Oscar E Moore

She’s lovely.  Looney but lovely.  Sarcastic and intelligent.  A bi-polar part played to perfection by Joely Richardson.  Daughter of Vanessa Redgrave and Tony Richardson.   Sister of Natasha.  Niece of Lynn.

It’s a joy just to watch her as Melinda Metz opposite a remarkable and uncanny look alike for George W. Bush, Cotter Smith as her sleaze ball wannabe in politics manipulative and controlling husband Hugh.

It’s hard to believe that they have been married for fourteen years and that it’s taken Melinda this long to discover that Hugh is no longer fun to be with.  That she needs to be with the man she left behind in New York, Adam or at least call him on her cell phone when Hugh leaves the room, sneaking furtive glances in case he should overhear.

Hugh comes from a good family.  He gave up a lucrative job in New York to return to the home bicycle business in the Midwest when his dad died and now the factory is in trouble.  His wife is in trouble.  Not taking her pills.  Drinking heavily.  Not listening to him anymore.  Wanting out.  Not wanting to help him campaign for City Council and then State Assemblyman which Hugh expects her to do – giving up her own writing career for him.  Tit for tat, so to speak in “Side Effects” by Michael Weller at the Lucille Lortel Theatre through July 3^rd which is also in trouble.

In five rapidly unfolding scenes that span two years in the unhappy and belligerent marriage of Melinda and Hugh we get the back story and more.  But we never see the two kids, nor Adam, nor the mistress of Hugh (Melinda’s newly hired assistant) who is pregnant and has some VIP connections in Washington D.C.

But wait, after Hugh and Melinda divorce he wants to come back and have sex with her in the mornings and is willing to pay her in this last amusing scene of a pretty ridiculous plot that deals with these two rather unlikable characters.

Despite having to play the obnoxious Hugh opposite the luminous Ms. Richardson Cotter Smith holds his own and it is the fine acting of both individuals that might tempt you to see the ho-hum, ineffectual  “Side Effects” which is directed by David Auburn.

She’s a free spirit and he’s straight laced.  She’s spontaneous.  He has everything pre-planned.  Except for the melodramatic plot twists dreamed up by Mr. Weller.

www.mcctheater.org Photo:  Joan Marcus

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Prediction:  You will not see a better written, better acted or better directed production this year than that of “UNNATURAL ACTS” – a new play based on some hard to digest true events – which is now at the Classic Stage Company on East 13^th Street.  They have created a profoundly moving, passionate, emotionally draining and powerful classic of and for our times. 

Harvard University should be ashamed – destroying the lives of these men.  Men who were homosexual.  And then keeping all records of Harvard’s Secret Court 1920,  locked up, in the closet so to speak, for over eighty years   Young men living their lives as normally as they could – pretending during the day, confused, suppressing what was for them their natural urges (unnatural to others) but coming to life at night allowed to revel in their true selves in Room 28 at Perkins Hall under the guidance of Ernest Roberts (Nick Westrate) the “on probation” prone son of a Congressman who hosts his soirees in drag.

Had it not been for Amit Paley who inadvertently discovered the files while a student at Harvard in 2002 and fought to get the secretive and sensitive material released from the University whose motto is “Veritas”, “UNNATURAL ACTS” would never have been written by the members of the Plastic Theatre as conceived by Tony Speciale who has staged this complex play beautifully reminiscent of Moises Kaufman’s Gross Indecency: The Three Trials of Oscar Wilde.

Despicable deeds done by five administrators investigating the alleged despicable deeds done by “a nest of deviants” who were interrogated, exposed and destroyed.  Then covered up – all in the name of truth.  “UNNATURAL ACTS” brings this brutal story to extraordinary life.

A story that won’t go away as noted in recent headlines regarding the suicide of Tyler Clementi after his roommate broadcast images of him having sex with another man on the internet. 

It is the “accidental” death of Cyril Wilcox and some correspondence that sparks the narrative by Eugene Cummings (Brad Koed) that begins the fast spiraling downfall of the students in question where they ultimately turn against each other – having to name names.

Kenneth Day (Roe Hartrampf) the handsome “jock” who likes to be serviced to “relax”.  The debater, Joseph Lumbard (Will Rogers) not gay but interested.  The flamboyant Edward Say (Jess Burkle) a wit who likes a bit of rouge.  Stanley Gilkey (Max Jenkins) head of the Drama Club.  The actor Keith Smerage (Frank De Julio) being helped with his diction and audition piece from Antony and Cleopatra – “All is Lost” (which beautifully mirrors the love and betrayal and trust themes of the play) by Nathaniel Wollf (Joe Curnutte).  The professor, Donald Clark (Jerry Marsini) who secretly writes poetry frequently referencing Eros and Devin Norik as Harold Saxton who figures prominently in this drama of indecency sparked by the suicide of Cyril after being threatened to be labeled a homosexual and denounced by his brother Lester (Roderick Hill).

