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7,500 Sq. Ft. Space in Brooklyn Includes Theater, Offices, Two Rehearsal Studios

2017-18 Season Includes Multi-Year Focus on 
The Thousand and One Nights

After a five year search, Target Margin Theater is proud to announce the opening of the Company’s first permanent home. Located in the Sunset Park section of Brooklyn, the modern, industrial space includes two large rehearsal studios, office space, and a column free, 3,250 sq. ft. performance space with generous 18 ft. ceilings. The theater is named The DOXSEE after founding member and resident designer Lenore Doxsee (1965-2017).

For over 25 years, Target Margin Theater (Founding Artistic Director David Herskovits, Associate Artistic Director Moe Yousuf, General Manager Lu Liu) has been praised for its aggressive interpretations of classic texts, lesser-known works, and new plays inspired by existing sources. In addition, Target Margin has served over 1,000 artists through its annual incubator LAB festival and has nurtured the next generation of theater makers via a yearlong fellowship program. This work has happened, locally, across three boroughs in over 20 theaters, 50+ rehearsal studios and 4 offices.

“Having a permanent home finally gives us the freedom to work on each project just as it demands,” says Target Margin’s Founding Artistic Director David Herskovits. “The space is a natural result of the growth of our mission. Target Margin now involves more artists than ever, with fellowship, community, and production programs, growing steadily in recent years. Our leadership has expanded too, with the promotion of Moe Yousuf and recent addition of Lu Liu. Target Marging has matured into a more diverse and democratic company. The building gives us a real, local home for the first time ever. Alternative performances spaces where young talent can make work on the cheap are vanishing. The DOXSEE will help fill that void and keep New York City at the forefront of theatrical innovation.”

The DOXSEE is set to open on November 9–11 with Grand Festival Opening, three days of performances including a sneak peek of a new work by Target Margin and the work of over 40 theater and performance artists. This year Target Margin will also launch a new Residency Program providing space and time for companies and individual artists to develop new and challenging works.

The 2017–2018 season continues with a multi-year exploration of The Thousand and One Nights, a collection of Silk Road, MENA (Middle Eastern / North African), and South Asian stories. Huge in scope, mystical, political and problematic, the folk tales will be examined in One Night(March 22 – April 21), the first section of a larger theatrical adaptation directed by Herskovits, and in 1001 LABS (May 31–June 23), four productions of various tales lead by four diverse artists. The season will also feature a series of free community events in early 2018, bringing local residents, artists, activists, and scholars together to discuss the political, social and artistic influence of The Thousand and One Nights.

Details on Target Margin’s 2017-2018 season can be found below. The DOXSEE and Target Margin Theater’s new home is located at 232 52nd Street in the Sunset Park section of Brooklyn. Tickets are now on sale for Grand Festival Opening and can be purchased by calling 212.352.3101 or visiting


Grand Festive Opening
November 9–11 at 7pm; $20
Target Margin Theater celebrates the opening of The DOXSEE with three days of performances featuring new work by Target Margin and over 40 theater and performance artists. Participating artists include:

Thursday, November 11 at 7pm
Avi Amon, William Badgett, Tom Cabaniss, Ann Marie Dorr, Jesse Freedman / Meta Phys Ed, James Hannaham, Kristine Haruna Lee, Michael Levinton / Little Lord, Katie Rose McLaughlin / Designated Movement Company, Mary Neufeld, and Kathleen Kennedy Tobin.

Friday, November 10 at 7pm
Nic Adams, Clare Barron, Tanisha Christie, John Del Gaudio, Lane Dombois, James Tigger! Ferguson, Rebecca Hart, Sherrine Azab & Jake Hooker / A Host of People, Yehuda Hyman, Claire Moodey, Shannon Sindelar, and Peter Mills Weiss.

