatergoing at their pre-coronavirus comfort levels. “Words like ‘safe’ are charged,” he said. “I’m talking about the general trend of when we’ll start to feel comfortable going back to normal if we get a safe and effective vaccine.”

Dr. Fauci said that although a vaccine might be available as early as the end of this year or the beginning of 2021, it would most likely be well into next year before enough people were vaccinated to ensure broad protection.

But Dr. Fauci said that in green-zone areas — those with very low community transmission — indoor theaters may be able to return sooner if people wear masks. “As long as there is infection in the community, you do not want indoor spaces with crowds,” he said Friday. “But in states, cities or counties in the green zone with low levels of infection, I imagine theaters could maybe open at 25 percent capacity, with people wearing masks, sometime as early as next year.”

Experts said Dr. Fauci’s comments help set the expectation that the coronavirus will be around for some time. “We should not be thinking of the vaccine as a silver bullet,” Dr. Leana Wen, an emergency physician and public health professor at George Washington University who previously served as Baltimore’s health commissioner, said Friday. “It will take months to vaccinate hundreds of millions of people, and the vaccine may be, at best, 75 percent effective.”

(Read more)



(Mark Lawson’s article appeared in the Guardian, 9/13.)

In the Guardian on Saturday, Martin Amis predicted it will be years before novelists can make sense of the pandemic. Theatre’s swifter turnaround – and technology allowing a form of live performance – have allowed Richard Nelson already to write and direct three Zoom dramas featuring the Apples, a liberal upstate New York family, first seen in four earlier stage plays.

What Do We Need To Talk About? and And So We Come Forth took them through aspects of infection, isolation and lockdown. In Incidental Moments of the Day, a character – with the shock of a bomb going off – meets a stranger outside. But now an election is coming.

Future historians will feast on this project for its reporting of extraordinary times

Future historians will feast on this project for its reporting of extraordinary times. Trainee playwrights will find it invaluable as an exemplar of negotiating staging restraints. Nelson’s uncannily naturalistic cast includes actors who live together in life but not art, and vice versa. Ingenious plotting has kept them in the medically permissible rectangles. With several actors simultaneously in vision, their constant subtle reactions are a new form of acting.

(Read more)


DP TV is free to watch and our artists are compensated. Donations help support the community during this precarious time & ensure DP emerges from this crisis continuing to bring together visionary artists & adventurous audiences. We’re so grateful for your gifts! Support DP
Week of 9/14-9/20
Wednesday, September 16, 2020 at 7:30 PM (EDT)
StylePointe Retrospective, A Virtual Tribute
A Special Event
Dixon Place pays tribute to the extraordinary collaborative work of gifted dancemakers and designers who have brought so much beauty, innovation and glamour to the StylePointe runway.
Friday, September 18, 2020 at 7:30 PM (EDT)
Black Artists’ Matter Vol. III
Live on Zoom!
Curated and Hosted by
Arif Silverman
Black Artists’ Matter is a variety night celebrating the work of Black Artists from across the country. Come and experience an eclectic and electric evening of music, theater, comedy, and more. Donations will be split between the artists and The Okra Project, a NYC-based collective that hires Black Trans chefs to provide free, home-cooked meals to members of the Black Trans community. View more information by clicking the button below.
October sneak peek…
The Raising Cain Campaign
The annual Dixon Place Gala can’t happen, so we’re planning a month of celebratory, canny, interactive, virtual, and outdoor fun-raising events to take your mind off despair and help us mitigate ours! A scavenger hunt, a cooking show, pandemic sex stories, puppetry in the park, a talent show, a wacky raffle, parking lot dancers, Ellie’s bizarre birthday event & more?! Whether you’re partisan, bipartisan or nonpartisan — there’s something for everyone! Hang in there fellow travelers, conspirators, advocates, believers, and benefactors… we’re comin for ya! Stay tuned…
From The Arctic Circle and Superhero Clubhouse
Lower East Side Coastal Community Fellowship
Apply before September 20, 2020
The LES Coastal Community Fellowship is a paid creative residency for a group of neighbors and stakeholders in the Lower East Side of Manhattan to reflect on the years since Hurricane Sandy, build upon existing community resilience to climate impacts, and envision a thriving future for the neighborhood through artistic activities. View more information on this opportunity by clicking the button below.
Dixon Place | 161A Chrystie Streetbtwn. Delancey & RivingtonNew York, N


Adam Sullivan writes to say that last Saturday the 2021 International World Men’s Handball Championship Draw took place at the Giza Pyramids plateau, with Egyptian actor Khaled El Nabawy, famed Egyptian TV presenter Jasmin Taha Zaki, musician Omar Khairat, and the presence of a wide range of International Handball Federation officials, as well as representatives of teams participating in the championship.

