Coming Soon! 

Guilty

A firm reminder of the fallacy of pride in America, but also the consequences of Transphobia and Homophobia that are still haunting America and the legal system. Panic Defense is a spin on the social climax that is being mindlessly ignored in the 21st century. 

Formally, there are some productions that come from a blend of connecting with the LGBTQIA+. Panic Defense tells the stories of the horrors being faced today by the citizens of our state. However, justifying the long-term effects via remorse and empathy doesn't clarify the importance. There aren’t heroes in this story, only the fault of the justice system. 

When a set of actors and actresses come to form a play with such drastic levels of characters and beauty that society has long hated and unreacted, a show like Panic Defense becomes an important cultural piece. During the show, the documentary style of the plot and staging by Director and Writer Sam Affoumado dives deep into the faults of the legal justice system, the terms used to save the predators vs. the victims, and the reasons plus causes behind each crime committed against a human. After the main conflict, we see a resolution of hope that one of these days on Earth, we will see true justice formed, and people can live freely and be whoever they want to be. A sad, grim reminder of the current world that we are living in lingers in the back of the head. Affoumado doesn’t just display that on stage or in the writing; his methods of creativity live within you, which gives you the experience to see past this play when you leave the theatre, and see in the real world outside the doors. Panic Defense, a show that will stick with you in a frantic reminder during the end of the real-world hate crimes and suicides of the LGBTQIA+ community. 

When you’re seeing Panic Defense, remember this isn’t just a work created for the stage, nor for the theatre, nor fake. Panic Defense is a defense and a gospel for the marginalized communities across the world. Not only does it prove a powerful message across the 85-minute run-time, but it involves incredible, fierce Actors and Actresses Erin Barry, Keith R. Beck, Regina Gibson, and Sean Gordon, alongside Careem Joy, Robert Maisonett, Jud Meyers, Juan C. Ortiz, as well as Fola Walker. Which all gave Panic Defense a breath of life. Lighting Designer Joan-Racho-Jansen and Projection Designer Gavin Strawnato gave me chills at the ending, and you will too. 

Panic Defense, a needed work and a message to all who are marginalized and victims of hate crimes against being themselves.

75 minutes of comedy, but rather a psychological hurdle of mental awareness of a war between the two and the outside world. 

Actor Matte Kranz plays a phenomenal, underrated co-worker, Jerryll, whose tone on the stage reminds me of the sitcom character who gets teased and bullied around a bit. But I can handle it. The use of miming and world-building around his co-worker Harr (played by Mike Donovan) was a trailblazing duo of theatrical taste and talent. However, both actors use their own vision during the scenes that allows you to truly see the life and the world they create inside their own brain and outside as well, on the dirt floor. Both play the characters with charm and are the perfect cast for the play. There is a certain presentation that Broom Play brings, funny, lighthearted pressure of duality, and a brotherhood sense that plagues the concept of absurdity. A classic work, but brilliantly obtained, tragicomedy that leaves you in laughter. 

Directed by Egor Turkhin, this play's style and presentation are worth considering. A Tragicomedy is a perfect match for the directing and the staging of Broom Play, and was a truly eye-opening stage. The design of the space, with all the dirt on the floor, really makes you feel dirty as well. (You will be provided with a mask. Playwright Matte Kranz's ending to Broom Play was a true icing on the cake for theatre lovers like me, seeing new ways to end a play with a huge amount of energy. Ending Broom Play in a resolution that leaves you on the edge of your seat. 

Overall, Broom play gives you a sense of working hard for yourself, even when no one else is watching you. To never forget who made you, and who always has your back. 

A Boozy, funny. Guiltful, Fabulous, Amazing, Wonderful. COMEDIAN LAUGHING! IN YOUR FACE! Theatrical Gold!

Doing Time With Lavinia, written and performed by Susan Campanaro, is the premise of all good theatre before and after. If you are in the high-class comedy section, wanting some good work and amazing acting skills, Lavinia is a Roger Smith of all theatre, and has this energy that no one else can replace or try. This is a one-in-a-lifetime show, which brings on the complex nature of alcoholism, drug-fueled adventures, and grace. Everyone who has been in show business knows that Susan Campanaro is a powerhouse performer and keeps making it bigger and grander than ever before. 

Starting from a young girl, lost in herself, to being a mess of life, there is a sense of empowerment throughout the whole show, lurking below the original songs by Lynn Portas. Where most shows and productions like this wouldn’t dare to mention anything about life or have a character redemption, Lavinia, performed by Campanaro, is a reversal that makes the show from great to amazing. This allows for a stream of good feelings towards the end of the show. The ending was genius and compelling, following her getting out of the jail cell from which Lavinia started, during the whole show. Lavinia's character was in a jail cell of her own life, struggling deeply with the consequences of alcohol and drug abuse, trapping her in a prison of sorts, desperate to flee. A deep meaning from a show with a great comedic silliness to it. 

The Original Lyrics and Music by Lynn Portas stole the show, with songs that are similar in style to South Park and Trisha Paytas. This is a piece of art that would make Trey Parker and Matt Stone proud. Most of the time, you wouldn’t think of the music as the main piece, but “Doing Time With Lavinia” was a completely different aspect that led into why this show is a must-see for all. With some of the songs being so edgy, crazy, and absurd, you are to laugh at the lyrics but enjoy the beats; theoretically, this show is closer to The Book of Mormon on Broadway. 

One of the most outrageous shows sometimes has the best meaning: never get trapped into doing something that limits you in life, and “Doing Time With Lavinia” shows that, no matter whether you believe it’s good for you, the simple trap of life is waiting for you. Doing time to figure it out is sometimes a real-life prison sentence for someone else. 

What a work of theatre, from the moment of the first note on the stage, to the final beat of the heart in the last moment. This was a truly remarkable production and experience in the production of this show. I was stunned at how the story left me thinking afterward; this is one of those shows that only happen once in your life. 

Being in a household with a strong sense of Jewish history and traditions holds a value set towards the family dynamics (and dysfunctional relationship). The show starts off fairly slow, with the movement being consistent with an entrance of a backstory, revealing the family and their own internal struggles. This was met however with the expression of discovery with their family member Jake, bringing in a girl with opposing views, compelling the audience in a standing position of an unfolding dismissal of political stance. 

A message that brought us into a rebirth of Israel vs. Palestine, meeting a mixture of arguments, debate, and guilt. Simply put, The Blue Violinist Over West End Avenue wasn't just a show; it was a change in what theatre means to remain relevant, but also respected. 