Saturday, November 11 at 7pm
Alex Borinsky, William Burke, Corinne Donly, Daniel Fish, Joshua William Gelb, Kara Feely & Travis Just / Object Collection, Paul Ketchum, John Kurzynowski / Theater Reconstruction Ensemble, Brian Rady, David Rosenmeyer & Melena Dayen, Sugar Vendil, Eva von Schweinitz and Tracy Weller / Mason Holdings.

2018 TMT Institute
January 2018
Target Margin begins the fifth year of the TMT Institute, the Company’s year-long fellowship program. Under the guidance of David Herskovits and Associate Artistic Director Moe Yousuf, five emerging theater artists discover ways to expand their artistic practice. Built on Target Margin’s history of nurturing emerging talent, The TMT Institute provides support and space for open-ended questioning and experimentation within, and at, the edges of the form of theater.

BYO Stein
January 20, 2018
Stars of downtown theater read from the work of Gertrude Stein. Audiences are encouraged to bring their own selection and join the readers. One night only with discussion.

One Night
March 22 – April 21, 2018
Under the direction of David Herskovits, One Night will be the first section of a larger theatrical adaptation of The Thousand and One Nights, a collection of Silk Road, MENA (Middle Eastern and North African), and South Asian stories and folk tales.

1001 Labs
May 31 – June 23, 2018
This year’s edition to the TMT Lab Festival, 1001 Labs, will present four intertwining tales from The Thousand and One Nights in four new productions. The Lab will also include special events to enrich the conversation and engage the local Sunset Park community including potluck dinners, intergenerational storytelling program, a film series, as well as a discussion series focusing on the problematic adaptations of the text including Aladdin, Sinbad, Ali Baba and the Forty Thieves. 

About Target Margin Theater

For 25 years, Target Margin has been praised for its aggressive interpretations of classic texts, lesser-known works, and new plays inspired by existing sources. They exist to build a world where all people embrace the original, the challenging and the different. They challenge audiences with their plays, energetically expand the possibilities of live performance, and engage their community at all levels through partnerships and programs. The range of programming has been enormous, including classics, opera, new writing, and adaptation of literature and historical sources. The Company has served over 1,000 artists (emerging and established) through its annual LAB and is committed to nurturing the creative aspirations of the next generation of theater makers in the TMT Institute, the Company’s yearlong fellowship program. 

Target Margin’s artistic and cultural vision has resulted in 41 Mainstage productions including 11 world premieres, 8 company-created works, 3 U.S. premieres and 5 new translations, which have garnered 4 OBIE Awards and employed over 500 Equity actors and hundreds of other theater artists. The Company’s production of Mamba’s Daughters received an OBIE Award, and their epic 2004-06 production of Goethe’s Faust received extensive critical acclaim. Recent productions include Uncle Vanya and The Tempest at HERE, Uriel Acosta: I Want That Man! at The Chocolate Factory, Composition…Master-Pieces…Identity, a new solo performance piece from OBIE Award-winner David Greenspan at The Connelly Theater, Drunken With What at Abrons Arts Center, Reread Another at The Brick, called “something kind of wonderful” by Ben Brantley in The New York Times, their New York Times acclaimed Iceman Lab—a radical interpretation of The Iceman Cometh at HEREand, most recently, Mourning Becomes Electra at Abrons Arts Center, of which Laura Collins-Hughes in her New York Times Critic’s Pick review said, “I didn’t check my watch once in the five hours of David Herskovits’s bold, astringent revival for Target Margin Theater.”

Press:  John Wyszniewski at Everyman Agency




By Bob Shuman

Don’t Feed the Indians, a comedy revue now playing at La MaMa until November 19, doesn’t get around to ascertaining the politics of the horrific 2016 dog attacks on Native Americans, at the Dakota Pipeline, defending sacred burial ground.  The show also doesn’t mention the issues being raised by Idle No More, the Canadian grassroots movement protesting neo-colonialism. Instead, Safe Harbors Indigenous Collective Projects’ divine comedy pageant embraces the Broadway and Tin Pan Alley versions of aboriginal lives, as caricatured in Peter Pan, Annie Get Your Gun, South Pacific and Good News—without much outrage. Muriel Borst-Tarrant, humorous, tough, and tart, might be at home in an early talkie, (“Hello, happy Caucasians”). She’s a stand-up comedienne, not exactly sanguine about European settlers having had the chutzpah to ask Native Americans to give up the “rights to all your resources.” But she’s over it: “Get it?  Got it?  Good.” 


