Category Archives: Events


(Andrew Dickson’s article appeared in the Guardian, 3/30.)

A controversial document in which the playwright Christopher Marlowereportedly declared that Christ was gay, that the only purpose of religion was to intimidate people, and that “all they that love not tobacco and boys were fools” is to go on show online for the first time.

The so-called “Baines note”, a star item in the British Library’s Renaissance manuscript collection, offers tantalising evidence about the private life of Marlowe, one of the most scandalous and magnetic figures of the Elizabeth period.

Compiled in May 1593 by the police informant and part-time spy Richard Baines, it claims to record a conversation between the two men in which the playwright airs a long list of what Baines describes as “monstrous opinions”.

Among them, Marlowe casts doubt on the existence of God, claims that the New Testament was so “filthily written” that he himself could do a better job, and makes the eyebrow-raising assertion that the Christian communion would be more satisfying if it were smoked “in a tobacco pipe”.

(Read more)



Production marks the 50th anniversary of playwright’s death

Phoenix Theatre Ensemble announces that Joe Orton’s dark comedy Entertaining Mr. Sloane will begin performances May 4th and will run for 13 performances only through May 14 at The Wild Project  in NYC.   

Craig Smith directs a new staging of Joe Orton’s dark comedy, Entertaining Mr. Sloane with Phoenix Theatre Ensemble resident actors: Elise Stone, Antonio Edwards Suarez, and John Lenartz; and introduces newcomer Matt Baguth (pictured), as Sloane.

In Entertaining Mr. Sloane, Orton’s controversial comedy concerns a landlady (Stone) who invites the titular “attractive, mischievous and dangerous” man (Baguth) back to her house where she and her brother (Suarez) “compete for his favors.” The stranger’s past, however, threatens to catch up with him as the siblings’ elderly father (Lenartz) recalls when they last met. The breakthrough comedy for young Orton premiered in England in 1964.  Orton was brutally murdered three years later by his lover, Kenneth Halliwell–2017 marks the 50th Anniversary of Orton’s death.   

Set and Lights are being designed by Tony Mulanix, costumes by Debbi Hobson, original music and sound design by Ellen Mandel, assistant director is Karen Case Cook, stage manager is Oscar  Klausner, and vocal coach is Josh Moser.  Performances are at The Wild Project, 195 East 3rd Street, in NY’s East Village.

What:   Entertaining  Mr. Sloane by Joe Orton

When:   May 4–14; performances Tues-Sat @8:00 PM;  Wednesday and Saturday matinees at 2:00 pm; Sunday matinee at 3:00 pm.

Full Schedule: Thurs 5/4 @ 8pm; Fri 5/5 @ 8pm; Sat 5/6 @ 2pm & 8pm; Sun 5/7 @ 3pm; Tues 5/9 @ 8pm; Wed 5/10 @2pm; 8pm; Thurs 5/11 @ 8pm; Fri 5/12 @ 8pm; Sat 5//13 @ 2pm & 8pm; Sun 5/14 @  3pm.

Information:;  212-465-3446

Tickets:   Tickets are $30 each; Call 212-352-3101 or visit

Where: The Wild Project @ 195 East 3rd Street (Avenue A and Avenue B)

Transportation: By Subway: F Train to 2nd Avenue; by Bus A14 to 4th Street and Ave A; 8th Street Crosstown.

Press: Craig Smith

Photo Caption:  Matt Baguth as Sloane in Entertaining Mr. Sloane at Phoenix Theatre Ensemble 


(Michael Coveney’s article appeared in the Guardian, 3/27.)

David Storey, who has died aged 83, was an unusual literary figure in being as well known for writing novels as he was for writing plays, never claiming that one discipline was harder or easier than the other, but achieving distinction in both, often overlapping, fields. He sprang to prominence with his first novel, This Sporting Life, in 1960; his 1963 movie adaptation, directed by Lindsay Anderson, and starring Richard Harris and Rachel Roberts, was an outstanding example of the new wave of British film, in its raw black-and-white northern realism and its brutal story of a miner turned professional rugby player and his widowed landlady.