Director Jonathan Silverstein, a figure of the theatre, formats the dialogue as a setting, rather than the setting itself. Building upon the experience of hosting an engagement, a funny way to bring up the ideals of this play, but useful in the sense that it grounds you throughout the rest of the show. Using the drama and pivoting the dialogue between their innermost thoughts and reflecting each of the characters during the play. Silverstein justice for the directing builds up, and releases the concept spoken, and drags the audience in. Bravo! 

Being introduced into this world, from the rising conflicts that happened during October 7th, and being dealt with the process of rebuilding a society, but also a household unit from inside the apartment. It is a phenomenal contrast for playwright Debbie Goodstein, who's used filmmaking in The Blue Violinist Over West End Avenue, which gives that flair to the work, and creates a psychological effect that makes you wonder. Is this what makes theatre better or reinvented? Having a foundation of inner family behavior. Then, playing the game with the conflicts surrounding the world, both create a beautiful show. You have to watch a show this fall, and this is the one. 

The cast was a phenomenal reason why I enjoyed this work. Ali Axelrad, Yair Ben-Dor, Etai Benson, Harrison Bryan, Lauriel Friedman, Adam Heller, Rory Kulz, Mike Labbadia, and Barbara Walsh gave the show what it needed, and that was a fight and a willingness to breathe life into the works of the characters. 

The Blue Violinist Over West End Avenue, a brilliant and valuable piece of modern theatre. Honored to place this on my Gen Z Theatre Guide. 

The complexities of this show, and the relationship to the younger audience, but also the delivery of what comes after the fact of the lesson that was learned in The Charioteer. A lesson of hope and recovery for a person. 

There are always parts of a show that create an atmosphere of encouragement, redemption, and aspirations of a greater cause that comes through everyone in their 20s and in their young adult lives. Owen (played by Jake Horowitz) laughs about how his life is unfolding in his younger years, trying to grasp at a future that he believes will help the planet and humanity. His greatest enemy, the one who leads the life that he wished he had, Charly (played by Mia Wugaft), is a representation of an internal struggle between family values and the reality of life. Playwright Dan Giles uses realism, instead of fantasy or “Cartoon Logic,” to ground us in the drama. Allows the characters to struggle through life and not get a silver-plated solution at the resolution. Something that all Gen Z is facing is entering the real world, transitioning from their own childhood world to the adult world. The Charioteer has that same feel to it: real-world conflict in an intimate setting. 

The conflict of political stance drives and moves this play; Giles writing of a climax isn’t fast, but a slow roast of a steak dinner, that is juicy and bloody on the plate. The fallacy of pride and beliefs gives the characters energy to fight on the stage, lodging the ideals of each other, using this as a two-dynamic force that delivers us into a thriller-drama. While both characters are fighting, a 3rd character appears, and the final thoughts of the siblings' final thoughts turn towards the ongoing effects and deepening wounds of each of the characters. In the complete sense, once this play rolls, it never stops; it just gets deeper and more attractive to the brain, and allows you to be in the room with them. The element of surprise lingers between what is a cause and how it affects us. 

Since the play starts rough, going to a college party, losing your phone, and then joining what is presumed to be a cult-like off-the-grid group, we are seeing common mistakes lead into a crisis, which anyone watching can relate to, no matter who they are or what they do for a living; we all have been in the Charioteer once in our lives, fighting for the sanity of familyhood and ourselves through transitioning into the real world. 

Have you ever forgotten about life? Have you ever considered what the greatest ability of life is: remembrance? 

“Delete Me”, written by Maria Koronellou, isn't just a great show; Delete Me is a philosophical piece of theatre that tingles the brain. Generating a sense of confusion and mystery, I wasn’t shocked by the questions I had after the show. When a great director comes into the play and shapes it with an approach that works in favor of the story and the director's intentions for the play, the story is glowing, but also feels like a genuine piece of theatrical studies. 

Offsetting was the word of this show, an off-putting show. The one thing that makes your life of yours complete is the idea that we are always trying to find the answers to what life is, and why it is so confusing. That’s what makes the concept of this show so special. Delete Me” isn’t just a scary production; it’s a cutting-edge work of writing. With everything being left on the table, you aren't being placed in the concrete evidence of the edge of the world in terms of the greatest modern Shakespeare work, but Christopher Nolan comes to mind with Delete Me. Different style, but same impression! 

I genuinely loved this show, but this needs to be in the hands of someone genuine and honest about life, who can solve their own problems, and appreciate the acting.

“Delete Me” reminds me of a sitcom, but in the presence, a soap opera that is a much-needed piece of comedy theatre that is a gentle reminder of what is to come from theatrical performance. 

Although estranged, this was a piece of theatre that you won’t ever forget, and that’s what makes it a special little show for the festival; it’s different and great! If you are trying to pick out a good show that isn’t like the rest, I suggest picking this one for the mystery surrounding the plot! 

Every conflict deserves a story; even the smallest problems can lead to a rebirth of a viewer. 

The time is December 2019; Leia is subleasing a new apartment. 

Estranged in a relationship that is full of confusion and plot-driven messengers of internal thinking and understanding. While recognizing the abstract design of director Maya Mills, the ability to project the process of rebuilding a relationship, then ending in a plot twist that no one saw coming, is a reward for the backstory and the hour spent in the theatre. The bedroom is our setting space, with all the conflict of the performance. Actress Orli Gottesman ability to create a character with a bold humanities approach for this, and keeping the balance between massive heartbreak and womanhood, is a remark to the ode of amazing acting.

Strange show, but excellently well done, and entertaining. Strange in the category of off, off being in the background with the acting and the audience, I was deeply in love with the simplest of the stories. Taking a story of a shortly lived slice of life, and taking it to a whole storyline. But the acting was just stellar for the show, and it completed the complex characters of love and hate. Mann, playing the character of Idan, gave a flawless performance that left the audience in tears.

When you're in love, you are confused, and you want to run away from reality and not come to the realization that running away doesn’t solve all of your problems. When watching “Across a Wicked Weeds”, you aren’t just watching a show; you are watching a reflection of life, and in the highest form, a good version! When falling in love, you tend to forget about life events and take the focus. The writing of Adir Lev Mann perfectly displayed this, as a good example of the quality of the work being presented. When you want to realize that everything will be okay, come watch “Across A Wicked Weeds”; you will discover the truth about love in the light of night.