The Minister of Youth and Sports, Ashraf Sobhi, praised Egypt’s organizational, technical and management capabilities, as well as its sports facilities, hotels, and international airports. He thanked President Abdel Fattah El Sisi for his directives to organize the prestigious championship.

The 2021 World Men’s Handball Championship will be held in Egypt from January 13 to 31, 2021.


(Nobuko Tanaka’s article appeared in The Japan Times, 9/11; photo of actor Shinichi Tsutsumi.)

Back in January, when English director Lindsay Posner visited Tokyo for preparatory meetings to stage the iconic courtroom drama “Twelve Angry Men” at Bunkamura Theatre Cocoon in Shibuya Ward, he was expecting to return in a few months to a city abuzz with excitement over the Summer Olympics.

Instead, the pandemic has put both the Games and international travel on hold — resulting in Posner having to log into Zoom in the early hours of his day to conduct rehearsals from his home in London with an all-Japanese cast eight hours ahead and more than 9,500 kilometers away.

Running Sept. 11 to Oct. 4, this production also marks the reopening of Theatre Cocoon following its closure on Feb. 28 due to the government’s state of emergency in response to COVID-19.

Posner, 61, has only worked through an interpreter once before, when he staged a musical version of “Cinderella” with a Russian cast in Moscow in 2016. Now add to that the challenge of working long-distance and you’d think the director might be at his wit’s end, but Posner says he welcomes the experience to work with a cast who don’t speak English.

In fact, he cheerfully notes during our video chat, “it’s interesting how you get used to things very quickly.” His enthusiasm also stems from a long-standing desire to stage this work by the socially incisive U.S. writer Reginald Rose.

First broadcast as a 60-minute television drama in 1954, Rose rewrote “Twelve Angry Men” for the stage the following year. However, it was 1957’s Hollywood adaptation, titled “12 Angry Men” — which Rose wrote and co-produced with the film’s star, Henry Fonda — that propelled this tale told almost entirely from within a murder trial’s jury room to wide acclaim. It was nominated for three Academy Awards and, in 2008, the American Film Institute selected the film for its second-place spot on a list of the Top 10 greatest U.S. courtroom dramas (behind 1962’s “To Kill a Mockingbird” starring Gregory Peck and Mary Badham).

The story revolves around 12 male jurors from a wide range of backgrounds who are to deliberate the case of a poverty-stricken 16-year-old boy accused of stabbing his abusive father to death. The judge has instructed the jurors that they must arrive at a unanimous verdict, and if they find him guilty then the teen will receive the death penalty.

At first it seems the boy’s fate will be sealed quickly as a majority of the jurors — known only by their numbers, one through 12 — agree that he is guilty — all except Juror No. 8 (played in the Tokyo production by Shinichi Tsutsumi), who casts doubt on the prosecutor’s case so effectively that the others start reversing their verdicts one by one.

(Read more)


(Anita Gates’s article appeared in The New York Times, 9/10; Photo: Terry Disney, Fulton Archive; via Pam Green.)

Ms. Rigg also played many classic roles onstage in both New York and London and, late in her career, found new fans on “Game of Thrones.”

Diana Rigg, the British actress who enthralled London and New York theater audiences with her performances in classic roles for more than a half-century but remained best known as the quintessential new woman of the 1960s — sexy, confident, witty and karate-adept — on the television series “The Avengers,” died on Thursday at her home in London. She was 82.

Her daughter, Rachael Stirling, said in a statement that the cause was cancer.