Storey, the big and burly son of a Yorkshire miner, played rugby league for Leeds in the early 1950s while also studying fine art at the Slade school in London. His recurring themes, on stage and page, were defined by this dual experience; and by the conflict between his roots in the north and a sense of powerful dislocation in the south, as well as feelings of guilt and atonement in family life.

(Read more)


(Eric Grode’s article appeared in the New York Times, 3/22.)

Carol Channing, who created the title role in the 1964 smash hit musical “Hello, Dolly!,” has been called many things: “a walking alarm clock,” “a moon-mad hillbilly,” “an Al Hirschfeld caricature in the flesh,” with “a vocal range from deep foghorn to squeaky hinge.”

But one thing she has never been called is a type.

“Everyone is unique,” said Carole Cook, who in originating the Australian production in 1965 became just the second woman to play Dolly Gallagher Levi. “But some are uniquer than others.”

So what happened when the irreplaceable Ms. Channing said, “So long Dearie” to the role?

She was replaced. Again and again and again.

(Read more)

Top photo: NewNowNext



(Peter Crawley’s article appeared in the Irish Times, 3/22.)

“It is not about the plays, it’s about the building!” So insists Willy Hayes, cofounder and resident playwright of the Irish National Theatre of Ireland, as he tries desperately to guard its future against a calamitous opening night in 1904. If that line brings the house down at the actual national theatre, nearly 13 years since the debut of Corn Exchange’s marvellous creation, it’s because it is now about the play and the building. Together at last.

Michael West’s witty and nimble alternative history of the founding of the Abbey, developed with its original ensemble, was first staged in parallel with the national theatre’s own blighted centenary, by a company on the outside looking in. Today, at this close proximity, director Annie Ryan’s production is razor-sharp, yet it seems surprisingly fresher and more affectionate towards its inspiration.

It helps that the performance, delivered in Corn Exchange’s head-spinningly energetic version of Commedia dell’arte, finds an artful correspondence with the world of the characters. Whether these fantastic actors briskly summon up a squeaking trolley, a spooked horse, a street riot, or an unpleasant squelch on the cobblestones, just as the Yeatsian playwright and his company struggle to create a mythic play “for Ireland”, the delight of the show is to see people building up their world right in front of you.

(Read more)


(Michael Billington’s article appeared in the Guardian, 3/21.)

Amagical transformation has taken place. Aside from its sensational climactic ballet, the 1951 Hollywood movie on which this show is basedoffers a ludicrously stagey vision of Paris filled with cheery gendarmes and chirping kids. But Christopher Wheeldon, as director and choreographer, and Bob Crowley, whose sets and costumes have a touch of genius, have created a show that not only offers an eclectic range of Gershwin songs but is also a riot of colour and movement.

From the start, as swastika-adorned banners turn into the tricolour, we are reminded that we are in the newly liberated Paris of 1945; it is still, however, a city of breadlines and vengeful attacks on collaborators. But Craig Lucas’s book does everything to give substance to the movie’s paper-thin story. We still see an ex-GI and would-be artist, Jerry Mulligan, falling in love with Parisian Lise. But there are now two rivals for Lise’s affections, in the shape of an aspiring nightclub singer, Henri, and a war-maimed composer, Adam. The pivotal role of Milo, a rich American woman in love with Jerry, has also been enhanced, so that she now finds herself financing a new ballet in which Lise will star.

(Read more)


(Michael Paulson’s article appeared in The New York Times, 3/17; via Pam Green.)

“Miss Saigon” started with an audacious idea — create a musical that explores the end of the Vietnam War through an ill-fated romance between a virginal Vietnamese bargirl and a hunky American G.I.

It would become much more than that. Over 28 years, “Miss Saigon” has turned into one of the most successful hits in musical theater — as well as one of the most polarizing and most protested.

Now, it’s back on Broadway, for the first time since 2001. It is in the same theater, tells the same operatically tragic story, and again features a hovering helicopter.

But the show has changed significantly over the years, and those shifts tell another story — one about how much the controversy over “Miss Saigon” has affected the industry.

“Miss Saigon” opened in London in 1989, with an acclaimed white British actor, Jonathan Pryce, wearing prosthetics to alter the shape of his eyes and makeup to alter the color of his skin as he played the show’s leading man, a scheming Eurasian pimp called the Engineer. But by the time the show reached Broadway in 1991, Mr. Pryce had abandoned those practices, and, after he won a Tony Award and left the show, the producers changed their approach — in the years since, they have chosen only actors of Asian heritage to play the Engineer, both on Broadway and on the United States tours.