Unreachable…

Love takes all stories, and all lives, but love in distress, but also memory of what is loved and what is forgotten. Dreams come alive during this performance, dreams of loss and finding. 

The set was pretty simple, nothing to truly comment on, and the lighting design was a simple but effective use of the space. I don’t comment much on the technical parts because of the festival concept; however, this show doesn’t lack any of the technical elements. I wasn’t shocked at the sound design; that was also kept simple, but the costume design for this work was amazing. The story needed something to take our eyes off when the story became too bare, when you are looking for a distraction during the heavy emotional parts of the production. You will gloss over the production of the costume design work. A simple dress and a simple man. But yet super effective for the show’s own plot point! 

The show was fairly short, but also effective in the manner of the story, and the story needs to remain short; it kept everything intact and useful. There wasn’t anything wasted in the story, and it was a great script to listen to. 

Everyone in this work was important, and nothing was bad; it was all great and good! I valued the accents placed on to remind us that we aren’t in the city anymore.

Love doesn’t take all stories; it takes all sides. Unreachable Things, Reached for the areas of life that we live and that we avoid, and the genius of the show doesn’t align with that of the common, but as the commonplace that we confuse with leaving those plots alone. Seeing a show that touches on those taboo topics was refreshing and needed for the world. Seeing those concepts come alive in the show, such as the drama of the relationship between the couples, awestruck for the writing. 

What is so Important? 

Loved this show, loved this show! Loved this show! If you are Gen Z, you need to see this show; you will understand the comedy and each of the jokes, but also the lessons learned from inside the room. We are taken to the IVY league acceptance day, which is the one day that all the Ivy League admissions are released. This brings on the concept of having a student-led conflict of acceptance in a world full of hate, charts, data, and comparing other people to other people, especially young minds in the world. The set was simple; the lights were simple. However, the costume was a complex, essential Theatrical design reflecting each of the characters' unique personalities. It was great to see the personality of a costume come out, especially in a great show like this. The costume of a preppy girl reflecting trying to get to the highest university, slash Ivy League student athlete, or a rich student buying his way and wearing more of a designer outfit, or the simple down-to-earth girl who doesn't care about Ivy League, wearing a universally accepted school outfit, or the student trying to outdo everyone by being the fashionista and wearing trendy clothes. 

However, there is a easy fit to all of this show comparing everyone causes a lot of stress and this show didn't cause me any stress watching. In fact it was a very… very realistic show, probably the most realistic in the whole festival in terms of naturalism and everyday social commentary. It goes on into the idea that no matter what, everything will be okay by tomorrow. That is the purpose of the show is that everything will be okay the next day and the day after, and no matter what, life continues. The director & Writer Arianna Muñoz made sure of this. The ending completely blocks out, while seeing people see the results in the gasp of the air. When they found out, which I believe they were going into. However, comparisons from the modern world versus the real world and monologues of racism, social data, and Merit Ivy League scandals riddle this play and make it great to see all the Dynamics of the characters and their background come to fight each other. They made for a great evening of theater, period, I would say An amazing display Of the difference between Modern School Dynamics happening in the modern world. 

We all make mistakes, and this show clearly allows us to process the idea that mistakes happen, and people will survive through those mistakes. Friendship is hard, and high school is harder, but this show tells a great story of hard-working students just trying to make it better in this world 

This show is a great example of why theater is important for younger ages, and it's a must-see for everyone who is in high school and stressed out about college and going and getting accepted into universities. This should be the gold standard, and also Everyone should see it regardless of whether they're even going through a process in life. Everyone has a fair shot. Every day is a great example of that concept. It was an off-the-charts great performance from all the cast and crew. Hands down, the best show for Gen Z right now!

Nude Portrait,  a show that talks about inner healing and the drives of peace in someone's life. 

A very important piece of theater, and everyone needs to see it to understand why it is important! But the plot isn’t the only thing that wasn’t valued… Valuing peace in your life, realizing why it's important to have a role model in your life that will teach you things that you don't understand. But in the overall sense, those elements aren’t in the same space, but rather 2 different stories that are interluding in the greatest way possible. Which is why Nude Portrait isn’t the next up-and-coming show; it is current and forthcoming, and in the slightest, one of the best drama shows of the festival. 

The acting of this play was amazing; I believed that I was watching a Tony Award-Winning performance from all the actors. They each brought their unique quirks on stage and showed a real range of emotion that displayed the show in all its power. Dynamic and, brought depth to the characters and gave them justice where it was needed. This set was effective; however, the painting and the props that created this show of how it was. It was a dare-dropping performance of theater, but it paid off. With the simple sack came complex problems of a girl who is also in love with a guy, and character forms that dynamic between the two. Different shows in as a reminder of what love is versus what isn't loved,  showing us that you can learn from real-world examples as well. This is great riding for anyone who is highly recommended this show because of the writing and how marvelous it was. Taking a simple concept of finding one's own love within oneself, and turning it into a tactical,  amazing piece of storytelling and spoken-word conflict. 

Scenes such as young love and finding love within yourself give us that simple hope of the future, and the trial of errors within a drama, and by no means is this a funny show. This is one of those serious shows that take place from within, and can find the heart of the nature of the dialogue, and create a beautiful rendition of aspiring journeys of self-discovery, and hope and dreams, creating this simple clause and turning it into a whole effect of a dramatic situation. In the end, love takes all, and everyone finds that one special person, whether it be themselves or someone else. We are reminded in this world that loving someone makes everyone happy, even when it includes yourself. 

Edgy, Cool, and Fantastic! 

This is the coolest alternative to Alice in Wonderland, keeping all the parts that made it great! But now making it new and fresh and amazing! A kind of unique theatre that everyone has to see to believe. 

This piece of alternative theater is visibly amazing and stunning. The director, Michael Segal, directed for the eyes rather than the show itself. The storylines made sense, but we're creative, different, thoughtful, and original, but unique. From Falling Down the Rabbit Hole, the ending of suicide Wonderland proved itself to be an absolute hit in the Circle Theater Festival, where I thought that the dancing and the singing of the Mad Hatter and Coolest Of theater reminded me of when Theatre was back in the day in the early 2000s, with new experimental work taking place. This was a real throwback to the great era of theatre and had all the aesthetics of that. To make this show what it truly was, which is 2000s theatre. 