Ms. Rigg had late-career success in a recurring role, from 2013 to 2016, as the outspoken and demanding Lady Olenna Tyrell on HBO’s acclaimed series “Game of Thrones.” “I wonder if you’re the worst person I ever met,” Lady Olenna once said to her nemesis Cersei Lannister (Lena Headey). “At a certain age, it’s hard to recall.”

But Ms. Rigg’s first and biggest taste of stardom came in 1965, when, as a 26-year-old veteran of the Royal Shakespeare Company, she was cast on the fourth season of ITV’s “The Avengers.” As Emma Peel, she was the stylish new crime-fighting partner of the dapper intelligence agent John Steed (Patrick Macnee), replacing Honor Blackman, who had left to star in the James Bond film “Goldfinger.” (Ms. Blackman died in April.)

Although Mrs. Peel, as Steed frequently addressed her, remained on the show relatively briefly, she quickly became the star attraction, especially when “The Avengers” was broadcast in the United States, beginning in 1966. Reviewing the 1969 movie “The Assassination Bureau,” in which she starred, Vincent Canby of The New York Times described Ms. Rigg in her Emma Peel persona as a “tall, lithe Modigliani of a girl with the sweet sophistication of Nora Charles and the biceps of Barbarella.”

She had left the show by then for a luminous career in feature films. Her other roles included Helena in Peter Hall’s “A Midsummer Night’s Dream” (1968), Portia in an all-star version of “Julius Caesar” (1970), a free spirit who tempted George C. Scott in Arthur Hiller and Paddy Chayefsky’s satire “The Hospital” (1971), and the cheated-on wife in Harold Prince’s interpretation of the Stephen Sondheim musical “A Little Night Music” (1978).

(Read more)


(via Michelle Tabnick Public Relations; Photo of Bob Ost by Walter McBride.)

Theater Resources Unlimited (TRU) hosts weekly Community Gatherings every Friday at 4:30pm via Zoom, to explore the creation of art and theater in the time of COVID-19. Ask questions, bring answers, be part of a community – it’s an opportunity to network with theater professionals and talk about keeping theater alive during these challenging times. To reserve a spot and receive the Zoom invitation, email with “Zoom Me” in the subject line.

A message from Bob Ost, executive director of TRU: “Due to the COVID-19 pandemic, all TRU live events are being reformatted for virtual participation. We created the weekly Community Gatherings to both minimize isolation and share information within the community. Stay positive, test negative, be safe!” 

TRU continues their weekly series of TRU Community Gatherings this Friday and next, with others to be announced. Or check the upcoming schedule at

The gathering on Friday, September 11, 2020 will discuss “The Impact of the Pandemic on Writers,” and will include the following speakers: Cheryl Davis, general counsel of Authors Guild; and Emmanuel Wilson, managing director of

 Dramatists GuildThe conversation will explore the organizational pivots writers’ guilds have made during the pandemic, what initiatives they are taking to help members get through all this and how their members are surviving this challenging time.

Friday, September 18, 2020, offers a conversation entitled “When Sitting All Alone in Your Room IS a Cabaret,” and will include the following speakers: Natalie Douglas, actor, cabaret performer, educator, music historian; Alexis Fishman, actor, cabaret performer/coach; Bernie Furshpan, booking director at The Triad in NYC, former managing partner of Metropolitan Room and founder of MetropolitanZoom virtual cabaret; and Mardie Millit, cabaret performer. Speakers will address some of the game-changing initiatives that cabaret is taking to generate intimate performances on isolated platforms, and how performance material needs to meet the current cultural moment.

Videos of past Community Gatherings can also be viewed at 

TRU’s YouTube channel:

About the Panelists

Cheryl Davis received the Kleban Award as a librettist for her musical 

Barnstormer, (written with Douglas J. Cohen) about Bessie Coleman, the first Black woman flyer. The show received a Jonathan Larson Award through the Lark Play Development Center. Her play Maids Door received great reviews, won seven Audelco Awards, and was a finalist for the Francesca Primus Prize. Her play 

The Color of Justice (commissioned by Theatreworks/USA), received excellent reviews in the New York Times and Daily News, and tours regularly. Her musical 

Bridges, which was commissioned by the Berkeley Playhouse, received its world premiere in February 2016 to great reviews and three award nominations from the San Francisco Bay Area Theatre Critics Circle. She received a Writers’ Guild Award for her work on “As the World Turns”, and was also nominated for a Daytime Emmy Award. Her work has been read and performed internationally, including at the Cleveland Play House, the Actors Theatre of Louisville, and the Kennedy Center.  She is the General Counsel of the Authors Guild.