Perhaps part of the point in Don’t Feed the Indians is that Native Americans feel so integrated into American mainstream culture that their invisibility is on par with Danish-Americans or Swiss-Americans.  Perhaps also, the Broadway versions of indigenous peoples acted as ways to have an identity in popular culture—the shtick was held onto, no matter how inauthentic.  The eight Native-American actors in Don’t Feed the Indians know they’re in a “shitty show,” but they can’t figure out how to get out of it—and as standards go, rolling out “Pass That Peace Pipe” and “Bali Ha’i” isn’t too shameful. 

The script doesn’t find appropriation offensive or the stereotypes less than comic.  In fact, the pageant seems to want to learn from musical comedy, as in a distressing speech about the winner of a National Native-American Poetry Contest, reminiscent of Sammy Williams’s gay-themed monologue in A Chorus Line (performed well by Nic Billey).  The easy history lesson and wigwam wiggling might be part of a road company that remembers the days of Gypsy: old-fashioned,  unoriginal, inoffensive vaudeville—certainly lacking contemporary edge or passion.  On the way out of the play, theatregoers next to me were mentioning seeing Buffy Sainte-Marie in the Seventies.  Don’t Feed the Indians has a retro feel, presenting indigenous people as having the same issues as those in mainstream American society (“I’m an Indian, too”). Show business may be being used to buffer painful issues in the Native American community—and, thankfully, Sainte-Marie is still out there.  Are Native Americans living in a time warp?  In Don’t Feed the Indians, the audience isn’t asked to investigate or witness an alternative.

© 2017 by Bob Shuman

World Premiere

‘Don’t Feed the Indians—A Divine Comedy Pageant’


Visit La MaMa:

Conceived, Written and Directed by Murielle Borst-Tarrant [Kuna/Rappahannock Nations]
Musical Direction by Kevin Tarrant [Hopi/Hochunk Nations]

A Safe Harbors Indigenous Collective Project


Henu Josephine Tarrant
[Hopi/ Hochunk/ Kuna/ Rappahannock Nations]

Nic Billey
[Choctaw/ Delaware/ Creek Nations]

Danielle Soames

John Scott-Richardson 
[Haliwa-Saponi Nation]

Press: David Gibbs, DARR Publicity

Photos, from top, by Maya Bitan:  

Danielle Soames (Mohawk/Kahnawake Nations);

John Scott-Richardson (Haliwa-Saponi Nation), Danielle Soames (Mohawk/Kahnawake Nations), Kevin Tarrant (Hopi/Ho-Chunk Nations), Nicholson Billey (Delaware/Choctaw/Creek Nations), George Stonefish (Delaware/Chippewa Nations) 

Murielle Borst-Tarrant (Kuna/Rappahannock Nations), Nicholson Billey (Delaware/Choctaw/Creek Nations)

Henu Josephine Tarrant (Hopi/Ho-Chunk/Kuna/Rappahannock Nations), Danielle Soames (Mohawk/Kahnawake Nations), Nicholson Billey (Delaware/Choctaw/Creek Nations)



Carnival Girls Production of ‘The Werewolf of Washington Heights’


When a teenager vanishes, loved ones are forced to face hidden monsters and terrifying truths.