Multiple shows that came before this aren’t as creative and cool as this, experimental with all the elements of the dance and the plot. But it makes it a risky show that pays off! The sisters are creepy, but important, and play themselves to be more of the Halloween commercial movie basis, but the dancing and the singing allowed the exploration of the characters; I fell quite in love with the idea. When the Mad Hatter comes out, he’s playing this trying-to-be-innocent character, but through games and trials, that slips right through, revealing the character's inner workings. The depth of Alice and her ability to stand up for herself at the end make us think about how Alice should’ve been in the actual story of Alice in Wonderland. 

Where there is a reinvention of a classical story, I would rather say it’s a modern version of Alice in Wonderland, keeping the classical part of the story but retwisting it to make a statement about the world, which runs counter to the storytelling we are so used to. Additionally, when a readaptation takes shape, theatre tends to think of itself as life; we are constantly living life in a different adaptation of someone else's life, one that is the same in the level of value. 

Coming Soon!

Oh, my God! This is a gold mine!

Seriously. Without any doubt! I was dying of laughter throughout!

We start with 2 different people preparing for the world chicken wing contest. AJ and V. One turns out to be a vegan, while the other is a meat-loving person. Both fall in love with each other and seek out the differences in their eating behaviors. AJ lies to V about her love of meat. In an attempt to cover up her lies, she tries to become vegan and not eat any meat, but when tempted, she falls and eats meat. While then going into a humorous psychological mental breakdown over a cheeseburger, we are watching her character turn into a vegan overnight in a last-minute despair to repair the relationship the moment V finds out about the meat-eaters' secret habit of eating food that contains meat. Ending in a happy ever after, protesting against the very place they came and found each other in, the chicken-eating contest! 

Whereas the show was about falling in love, but taking what love is, what is love. Is love something worth giving something up for? Why is that? Becoming Vegan explores that in the same sense that we explore life with; we are always looking for the solution with the plot; we are always trying to find the reason behind the reason for what is love, but what we are all trying to find is the thing we can give up the most to find what is left. Becoming a Vegan isn’t just about being a vegan; it’s solely about what everyone’s limits towards love are, and what the limit is to being in love. If boundaries and love speak to you, then Becoming Vegan is a play that speaks to you!

However, that's just the plot! There is so much more to unravel in this guide!

The music by Sarah Clemercy was the most detailed work ever; the choreography was done by Dana Lee Capanna (who also directed). She put his blood, sweat, and tears into this work. I really thought I was watching a Broadway musical. Every costume designed by Julia Celley/llaria Tucci was stellar and had a soul and passion towards it, even some being purposely designed to mimic what they use on Broadway! This isn't your classic everyday show; this is a special piece of off-Broadway history in the making! I don’t know where this show will end up. But you should end up somewhere in the seat! The cow segment at the ending, it was the most perfect thing I’ve ever seen. I had to give this a standing ovation after! You MUST see it! 

In the details came an amazing piece of work, and a great stand full of magic, but what I call theatrical magic. Moments of this aren’t just what you wish for in theatre; they’re what you dream about in your sleep and wish were real!

Trial of the Death. 

This was a heavy-hitting show, but relevant to the acapella of heartbreak in 

“Mine is Yours and Yours and Mine,” directed by Margot Leach and written by Jenn Ficarra, is a powerful test of how love and relationships can concretize the hook left when loved ones die. Actor Joseph Depietro (playing Emmett) does a phenomenal job of making sure that everyone in the house understands what it means to be supportive in the worst crisis of a family's death. But actress Chelsea Melone (playing Annie) really allowed us to breathe in the death of a family member. “Mine is Yours and Yours and Mine” isn't really just about the show; the actor's actions really bring this production home to a different level of performance and see through the concept of laying down themes of remorse and understanding through the body language presented. This is a massive praise for the award-winning acting. I wasn't expecting this to be short; I wanted it to be longer and more. Because I couldn't take my head out of the space after. Most people are watching this with smiles on their faces during the jokes and tears welling in their eyes when needed; the drama is at the highest standard. 

The costumes were the icing on the cake for this performance, and created the concept of placing themselves on a trial of grief. With the outfits respectfully displaying scarcity and lack of confidence, which was the most crucial part of this, because they both told the personality, because the writing was, they are both in the space and the concept of growth, and looking up in life, which is why most of the show was excellent in the writing, but left room for the audience to find out what’s happening after! 

Wow is a word to use for this performance, and I hope you are able to get a ticket to see this. Each and every detail is imaginable, but also presentable with a standing ovation. 

Sex workers are on their way to a party. We're going to be able to do a couple of things with this!

I loved this show; funny, edgy, and humorous. On the split between the dialogue and the acting. But all of the show was one of those that wasn't aligned with the rest of the festival. This one stood out on its own for the vivid moments of miming and using your body as the instrument. 

The story takes us through the forest, and we are left with 2 women when they see dead men. Which reminds me, what makes the dead so sorry? Until you realize that being dead doesn't mean you are bound to the reality of the underworld. We have all the experience of being alive. Pain, love, anger, fear, sadness. But we don't have the overall ability to mask the perspective of that in this world (the living). Sometimes we also think we are living in a different world, where those who have more in life see things differently than those who have less. Having two sec workers flip the sides and see the more grim side reflected their overall concept of the underworld and wanted to go home. This is a common experience between worlds on Earth, the poor vs. the rich. But that's why this is a striking piece of theatre. Mainly because all the acting was fabulous, and no one missed a beat of this story or any cues. 

We are all curious about each of the things that bring the world over to us, and we aren’t all innocent of curiosity. The statement, curiosity killed the cat is a statement that brings out the truth in the matter and will bring forth value, but also the willingness for one’s death to find out the answers to some of life's greatest pains. Most of the abilities to bring someone to death, just as this show did, and then not being able to comprehend the overall concept is a great failure of the power of the characters. However, this isn’t a bad thing against the written script of the show. But the overall character itself makes this show a great find and a good fit for the theatre-goers! 

Painting a life of problems facing women today, I wasn’t shocked at this play; I was shaken. 

Most of us know how morals are towards women, especially those who’ve been in a traumatic relationship, or have had an abusive boyfriend in the past, or currently. The Day Intuition Died compares both: the one who is in an abusive relationship vs. the one who isn’t. Those are drastic comparisons between two different characters with different personalities. However, those two different characters (Ella and Nicole) played by Shriraz Tzarfati  and Nahar Aminov aren’t as different in the script as they are seen. The Day Intuition Died is a thriller about two different women, and how Nicole connected with love, and one is in love with their life, being presented with questions about Ella. 