Natalie Douglas is a twelve-time Manhattan Association of Cabarets and Clubs Winner. She has been called “a true force of nature,” by Clive Davis of The Times (UK). She has performed at Carnegie Hall, Cafe Carlyle, The Town Hall, Rose Hall at Jazz at Lincoln Center, The Pheasantry in London, and at her NYC home club, Birdland Jazz Club where her award-winning TRIBUTES monthly residency (Nina Simone, Stevie Wonder, Elvis, Dolly Parton, Nat “King” Cole, Dame Shirley Bassey, Ella Fitzgerald, Roberta Flack, Joni Mitchell, Sammy Davis, Jr., Lena Horne, Barbra Streisand and more) is now in its fourth year and her portrait hangs on the Wall of Fame. She is also the recipient of two Backstage Bistro Awards, a Nightlife Award and two awards presented by the Mabel Mercer Foundation, The Donald F. Smith & Margaret Whiting Awards. Natalie has released three albums, including the MAC Award Winning Human Heart. Natalie has also made her mark as a much sought after educator and actor-she is a Master Teacher for the Mabel Mercer Foundation, the St. Louis Cabaret Conference, and the Eugene O’Neill Cabaret & Performance Conference. Natalie holds a bachelor’s degree from USC in Psychology, Theatre and Women’s Studies and a master’s degree from UCLA in Psychology and Theatre. For more info, visit

Alexis Fishman, born and bred in Sydney, Australia, is a graduate of the Western Australian Academy of Performing Arts (WAAPA). She was nominated for a Helpmann Award for her performance as ‘Young Dusty’ in Dusty, her first show after graduating. Alexis then went on to star in some of Australia’s biggest musicals Including Shout! and the award winning Sydney premiere of Kiss of the Spiderwoman. Other Australian credits include Urinetown, Closer, Troupers for the Sydney Theatre Company as well as plays at the Adelaide Cabaret Festival, Darlinghurst Theatre Company and Monkey Baa Theatre Company. Alexis is the creator of six solo cabaret shows including the award winning Club Gelbe Stern which made it’s US debut at the NYMF where Alexis was awarded ‘Outstanding Individual Performance’. Other shows have been performed across Australia at the Adelaide and Melbourne Cabaret Festivals, Shir Madness Jewish Music Festival, The Reginald Theatre, Chapel Off Chapel, Ginger’s at the Oxford Hotel and Claire’s Kitchen. In New York, Alexis’ shows have been seen at 54 Below, Pangea, JCC Manhattan and Laurie Beechman Theatre as well as various venues in New Jersey, Ohio and Florida. Recent highlights include performing one of her newer shows, Amy Winehouse: Resurrected alongside Amy’s father, Mitch Winehouse at City Winery, NYC in May 2019. Alexis is a producer with Moira Blumental Productions and a cabaret coach, helping clients realize their dreams of creating engaging, intriguing and sparkling cabaret shows.

Bernie Furshpan manages professional singers and songwriters and is the Booking Director at The Triad Theater in NYC, and the former owner of The Metropolitan Club (2011-2017).  The Long Island resident was born in Israel and came to this country in 1963 to be raised in Brooklyn, where he graduated with honors from James Madison High School. Later, when a pre-med student at Stony Brook University, he found time to be a drummer in the rock band, J&B, and was a cartoonist for the Fortnight and Statesman publications. Dr. Furshpan went from graduating New York Chiropractic College to owning one of the largest practices in New York State for 27 years. While practicing, he invented the Furshpan Maneuver to correct disc bulges and herniations. Never forgetting his love of sports, he produced one of the biggest sponsorship pitches on behalf of NASCAR to Nextel for the Cup Series. Finally, before taking ownership of The Metropolitan Room (named NYC’s # 1 jazz/cabaret venue by New York Magazine), he summited Mount Kilimanjaro on his 50th birthday and delved into a successful comedy career. Once COVID hit, he created MetropolitanZoom, an innovative simulated reality of a live nightclub show with a live audience utilizing the platform.