(Read more)


(Sopan Deb’s article appeared in The New York Times, 3/15; via Pam Green.)

A deep fear came to pass for many artists, museums, and cultural organizations nationwide early Thursday morning when President Trump, in his first federal budget plan, proposed eliminating the National Endowment for the Arts and the National Endowment for the Humanities.

President Trump also proposed scrapping the Corporation for Public Broadcasting, a key revenue source for PBS and National Public Radio stations, as well as the Woodrow Wilson International Center for Scholars.

It was the first time a president has called for ending the endowments. They were created in 1965 when President Lyndon B. Johnson signed legislation declaring that any “advanced civilization” must fully value the arts, the humanities, and cultural activity.

While the combined annual budgets of both endowments — about $300 million — are a tiny fraction of the $1.1 trillion of total annual discretionary spending, grants from these agencies have been deeply valued financial lifelines and highly coveted honors for artists, musicians, writers and scholars for decades.

(Read more)

Photo: Chicago Tribune


(Lyn Gardner’s article appeared in the Guardian, 3/19.)

Hans Kesting is about to give his funeral oration as Mark Antony. He stumbles towards the lectern, wild-eyed and dishevelled. He suddenly throws away his carefully prepared notes, slumps in front of the stand, loosens his tie and appears to spontaneously address the crowd. But is it an honest, grief-stricken response to the death of Julius Caesar? Or a cleverly staged, managed and calculated piece of performance designed to enhance his own political ambitions? One that is conveniently caught on camera and broadcast on screens everywhere.

It’s one of several electrifying moments in Ivo van Hove’s lean, clean, condensed six-hour version of Coriolanus, Julius Caesar, and Antony and Cleopatra which returns to the Barbican where it was first staged in 2009. My, it’s still in great shape, the ensemble playing ferocious and purposeful. Jan Versweyveld’s designreframes Barbican’s stage as a bland, modern international conference hall, complete with pot plants, screens displaying the action, news bulletins and interviews with the lead actors, and an LED displays bringing news from the outside world – reminding us that in an era of instant communication and 24-hour news it is as easy to be misinformed as well informed. Unsurprisingly, in the opening minutes some screens briefly show a clip from Donald Trump’s inauguration.

(Read more)


MAY ADRALES is a freelance director and teacher based in New York City.  She helmed the world premieres of Vietgone at Manhattan Theatre Club/South Coast Rep, Oregon Shakespeare Festival, and Seattle Rep; Luce at LCT3, Edith Can Shoot Things and Hit Them at Actors Theater of Louisville; after all the terrible things I do at Milwaukee Rep; Mary at The Goodman Theatre; In This House at Two River Theater Company; Qui Nguyen’s Five Days Till Saturday (NYU Tisch); Richard Dresser’s Trouble Cometh at San Francisco Playhouse; and  Katori Hall’s Whaddabloodclot!!! at Williamstown Theater Festival.  Upcoming:  Imani Uzuri and Zakiyyah Alexander’s girl shakes loose at Penumbra Theater; Betty Shamieh’s The Strangest at East 4th Theater; and Chisa Hutchinson’s Somebody’s Daughter at Second Stage Theatre.

Adrales is the recipient of the Stage Directors and Choreographers Foundation’s inaugural Denham Fellowship and the Paul Green Emerging Directing Award.  She is a recipient of a TCG New Generations grant.  She has been awarded directing fellowships at New York Theater Workshop,  Women’s Project, SoHo Rep, and The Drama League.  She is a proud Artistic Associate at Milwaukee Rep.  Adrales has directed and taught at NYU, Juilliard, American Conservatory Theater, American Repertory Theater, Fordham University, and Bard College.  She served as a faculty member for The Public Theater’s Shakespeare Lab (2006-2009).  She is on faculty at Einhorn School of Performing Arts at Primary Stages and taught Directing Shakespeare at Brown/Trinity MFA program.  Adrales is a graduate of the Yale School of Drama and currently serves on the faculty.  