Kraine Theater
85 East 4th Street, NYC

Wednesday, October 11 @ 7 pm
Thursday, October 12 @ 7 pm
Friday, October 13 @ 7 pm
Saturday, October 14 @ 7 pm

Thursday, October 19 @ 7 pm
Friday, October 20 @ 7 pm
Saturday, October 21 @ 7 pm
Sunday, October 22 @ 2 pm

Director – Charmaine Broad, Choreographer – Anissa Barbato, Stage Manager – Erinn Conlon, Light Designer – Helen Blash, Set Guru – Stephanie Ervin, Costume Mistress – Tanya Bernardson, Box Office Manager – Ann Shepherd, Production Assistant – Zoe Scott, Charity Coordinator – Elizabeth Pitman Gretter

Rosina Fernhoff*, Lori Funk*, Pilar Gonzalez, Stephanie Annette Johnson, Zarra Kaahn, Arlene McGruder, Sheila Joon Ostadazim*, Melanie Ryan, Galit Sperling

*These actors are appearing courtesy of Actors’ Equity Association
The Werewolf of Washington Heights is an Equity approved Showcase


Performances take place at Kraine Theater, located at 85 East 4th Street
(Between 2nd & 3rd F to 2nd Avenue 4/6 to Astor Place N/R to 8th Street)




Phoenix Theatre Ensemble and SenovvA, Inc. announce that Keith Hamilton Cobb’s explosive American Moor will play for two invitation-only performances at The Romulus Linney Courtyard Theatre, The Pershing Square Signature Center at 480 West 42nd Street on Monday, October 2nd at 2:00 pm and 6:00 pm.

-A black actor auditioning for the role of Othello, finds himself torn between wanting the role of a lifetime and having to engage an age-old process that invariably ends up with a large black man on stage responding to white decision makers who presume to understand, and ultimately dictate, how a charismatic, intelligent, black man should behave in society.  Things can get a little tense… –

Shakespeare, race, and America…not necessarily in that order are explored in AMERICAN MOOR directed by Drama Desk nominee Kim Weild.  

Josh Tyson joins Mr. Cobb in the cast, Caleb Spivey is production stage manager.  

Powerful, dynamic, humorous, confrontational and ironic, yet truthful throughout,

American Moor played in Boston for 4 weeks to rapturous reviews:

 “Spellbinding…A Must See… some plays, and some performances, take the idea of necessary to a deeper level. In those rare cases, the critic’s adjectival exhortation “must-see’’ can almost border on the literal. “American Moor’’ is one such play and one such performance.”” – Don Aucoin, The Boston Globe;   

“This is a rare example of a play about which you can say, without hyperbole, that it’s riveting: You hang on every well-chosen, robustly presented word. “American Moor” is both urgent art and an important political statement.” –Edge Media Network  

“Our highest recommendation!“  -Boston Examiner 

“This piece discusses race relations in theatre, and in the United States, like nothing I’ve ever seen before. It expresses the anger, the rage, the joy, the triumph, and the utter frustration of the black male performer explicitly and humanly.” –New England Theatre Geek

The script was honored by being inducted in the permanent collection of The Folger Shakespeare Library.  Michael Witmore, Director of the Library, stated “Keith Hamilton Cobb’s American Moor is incredible…I have spent my life thinking about Shakespeare, but that did not prepare me for the depth of thinking and feeling that his performance provoked.” 

What:   AMERICAN MOOR by Keith Hamilton Cobb 

When:  Monday, October 2 at 2:00 pm and 6:00 pm

Where: The Romulus Linney Courtyard Theatre, The Pershing Square Signature Center at 480 West on 42 Street.

Information:;  212-465-3446

SenovvA,Inc. SenovvA, Producers — Founded in 2005, SenovvA has produced, general managed, supervised, developed and/or designed over 200 theatrical productions internationally. With the latest addition of Production Core, more recent projects include (partial list): (Broadway) Hedwig, Sideshow, Lucky Guy, American Idiot, Bring it On, Tuck Everlasting and [title of show] – (Off-Broadway) Jersey Boys (opens November 2017), Red Roses, Green Gold (opens October 2017), In and of Itself, Curvy Widow, Trip of Love, Fellowship! The Musical Parody, Queen of Wyoming and Peter and the Starcatcher. In Television, SenovvA is well known for its work on live broadcast productions that include The Academy Awards, Kennedy Center Honors, Emmy Awards, Billboard AwardsKids Choice Awards, to name just a few. Beyond live production, SenovvA’s client list includes Silicon Valley giants for ongoing architectural projects worldwide. In NY, SenovvA is currently a proud participant at the largest real estate development project in North America, Hudson Yards. Find out more about the 400+ projects a year at 