Mardie Millit, “evoking both Bette Midler and a young Carol Burnett” (Stephen Holden, New York Times), vocalist and comedienne Mardie Millit is “high-level finesse and charm” (Larry Myers, Ptown Nitelife). At Elaine’s, the legendary show business and literary nightspot, where she appeared for its final three years, Mardie became known for her late-night duets with TV and movie heartthrobs and even a former head of the CIA. She has also made regular appearances at the Monkey Bar, the Rainbow Room, Birdland, Iridium, 54 Below, and Joe’s Pub, both as a solo performer and with on- and offstage partner Michael Garin. Mardie has appeared regionally in a slew of classic musical theatre roles and in New York premieres of original shows by the likes of William Peter Blatty, Billy Stritch and Mark Waldrop. Her most recent theatrical endeavors have been with Dream Productions at the Laurie Beechman Theatre, where she has played Joanne in Company, the Baker’s Wife in Into the Woods, and Berthe in Pippin, and (deities willing) will be playing Mrs. Lovett in Sweeney Todd in 2021. She has been performing her music/comedy show, Live from Lockdown! regularly on Facebook Live from her Harlem living room since April with nothing but a piano playing husband, a smartphone, and a dream.

Emmanuel Wilson is the former director of membership at the Dramatists Guild and the current managing director for the guild. He comes to the position after growing the guild’s membership to more than 8,500 from 6,500 in his three years with the organization. At the Dramatists Guild, Wilson developed new partnerships with Blackboard Plays, the Educational Theatre Association and the Theatre Communications Group. He serves on the Guild’s New Media, Membership, Political Engagement and DEI committees. He is also the founder of Blue Rose Stage Company and formerly the artistic associate and literary manager at TADA! Youth Theater.

Theater Resources Unlimited

(TRU) is the leading network for developing theater professionals, a twenty-seven-year-old 501(c)(3) nonprofit organization created to help producers produce, emerging theater companies to emerge healthily and all theater professionals to understand and navigate the business of the arts. Membership includes self-producing artists as well as career producers and theater companies.

TRU publishes an email community newsletter of services, goods and productions; offers a Producer Development & Mentorship Program taught by prominent producers and general managers in New York theater, and also presents Producer Boot Camp workshops to help aspirants develop business skills. TRU serves writers through the TRU Voices Play Reading Series, Writer-Producer Speed Date, a Practical Playwriting Workshop, How to Write a Musical That Works and a Director-Writer Communications Lab; programs for actors include the Annual Combined Audition.

Programs of Theater Resources Unlimited are supported in part by the Montage Foundation and the Leibowitz Greenway Foundation.

For more information about TRU membership and programs, visit


Mabou Mines is Thrilled to Announce
as the Company’s new team of Co-Artistic Directors


While our stages may be dark, we have big plans for the future…
Carl Hancock Rux and Mallory Catlett join Karen Kandel and Sharon Ann Fogarty as Co-Artistic Directors of Mabou Mines. Founding member Lee Breuer and long-time Co-Artistic Director Terry O’Reilly will step into new roles as Artistic Advisors. Rux, Catlett, Kandel and Fogarty carry on leadership of the Company to create a vibrant, collaborative hub for diverse artists.

Carl and Mallory both have a rich history of collaboration with the company. After serving as a Resident Artist, Carl became an Associate Artist in 2018 and has served as an Advisor for Mabou Mines SUITE/Space Performance Program for artists of color. Mallory is currently collaborating with Karen Kandel and Eve Beglarian on the new work Vicksburg Project and brought her OBIE Winning piece, This Was The End, developed in the Resident Artist Program, to Mabou Mines in 2018. She will serve as mentor for the long-running Resident Artist Program for Emerging Artists.