A first-generation Filipina American, Adrales grew up in southwest Virginia with her three sisters JoAnn, Gina, and Tricia and had a backyard full of chickens, pheasant, and dogs.  Her father, Dr. Mamerto B. Adrales, is a general surgeon and her mother, Jocelyn Divinagracia Adrales, is a nurse.  They established a home and successful family practice in Covington, Virginia.  May is a lover of ice cream and martinis, and she balances this love with a passion for running and marathon racing.   Currently, she lives in Brooklyn with her husband-to-be, architect and theater designer, Brad Kisicki.  

Visit May’s Web site:  


May Adrales gets immersive with SV’s Bob Shuman—Part II.

One skill a director must have?

A strong curiosity about the world we are living in.  And an ability to translate that curiosity into the work. 

How should a playwright best interact with a director?  How are the boundaries between the two best set—and what are they?  How do you work with Betty Shamieh? 

Every playwright/director relationship is different.  You are in a marriage of sorts, so you have to work out how best to communicate with one another.   I think you must build an innate trust and know that you both want to create the most powerful theatrical event possible.  I also don’t try to go out to “fix” a play.  I believe unequivocally in the power of The Strangest and only wish to interpret what’s on the page in the most persuasive and moving way possible. 

What’s different about being a professional director than you suspected as a student? How would you advise a young director, or your students, trying to break into the business today?

I teach a class at Yale called “Bridge to the Profession,” which aims to prepare students for the professional world.  I try to get them to think more specifically about who they are–what drives them, what are they curious about in the world–and also what work they want to put out in the world.  I try to guide them, practically speaking, by teaching them a little about self-producing, budgeting, and also balancing personal and work life.  

Would you tell them to read reviews—and what kinds of things might they learn from critics?

It’s helpful to read reviews sometimes.  I always do.  It’s always painful to read about your work in sound bites when you have dedicated at least half a year, usually more, to the project.  But my professor, Liz Diamond, once advised us to read reviews and reflect on the facts of the review– what the reviewer saw–rather than the adjectives.  It was an important lesson for me. I was able to cut through the biting critique and better understand the work I put on stage.  Now, as a teacher, I try to lead a class discussion on failure and success and ask students to determine what their own criteria for success is, rather than a reviewer’s.  

Most influential director, person in theatre, or mentor in your life?

Lee Breuer of Mabou Mines.  He taught me to dare inventively, shake off fear, and eschew the need for acceptance in my work. 

How do you beat the stress that comes with your job?

I used to smoke. Now I long-distance run.  But red wine and good company makes the stress always go away.

Best recent Broadway or Off-Broadway play? How do you know what fine directorial work is?

Simon McBurney’s Mnemonic opened my eyes to what technology could do in theater; Lee Breuer’s The Doll’s House showed me the skillful hand of a director and how a director can push the envelope again and again within one production; and Jessica Hagedorn’s Dogeaters– it was the first play I ever saw Off-Broadway that had characters that resembled me and my family.   

Must all good stage work be political?

I think by nature all theater is political.  It’s a political act to engage in a community that presents you with another way to live life and empathize with people other than yourself.  But good theater is a rare alchemy–there are so many elements that must cohere in order for it to be impactful and powerful.  Theater with only a political message often bores me, but theater that can ignite real questions, about what it means to live in this world, and that questions my own way of thinking is what I go to the theater for.   

When are or were you happiest in the theatre?

When I see the strange and the beautiful collide in an unexpected way.  When I see dissonance on stage and it shakes me to the core.  When I see pure joy expressed and feel free myself.  It’s a wondrous thing to be moved by such fiction.

Thank you so much.

Read Part I of the interview with May Adrales:

The Semitic Root presents

The Strangest

An Immersive Murder Mystery Experience Set in French Algiers

Inspired by Albert Camus’ Classic Novel, The Stranger

Written by Betty Shamieh

Directed by May Adrales

March 12 – April 1

Fourth Street Theatre


Regular Price: $25

Premium: $45 (Includes a reserved seat and a signed program)


Press: Hanna Raskin/GOGO Public Relations and Marketing

(c) 2017 by May Adrales (answers) and Bob Shuman (questions). All rights reserved.

Photo:  Stephanie Keith (Alok Tewari as Abu)