Phoenix Theatre Ensemble:  A non-profit 501(C)3 company now in its 13th season. Under the leadership of Elise Stone, Artistic Director, and Craig Smith, Producing Artistic Director, Phoenix Theatre Ensemble presents 3-5 mainstage productions annually, a reading series, a new play development program, and an arts-in-education program in NYC Public Schools. Mainstage productions this season include Tartuffe by Moliere, The Cult Play by Topher Cusumano, and Klaus Mann’s Mephisto. PTE is the recipient of NYIT Award Nominations, 3 NYIT Awards, and an Audelco Award. The company is a constituent of Network of Ensemble Theatres, ART/NY, Theatre Communications Group, and League of Independent Theatres.

Photo Credit:  Chris Lang 


(Neil Genzlinger’s article appeared in The New York Times, 9/27; via Pam Green.)

Albert Innaurato, a playwright who enjoyed spectacular success for a time in the late 1970s, including having a play run on Broadway for more than four years, has died in Philadelphia. He was 70.

His cousin Stephen Paesani said Mr. Innaurato was found dead in his bed on Tuesday, and had probably been dead for two days. The cause was not clear, Mr. Paesani said, but Mr. Innaurato had had heart problems recently.

Mr. Innaurato’s biggest hit, written while he was still in his 20s, was “Gemini,” a comic drama about a Harvard student who returns to his blue-collar Philadelphia neighborhood for his 21st birthday and has to confront, among other things, his sexual orientation. It opened on May 21, 1977, at the Little Theater on Broadway and ran for 1,819 performances.

A few months before that, another of his plays, “The Transfiguration of Benno Blimpie,” had an acclaimed Off Broadway run at the Astor Place Theater.

(Read more)





By Alex Roe

In the land of opportunity, no star is beyond our grasp. No aspiration is too high, if only we will reach for it.  But is the invitation to continually strive a gift, or a curse? Is opportunity-worship devotion to a jealous idol? Is it, in fact, a goblin haunting the American dream? 

Farcical and heartbreaking by turns, Clyde Fitch’s 1901 The Climbers defies easy categorization, but by changing its own tone, this long-overlooked play captures  an elusive quarry and an essential conundrum for the American social animal.  At the dawn of the 20th century, the altruistic and esteemed head of the Hunter family  has died before his time, leaving his wife and three daughters with an unwelcome surprise. Desperate in his final months to keep up with the demands of their extravagant social life, he made a risky investment and lost the family’s once substantial fortune, leaving them with no assets or income at all. 

If the fires of adversity prove one’s mettle, the various members of this family seem to be made of different stuff. Mr. Hunter’s widow, youngest daughter, and son-in-law scheme to dupe others into making up their losses. Meanwhile, his sister and two elder  daughters vow to care for themselves and their families whatever the personal costs.  From these different campaigns spring both the wicked comedy and tender pathos of the play. 

(Read more)

and Read more….The Clyde Fitch Report

Photo: L to R: Levi Adkins, Becca Ballenger, Margaret Catov, Matt McAllister
Alexandra Anne, Erin Leigh Schmoyer, Marc LeVasseur, David Licht,
Erin Beirnard (concealed), Alyssa Simonb
photo: Tanya Parks


(Jason Zinoman’s article appeared in The New York Times, 9/14; via Pam Green.)