We are starting with a presuppositional reach of drastic climax changes through art and spoken word. But the subject is changeable throughout the concept of what makes the play so morally unique, and what makes a person carry all that weight of abuse with them, while another carries all the love down with them. The two differences are what make this show. A great feat of storytelling that is sure to leave you crying in love. Questioning the morals of everyone within the work, but leaving you feeling happy throughout that healing and solving from one's pain isn’t just possible, but it’s expected throughout. Taking this show to an additional level of complexity in human behavior under high stress. 

However, the concept of this great show doesn’t align with the premise of love vs. what is taken away by the changes of womanhood. Ella journey is a remarkable feat, and is two-dimensional, with each and every moment leading up to the dramatic change from within. A concept that everyone can take with them and learn from. Self-growth from Ella leading into the ending of the show, you are bound to be entertained as well. 

A new concept of theatre has also been growing, and that is multimedia, but in the use of the artist rather than in the same concept of technology. The use of a projection of a live painting (Artist Kiera Stuart) is something newer and more delicate, but effective, and really makes this show something else. I was mesmerized by the overall idea of having this, and I hope to see more of it in different spaces. 

Without a doubt, this is a production unlike any other, and well done throughout. The art that isn’t seen is the actual painting being done; the whole show is done through a painting of Kiera Stuart who’s is ready to give birth; the concept of such is much more detailed without focusing directly on the story, which is a true theatre dream on the stage. 

Everyone has a mental issue, but not everyone expresses it in a piano bar setting artist way! 

From Yale University to the Stages of Off-Broadway comes this shorter version of a longer show. Complete with a piano-playing, multi-talented composer, actor, and mental health activist, Zak Sandler, in this solo show, Inside My Head, directed by Ariella Carmell. Through mental health awareness and storytelling of a journey through bipolar disorder comes this thriller that is sure to keep you on beat with the music and off-beat with the story. Which in the most cases, this would result in the forthcoming self-relaxation that is always important and necessary for these special moments in life. I would highly recommend this musical solo show for people who are entering a new part of their lives and are currently figuring out what life is and how to navigate uncertainty. Those are key important moments for most, and the reason behind those who make these types of shows is to display what life is like for someone who is living in a state of the world that is altered in their head. Come down to earth, and just listen to what Sandler inner teachings are throughout his life. 

During a part of the show, Sandler mentions the philosophical piece that he wrote, where everyone has a little bit of God in them; while that is up for debate for each person in the world, some might take it as a personal option of the ideals that people believe in. But I take it as a personal statement that someone is bringing into the world, and someone who’s been through the life of bipolar, that we are all just trying to get through life one simple step at a time. A brave statement of theatre, but one that surely paid off at the right time. 

Theatre is meant for everyone, and every show is meant to be watched, but this is a piece that everyone can take a lesson from. From the brilliant musical mind of Sandler to the amazing directing of Carmell. We are all just simple humans at the end of the day, trying to figure out life’s simplest concepts. 

What came first, the Chicken or the Egg? 

Trauma, or not. 

Egg is a work of dance that combines choreography with movement and sound, but the dance only brings out what we can see; hidden beneath is a level of complex emotional bases that leaves the room shaking after the performance. Dancers Nicole Burgio & Jo Kramer Bailey took to the stage and made it an awe-struck remembrance of the creation of life and the downfall of hate. 

From the opening number, under the seas drowning from the standing of the world. We are witnessing the birth of a defect upon a tragic remembrance of trauma and the signs not to let go and continue, to the birthing of an egg, which is the symbolic piece that creates tension between the two dynamics in this world. While no words were said during this dance number, there was a creational point of view between the two that threw in the deliverance of hate vs. love, the classic good vs. evil. Everyone in the world has this point stated in their head before, and this shows a rendition of the philosophy that the two emotional reactions between the two can be tested on the stage. Which is why an answer to this show isn’t profound but rather solved through the emotional contextual bases of the two performers. Just as a good show will do, a great dance piece such as Egg and How I Learned to Save Myself. Can definitely save you from the constant cycle of emotional trauma someone may have to induce you towards, and watch you dance while suffering, on the stage, or simply in the real life that you are living in. Kramer & Burgio made a fine entrance at the festival, and also in the eyes of the viewers. If you aren’t sure which show to pick for this festival, or if you want to see a dance number that has the story in a visual context and not in words, then surely this is the right pick for you. Being in the audience for a show such as this is a breathtaking experience that is sure to make you want to explore how the universe is and how the cycle of trauma is bound in every aspect of the world.

Sometimes not all theatre has to have the same plot, settings, or format. 

Ivy and the Poison takes us on a roller coaster of pure energy from someone who knows how to make an entrance! But also a classic NYC story about being in your 20s, into an amazing performance!

At first, I was ready for this to reinforce an artist's desire to perform. However, it wasn't about the performance; it was the story that caught my attention. We've all fallen for a romantic relationship that is toxic and not good for us. We have all been in a similar relationship with someone from the past, or in some cases, the future. The songs were very much about those times spent in the pain of being presented with a massive look of manipulation and insecurity. Those beats and lyrics reflect the morals that bring someone in a painful situation back to life. 

Artists such as Netta Toledano and Kelsey Bray drive that energy of entertainment, and create something creative and great from a story of life that so few of us have lived but have tried to hide. In the defined life, we are watching this performance and concept showcase album that is sure to rock your own life! Concept art such as “Ivy and the Poison” can drastically bring on a different concept of love and support that, once every time, someone needs to have to handle a life of problems that has created an impact on art and music. That more can be in the moment. Some songs that were created for this piece were edgy and rock-punk, which, done right, is amazing! This was amazing. Vocals are some of the most detailed and outstanding features of this production, which really brought out the difference in this festival of work. 

In the end, I don't think anything like this is currently happening, and Ivy and the Poison” is a brand new style of theatre that really brings out the character and emotions in the light that no other performance could. I highly recommend seeing this for the music and the performance. 

Short, simple, but rather to be honest!

A man's journey through self-dignity and respect as he navigates life in the most provocative and difficult manner. This is a powerful performance by (Bryce Gerson). This is a true icing on the cake for the opening day of the Circle Theatre Festival. Amazing acting all throughout, a poetic voice that is sure to give you a world away from the world. Some of the brief, scary, and difficult moments of love and romance came together into a thought-out performance at the end. However, this show is connected to the same powerful position of being true and authentic at the core of your relationship with someone who doesn't understand the differences in your life. 