KAREN KANDEL first worked with Mabou Mines on the gender-reversed adaptation Lear. She describes her early work with the Company as truly transformative, during which she “became acutely aware of what it means to be a full creative participant.” Karen is the recipient of numerous awards and honors including three OBIEs, Connecticut Critics Circle Award, Drama League Outstanding Performance Citation, United States Artists, Ziporyn Fellowship, TCG Fox Fellowship and Asian Cultural Council Fellowship. Karen became a Co-Artistic Director at Mabou Mines in 2015.
MALLORY CATLETT is a creator/director of performance across disciplines; from opera and music theater to plays and installation art. Her work has premiered/performed in New York at EMPAC, 3LD, HERE, the Ontological-Hysteric Theater, PS122, Abrons Arts Center, The Chocolate Factory, has been featured at the Ice Factory, COIL and BAM’s Next Wave Festival and toured internationally to Canada, Ireland, UK, France, the Netherlands and Australia. She is the recipient of the Foundation for the Contemporary Arts 2015 Grants to Artists Award and a 2016 Creative Capital Grantee. She is an associate artist at CultureHub, a member of the
Collapsable Hole and the artistic director of Restless Productions NYC.
CARL HANCOCK RUX is an award-winning poet, playwright, novelist, essayist and recording artist. He is the author of the novel, Asphalt, the OBIE Award-winning play, Talk (co-produced by the Foundry Theater/Joseph Papp Public Theater) and the Village Voice Literary prize-winning collection of poetry, Pagan Operetta. Rux is a frequent guest performer in dance, and performance collaborating with Carrie Mae Weems, Marlies Yearby’s Movin’ Spirits Dance Theater, Nona Hendryx, Urban Bush Women, Robert Moses Kin, Jane Comfort & Co., Bill T. Jones/Arnie Zane Dance Company, and the Alvin Ailey American Dance Theater, Ann Bogart, Nick Cave, and originated the title role in the Bernice Johnson Reagon opera, The Temptation of Saint Anthony, directed by Robert Wilson, which had its world premiere at the Paris Opera Garnier and US premiere at BAM. Rux has worked with numerous institutions as a performer and/or curator at The Whitney Museum, The Solomon R. Guggenheim Museum, Lincoln Center, Harlem Stage, Threadwaxing Space, The Knitting Factory, among others, and is the recipient of several awards including a BESSIE award for his direction of the Lisa Jones/Alva Rogers dance musical, Stained; a New York Press Club Journalism award for his NPR radio documentary Walt Whitman: Song of Myself;  a Herb Alpert Award and a 2019 Global Change Maker Fellow. 

SHARON ANN FOGARTY has been a Co-Artistic Director with Mabou Mines since 1999. As a producer she helped launch most of Mabou Mines’ work since 1994, including award-winning productions such as Belén – A Book of Hours and Song for New York, directed by Ruth Maleczech, and An Epidog, Ecco Porco, Red Beads, and Mabou Mine DollHouse, directed by Lee Breuer. As a director with Mabou Mines, Sharon premiered Cara Lucia, Lucia’s Chapters of Coming Forth by Day, Finn and Faust 2.0 .

The Company has been sustained by the principals of collaboration with a wide network of artists, and the future will be no different. The 50th anniversary is an opportunity to imagine an expansive future for Mabou Mines in our newly renovated home at the 122CC.
Central to Mabou Mines mission has always been nurturing and mentoring the next generation of innovative theatre artists. Carl and Mallory are both former resident artists of the company. It is integral to our vision for the future to bring new voices to the stage, and these artists are up to the challenge of not only creating and producing their own projects but strengthening Mabou Mines residencies and fellowships to elevate the company’s unparalleled intergenerational mentorship model.

Help us celebrate our 50th Anniversary by supporting a new generation of artists. Please donate to the company and its future!

With love,
Mabou Mines


Mabou Mines is an artist driven intergenerational artist collective whose performance pieces subvert social, cultural and disciplinary constructs. Mabou Mines is a collaborative hub for diverse, avant-garde theater artists. Our mission is to generate, support, and connect audiences with original works of experimental performance and inventive re-imaginings of the classics, while nurturing the next generations of innovative theater artists. Mabou Mines’ creative vision is informed by the ethos of our co-founders: JoAnne Akalaitis, Lee Breuer, Philip Glass, Ruth Maleczech, and David Warrilow. Fifty years later, the company remains committed to collaboration and providing a platform for work that interrogates, innovates, and represents a multiplicity of identities and experiences.