Elevator Repair Service, one of the city’s few truly essential theater companies, has always delighted in a good problem, whether it’s how to dramatize oral arguments from the Supreme Court or stage the famously difficult-to-adapt novel “The Great Gatsby” without sacrificing a word. So it makes sense that when its artistic director, John Collins, decided to direct his first Shakespeare, he decided on “Measure for Measure,” perhaps Shakespeare’s most problematic of problem plays.

(Read more)

Photo: Elevator Repair Service


(Jesse Green’s article appeared in The New York Times, 9/7; via Pam Green.)  

Many of us who arrived in New York in the last decades of the last century, looking to the theater for news about what it meant to be gay, found ourselves serially disheartened.

Starting with Mart Crowley’s “The Boys in the Band” in 1968, and continuing with Harvey Fierstein’s “Torch Song Trilogy” about a dozen years later, we faced quite a fun house mirror of gay life. Or perhaps a house of horrors.

“The Boys in the Band,” daring in its forthrightness, situated its characters on a Kinsey scale from four to six and a psychological spectrum from damaged to desperate. Arnold Beckoff, the protagonist of “Torch Song Trilogy,” could have been one of them. Though sympathetic and sassy, he was still a drag queen in an era that did not valorize that.

(Read more)



(Ligaya Mishan’s article appeared in The New York Time, 8/30; via Pam Green.)

The rehearsal room smelled of onions slackening in a pan. They hissed on the stove, in the basement of a Lutheran church in Greenpoint, Brooklyn, as Nadine Malouf hacked at a slab of beef, her eyes fixed on her director, Amir Nizar Zuabi, and not the knife, which was closing in on her fingertips.

“I don’t want her to cut herself,” Mr. Zuabi said, seated in a folding chair nearby. “But I want her to make mistakes.”

It was the third day of rehearsals for “Oh My Sweet Land,” Mr. Zuabi’s 2013 play about a woman (Ms. Malouf) of Syrian-German descent whose search for a lost lover takes her from a sheltered life in Paris to the refugee camps of Lebanon and Jordan and finally into Syria, to confront the smoldering remains of her cultural inheritance. First performed in Lausanne, Switzerland, and then in London at the Young Vic, where Mr. Zuabi is an international associate, the one-woman show will have its United States premiere in New York on Friday, Sept. 8, presented by the Play Company.

But the location is a mystery — even to Ms. Malouf, 30, who won’t have a chance to see where she’ll be performing until half an hour before showtime almost every night. For Mr. Zuabi, displacement is integral to the narrative. Ms. Malouf will be forced to navigate unfamiliar surroundings again and again. “Every kitchen will have a new geography,” Mr. Zuabi, 41, said. “Every evening will be a new voyage.”

(Read more)


(Michael Paulson’s article appeared in The New York Times, 8/29; via Pam Green.)

“Natasha, Pierre & the Great Comet of 1812” is closing on Broadway after a racially charged and distinctly contemporary conflagration. CreditSam Hodgson for The New York Times

The young, flamboyant and unusually diverse collective of actors and musicians who brought “Natasha, Pierre & the Great Comet of 1812” to Broadway enjoyed the giddy highs of theater’s most glamorous perch — a run at the grand Imperial Theater, a season-topping 12 Tony nominations, a spotlight shared with the pop star Josh Groban.

For most of the performers, it was their first time on a Broadway stage. Costumed as punkified peasants and aristocrats in a bold musical adaptation of Tolstoy, they danced down the aisles, handing out pierogies and creating an unusually immersive musical experience.

Now they are seeing the sharp edge of Broadway. The show is collapsing after a conflagration that was racially charged and distinctly contemporary: a social media uproar prompted by the financially motivated decision to bring in a white actor to replace a black actor who had succeeded a white actor.

The result: Investors will lose most of the production’s $14 million capitalization, and more than 100 people will be out of jobs after the final performance on Sunday.

Even in a flop-prone industry, the sudden crash of the musical stands out, reflecting competing challenges for commercial theater: the benefits of star power, the hunger for diversity and the high costs of producing on Broadway. Add in Twitter, and things can get messy.

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