However, this show doesn’t hit as lightly as the other shows; this is a heavy topic show that isn’t sweeping anything under the rug. Hold is one of those shows that are just a once in a life time story. But it holds value that is a need in the world full of the unexpected that we are currently living in. Will forewarn, this show does have conversations about suicide and depression. It’s important to check up on those who are in your world and offer support whenever you can. 

Simple outfit and simple set, but a powerful message really allows you to take your eyes off of being presented with a massive look, but a simple statement of basics in theatrical performance. Hinting towards why keeping a show such as Hold in a down-to-earth setting is remarkable! 

Thinking about how you are in any space is important, and holding off towards a different person is a practice that everyone can learn from through Hold, but never practice. The content is subjective to your own actions and optimized to bring you to think outside of the box after the show, but that's why I enjoyed Hold.

Comedy at the finest. 

This show made me laugh over and over again. We have all been through grief before, but not in rehab. This is a pure genius play, and it's a shorter work, but it gets the job done. I wouldn't stop laughing at the idea of having a patient come into a relationship with a medical worker who is also crazy, but we have all thought that in the past when it comes to the effects of mental health. We all have inner thoughts of “what if my psychologist is also crazy?” Good Grievers explores this work in the best manner possible, providing a night of pure fun! This is a phenomenal contrast between the massive stigma of grief and actual expectations of what grief is, which is a very needed subject as strong as grief and mental awareness. However, there is more to the story than just the script's humor. 

Written by Ashlyn Hughes and directed by Mark Blane, this is a vital style of writing that needs to be copied over to other societal perspectives and issues; we aren’t being presented with a show. We are being presented with the future of theatre. However, we are also being presented with a Black Mirror episode about a government taking control of whoever, which is currently being put in our faces in the United States. We aren’t watching just a show; we are watching the future as well being played out in our faces. A bad comedy plays on the state that we aren’t shown something, but good comedy comes with a hint of truth. Good Grievers is the full truth of the state of the government and the citizens around. 

Don't be fooled by the slapstick comedy or the witty humor; be fooled by the fact that other theatrical performances don't handle the subject of grief and control as well as this show does. Poking fun at the 5 stages of grief and playing them out on the stage. Comedy Gold! I hope you will have just as much fun as I did watching this show!

In the end, what to take home from Good Grievers is that this show is just a mirror of the true state of grieving. Or is it just a reflective state of inner healing from a nightmare that is formed from the start to the end from the lack of control? That's why I found this show to be gold; you have answers to both. 

The answer is the state of the audience and who comes and seeks this show! Blane & Hughes make a clear statement throughout. That it's all just one big giant circle of life, and no one's perfect, but no one can solve your problems besides yourself. 

Mokeb, a world away from a world, is a brilliant prospect of the ideals that bring on what is defined as theatre, and what is, for the most part, the most important part of theatre, and that is culture and life of all creativity, lifestyle, religion, ideals; all is important. Although presented with a Western version of theatre, Mokeb takes us into the world of a freelancer who is on a journey with other pilgrims on a walk to Karbala in Iraq. However, the ability to create a pause on the aftereffects of the nature of healing and coming to terms with one’s own identity and respect for each other is a premise that everyone needs to be seen and heard. 

We follow Ayan (Played by Hannah Dehrandunwala who’s also the Director and Writer), who’s joining a group of travelers. On this adventure, we witness growth, falls, and tributes. Hidden beneath is a message of internal pain and suffering. Some points in this production, you have to wonder why and if. What is the purpose? 

The purpose, we are constantly fighting each other, the fight against everyone regardless of culture or identity, but we fight against the purpose of the traditions. Faith, friendship, and personality are all under attack from the modernization of the world, and Mokeb is a show that will strike each viewer with a message that is needed and a must-see: that we aren’t alone in this, and we can find each other in the darkest of ourselves. 

Mokeb brought on the concept of purity and struggle. Struggle of power, throughout the show, I witnessed not only a struggling dynamic of power imbalance with a group of women, but also an imbalance of modern society vs. traditional society. The rise of technology and constant communication creates this tension between all the characters, which is what our current rising generation is coming into terms with. Not only is this a work of a masterpiece in society commentary, but a grim reminder of the world and its current state, taking this show into the spotlight of the eyes. The importance of Mokeb is grand. 

The staging of this show is a beautiful display of artisan craftsmanship, revealing the very details hidden on the travels of the characters. The purposeful art is what makes Mokeb a true piece of theatre, and a brave production that is sure to stay with you for years to come.

Manners of family and matters of testing family dynamics against the issues plaguing the world. Loving this year, directed/written by Chelsea Gabrielle Rose, is a piece of theatre that divides us against common reality. 

Loving us takes place during the times of 2020, pinning us during a time of uncertainty. We are brought into the world of a multigenerational family with a complex set of problems placed under different roofs. However, that’s just the basis of the writing. What strikes the theme of this production is the brilliance of a sudden disaster, which is directly implemented within this show. 

Loving This Year is an important piece of theatre, mainly because it shapes and reminds us about the stresses of being in a family within the walls. Clarification of what makes a family, a family. From the generational teachings of a grandma to the mom of two kids. To appreciate a wife who's battling at the forefront of the world. Finding a new family to be around with, and suddenly losing a member of the community who is treated just as family. Loving This Year provokes the best and worst sides of the world, but taking place during COVID-19 isn't just a trick or a tactic; it is a grim reminder of what makes a unit strong during tougher times. 

What struck awe and why you should be in the audience of Loving This Year is the complexion of the music and how smooth and soulful the lyrics are; they are a hit that's undiscovered. Along with that, comes a great performance piece of theatrical performance and visuals. The song “I Want a Boyfriend” wasn't just great; it effectively dismantled the barriers of comedy and drama. The first part of this message can be attributed to the overall feeling of being scared of changes within a family and just wanting to be loved. Generations of this strike this family, luring normalcy and continuing dynamics of the family unit. However, the genius writing of Rose creates this message of love, resilience, and hope for the future. A universal message that is sure to leave a tear on your face. 

Spectacular Like No Other! 

Some theatre you have to watch with your eyes. This isn’t just a visual show; it’s a mind-bending envisionment of the power of the inner artist in all of us. But also a discovery of those inner desires, the craft in this show was like nothing that I’ve ever seen before, and will never see on the stage. 

Created by Joey Arias and Basil Twist, we journey through a slice of life of Joey, abducted by aliens, and launched back onto the ground in the jungle. Discovering and telling herself slowly, under the influence of course! Simply, a biography of a performer's life outside the stage. 

But the story is only a small detail of how impressive and amazing this show is. From the director Basil Twist, the joke is that it’s a comedy show, but there’s nothing funny about how spectacular this show is! Each design is clearly thought out and taken into great consideration, but also just wonderfully placed. In the technical sense, this is a 10 out of 10, but that doesn’t even justify anything that I saw. From the opening of the curtains to place us in the world of the alien spaceship, to the magical jungle of thoughts, to the Dream Orchestra Band! Each scene of puppets, art, and of course Joey singing was just splendid to watch! 

The puppets in this show were an amazing experience. Puppeteers Ben Elling, Rosa Elling, Maria Camia, Matt Leabo/ Racheal Schapira, Jessica Scott, and Ash Winkfield created a show to remember again for ages to come. However, the puppets themselves also stole the show with the choreography of the dancing and the movements, with fine detail to each and every move! For an audience that hasn’t seen a puppet inside the theatre in action, this is your show! With every puppet came a unique story, once I said each scene. As each puppet came out, the mysterious ambiance surrounding the show grew more pronounced and intriguing. Foremost, Arias with a Twist is a visual representation of the power of dreaming, bringing the most creative people in the industry together in one show and making the magic of illusion and design come alive. Lighting Designer Ayumu “Poe” Seagusa's + Associate Lighting Designer Rodney Perez clever tricks of the lights are very impressive. Spaceship flying, the NYC lights! But when you go, keep an eye out for the lighting design of the mushroom trip; it was creepy! But weird and cool that way!  Sound Designer Greg Duffin gave our Joey a world around her and trapped the audience in a sound-inducing sonic connection that is relaxing, but also theatrical and inducing to the heart! Costume Designer Manfred Thierry Mugler details on the character bring out the best in the world, including the scratched Christian Louboutins, and the transfer from Rock Bottom to the #1 performer in the world. Mass differences in a life such as Joey’s require an eye for detail, and this show does not lack in that! An example of that is the Projection Designer's vision for the show, Daniel Brodie's, and sound designer Duffin idea of using projections and overlaying the audio on top for the transitions before the ending performance, was a brilliant example of why Arias With a Twist will be the golden example of all shows to come for the next 2 decades and more. 

Brilliant and frankly perfect, Arias with a Twist is still an NYC staple, hands-down a must-see for all theatregoers and all of Gen Z. Jumping through the plot and stepping into the world that is created with a thought of doing the impossible, you are bound to be amazed. Down to the art of the textiles by designer/Specialist Lynne Buckson, or the Creator of all magic, Basil Twist and Joey Arias, it’s no wonder this show received a Documentary Movie Titled Arias With A Twist (2010). Everyone would enjoy each element of the production and the story of an alien abduction. 

Opening for the fall season, most of the chances that brought us to the theatre don't end in a tearful story, or a glimpse or impression of the culture of the beauty pageant. What lies down in hope and a glimmer of a chance to see yourself compared in a social-gentility mirror of culture can only see the difference in the beauty of life. I would recommend this play to those who want to see a work of theatre that takes the darkest spirits of humanity and culminates in a story of growth, failure, and self-expression. Nothing from School Girls; Or, The African Mean Girls Play caused me to question the purpose, question why, or doubt the intentions of why I was sitting in the house. There is the chance of being changed by the writing of playwright Jocelyn Bioh, or rethinking the approach to growing up and becoming a better person the next day due to an overlapping burden of (what is just and unjust for a different person) directed by Whitney White, highlighting the fact that this is a show that addresses color, wealth, social status, immigration status, beauty status, themes of maturity, and the profession of guilt and manipulation. Anyone can relate to the themes being presented, without doubting themselves beforehand, and leave feeling bittersweet.

A rough ending for this play, I will admit (not rough in being bad). Just a rough work of art and a rough, gritty story where reality sets in for the characters, serving as a reminder for everyone that nothing is as it seems. I began to watch each character's flaws come to life, each character wanting to fit in and belong in a torn-up social pretense. I saw conflict become their own defeat within their hierarchy, but also their own belonging.

I would want anyone to see this, especially as of now, in the climate of comparing oneself to others. In the age of the digital world, we are seeing differences not being enough anymore, but rather an unbeastly wanting of absorption into societal norms. We are learning to be mean to each other, but not mean to our own thoughts and the dare of jealousy. This is why School Girls; Or, The African Mean Girls Play was a modern retrospective of the world around the generations now, through the ideals of the '80s.

When you are involved within the arts, you are bound to meet some of the coolest people in the world! Here are just a few of some I've had the pleasure to interview over the course of my work, and want to bring their voice into your screen! Always, their words, not mine! Not all art is the same, but also not all the brains are the same, which is what makes the art colorful, vibrant and different. Some of the artists that I have meet have some of the best; most fresh persepctives in the world. Each art is a reflection onto someone, someone who's ran a different marathon. Someone who's been in the different world than our owns. Here are just a few of their stories to tell! 

Hi, my name is Charles Bernard Murray. They call me CB Murray. I'm the director and choreographer of Marilyn Exposed. I got this script, a draft of it, during the pandemic. Cornell sent it to me, and he was telling me about the research he did about Marilyn Monroe. I found it extremely interesting, and I immediately felt like I wanted to be a part of the project.

The inhumanity that this woman faced was beyond words. They treated her like she was not a real person. They forced her to live through a caricature that they made her play to make money. People don't realize how hard Marilyn had it. They didn't treat her like a human being; they treated her like a commodity. They created a caricature and then had her live out that caricature in her real life for publicity.

You have to remember that back then they didn't have social media. So all they had was gossip and the propaganda that would go through the media. She was one of the worst victims of propaganda and media in the film industry—a victim of that gossip, propaganda, Hollywood film machine, that system that would sell tickets no matter what it did to the actor or the person. She was not even allowed to come out of character in her real life because that was how they made their money off of her. They treated her like she was a piece of property, and the inhumanity that she had to face was ridiculous.

But the fact that she was able to stand up against that, that she was a survivor of all those different things to become the first woman in Hollywood to have her own production company, to get script approval, to make a million dollars for a film, made Marilyn a special person. People think she's iconic because of her hair and makeup. I think she's iconic because of the way she survived the system and was able to not just survive the system, but to beat the system. And I think that's why they took her out. It's true—they took her out.

Her death wasn't even a conspiracy theory. There were people who got together and realized that they could make more money from her death than they could from her living and doing the things that she wanted to do. When she found her voice, when she stood up for herself, they killed her. They literally got rid of her and then made money from her death, and they continue to make money off of the caricature. It has been more than 60 years since her death. She died in her 30s, and last week she would have been 100. That means for 67 years they've been making money off of a fantasy and not really giving any credence to the real person.

I think people should see this show because it's somewhat of a true crime documentary. We have put different icons, politicians, and celebrities on pedestals. I think that the truth is now coming out that we need to take them off the pedestal, look at who they really were, and make sure that we don't allow those same mistakes to perpetuate any longer in our business. So seeing this show will give us the opportunity to uncover some lies and tell some truths.

I'm really excited about this cast of Marilyn Exposed. As much as it is about Marilyn Monroe, this is an ensemble piece. Everybody in the cast is showcased in such a special way, and each one of them is an amazing actor, actress, dancer, and singer. They work so hard in 90 minutes that you won't believe you've seen as much as you saw in a short amount of time.

I think what makes Marilyn Exposed different from the other shows we've seen, whether it's been a movie, on Netflix, or on Broadway, is that we're not trying to monetize the myth or perpetuate the fantasy. What we're trying to do is get the audience to find out that this was a real human being, and see what they put this poor woman through to have the career that she had. While everybody was celebrating her blonde hair and beautiful looks, in the background, she was being beaten by some people, exploited by most people, and robbed by almost everybody she knew.

For me, it was an interesting process. I was not necessarily a Marilyn Monroe fanatic. I appreciate her artistry and the fact that she was a great actress, but I wasn't one of those crazy Marilyn Monroe fans. I don't believe in celebrity worship, period. But what I found most interesting was the fact that she had a soul. This was a woman who had gone through numerous foster homes and had been sexually abused. This was a woman who had been used by the Hollywood elite, much like some of the things we see in the news today, but she still was not a victim. She was a survivor. One of the things that makes an actor or actress great is their life experience, and Marilyn used all of that negative life experience and honed it into her craft to make her an exceptional artist.

I started my career in New York at 19 at the AMAS Repertoire Theatre. Rosetta LeNoire, who ran AMAS back in the olden days, was one of my mentors. One of the things I was taught at AMAS was to learn everything: learn your choreography and everybody else's choreography, learn your lines and everybody else's lines, learn your song and everybody else's song, learn the lights, learn the sound, and learn how to work everything. That's what really made me start getting into directing. As a director, I have to see the entire picture—not just one person's role, but everybody's role, everybody's costumes, the lights, the sound, and how to put that whole picture together to give us one really great product. And that's what I think this show is: one really great product. Because if you come in and see the show, you are engulfed in our world, and we take you on this ride with people running in and out of the theater, up and down the stairs, music, and lights. Before you know it, you have Marilyn in a way you would never have guessed from the things she had to go through.

Marilyn Exposed, the whole script and play make me want to do it and watch it. It's about how Marilyn Monroe was viewed as a sex figure, and now we want to show how different she actually is and the real her. This is really supporting female artists, and that's what I really want to do.

What does set design mean?

Set design tells a lot of stories that are not being told in the script by the actors. My bachelor's degree was in sculpture, so I was very interested in 3D forms. When I came to the theater, I realized how set design felt like creating huge sculptures on stage. Making large spaces and getting people involved in them is something I am interested in professionally. In set design, I want the audience to feel the shock when they see all the changes and how the set relates to the story. The first time I saw Cabaret, I had goosebumps all over, and that's what I want to bring to the audience.

This is a musical, so it is very versatile, and things are always changing. We don't have a big space for it, so I want to focus on how Marilyn is a lively person instead of just a figure, and how time goes back and forth. The first theme focuses on the contrast between black-and-white and color. The color represents the vivid Marilyn Monroe when she was alive, while the black-and-white represents the reality that she has passed away. I also want to give clues so the audience feels like a detective solving mysteries together. I want to form this abstract feeling for the audience.

One design I am pretty proud of shows Joe DiMaggio and Marilyn's marriage. It is broken into three stages. The first stage is where they meet each other in a high-end French restaurant. Instead of putting the whole setting on stage, I used the table setting to show that when they met, they had a complete, wholesome atmosphere. She was placed like a dish in front of this man, being eaten away. In the second scene, Joe has problems in their marriage and realizes she is not just a sex figure. The table setting breaks into pieces with cracks to show the problems in their marriage and make it more readable for the audience. The last scene shows the table setting completely shattered, marking the end of everything for them. That is one of the designs I really like.

During the process, I communicated with our director, CB, and producer John about how to visualize the scene. After the script reading, we exchanged ideas and figured out we could start with a historical vibe influenced by Andy Warhol's early artwork, giving it a black-and-white style. There were many changes to ensure the overall style remained coherent and brought the story together. We had continuous meetings to communicate, adapt, and refine until it became a complete piece.

Besides my work, I love how Romy, who plays Marilyn Monroe, sings so beautifully and touchingly. I also really love all the dances, the direction, and the stage transitions. Everything coped very well, making it a fun and complete show. I really hope everybody comes to see it.

Interview with Frankie Maguire

Frankie Maguire: My name is Frankie Maguire. I do lots of things around the theater: special effects makeup, performing, set painting, oil painting, and props mastery, as I am for this show. I also like to help with wardrobe, makeup, and all aspects of the creative process.

The most exciting part about coming to Marilyn Exposed is that this is my first chance to work off-Broadway. It is a really special opportunity for me to work here and at the Actors' Temple.

Interviewer: What's your favorite prop in the show?

Frankie Maguire: I'd say the syringes are my favorite prop. I also love the cameras our photographers use because they are real thrifted pieces from the time period, which adds a nice authentic touch. I am also a fan of Greenson's doctor bag for how it looks, and of Arthur Miller's pipe, which is an iconic piece for Craig's character.

Interviewer: What challenges or considerations did you have regarding the props?

Frankie Maguire: We had to deal with budget constraints. Outside of that, prop quality is critical because, for a show with an indefinite run, props are used heavily in rehearsals and performances. Visibility on stage is also key: in an intimate theater, smaller props work well, but in larger theaters, items must be visible to everyone. Despite constraints, acquiring authentic period pieces was a real success.

Interviewer: What's your favorite part about the creative process?

Frankie Maguire: Collaborating with people is a very special part of why I love working in theater. You meet unique, wonderful people and connect with others in the industry.

Interviewer: What is your favorite part about theater overall?

Frankie Maguire: My favorite part is the community and the relationships formed among the cast and crew. It's a unique environment that anyone who has participated in a production can understand.

Coming Soon!