Jess Burkle, Roe Hartrampf & Will Rogers

The acting is exceptional from the ensemble of eleven men who sometimes say more with a prolonged look, a glance or a subtle gesture – like almost crossing his legs but then thinking better of it as it might incriminate him as being feminine. 

Tony Speciale has directed with sensitivity, wit and wild simulated sexual abandon.  Overlapping dialogue has never been more appealing – especially the Act II duet interrogation scene of unlikely roommates Lumbard and Say.  The appearance of Room 28 is a marvel.  The majestic bookcase stage center with chairs and small pieces of furniture around the stage as actors move about in the shadows is handsomely designed by Walt Spangler.  Period costumes by Andrea Lauer, expert lighting by Justin Townsend and original music and sound design by Christian Frederickson couldn’t be better.

“UNNATURAL ACTS” is an incredibly creative, theatrical, truthful and moving production with an unexpected turn of events and coda that will sadden and shock.  It is not to be missed.  Through July 10^th. 

www.classicstage.org  Photo:  Joan Marcus

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Seven ten-minute one act plays about people with disabilities are being presented by Theater Breaking Through Barriers, formerly Theater by the Blind at the Clurman Theatre at Theatre Row through June 30^th.  It’s an eye opening experience.

Don’t look at the limp, at the hand that’s missing.  At the legs that don’t work.  At the wheelchair or the retractable cane.  Look at the actors – some able-bodied and some with missing parts – as actors.  Don’t be blindsided by what some might call defects.  They are not handicapped.  They are actors first and foremost.  They want us to get past what we see.

With spunk, determination, resilience and humor there is no room for self pity only talent as they take you on a fast, heartfelt and sometimes very funny journey seeing life through their eyes.

It is extremely ironic that upstairs at The Acorn Theatre – ONE ARM – the Tennessee Williams play dealing with an ex-boxer turned hustler with one arm has hired Claybourne Elder a beautiful specimen of a man with two arms one of which is strapped to his side for the role.  Director Moises Kaufman should make a visit to “Some of Our Parts” which might enlighten him, making him think twice about casting the part with someone with one arm for future productions.

Shannon DeVido & David Harrell

In CASTING CALL by Kate Moira Ryan which links all the other plays together while the set is quickly changed “Ike Schambelan” (TBTB’s Artistic Director) tries in vain to convince casting agents to cast disabled actors in such plays as The Miracle Worker, Butterflies Are Free, Children of a Lesser God and 33 Variations – another M. Kaufman show.

Each one act play is concise.  There is plenty of dark humor.  Some black out lines are more effective than others.  The acting is excellent by the cast of sixteen.  Playwrights include:  Bekah Brunstetter GORGEOUS, Samuel D. Hunter WELCOME TO WALMART, Diana Son BLIND DATE, Jeff Tabnick THE BIG PAYBACK, Emily Chadick Weiss GOOD DANCER and Neil LaBute CRIPPLES – where three old geezers discuss making it with disabled women that has a hysterical description of sex with a woman with no legs that you won’t soon forget.

The program cover features artwork by cartoonist John Callahan who was a quadriplegic alcoholic and had the darkest and most wicked sense of humor in depicting disabled persons in the funniest of situations.  Hardly politically correct.

“Some of Our Parts” carries on this tradition mightily.  It will make you think twice before saying something really dumb to someone less fortunate than you.  Hopefully casting directors will see this show and cast some of the many fine actors in a role that they are so well suited to play.

The ensemble:  Mary Theresa Archbold, Melanie Boland, Tiffan Borelli, Shannon DeVido, Alden Fulcomer, David Harrell, Marcie Henderson, Anita Hollander, Kenneth Kimmins, John Little, J.M. McDonough, Gregg Mozgala, Melanie Nichols-King, Pamela Sabaugh, Ike Schambelan and Nicholas Viselli.

www.tbtb.org       TICKETS $19.25    212 239-6200  Photo: Carol Rosegg

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It won’t make any difference whether or not you know of Bessie Smith “The Empress of the Blues” or her songs or her life story.  What you need to know is that Miche Braden staring in The Devil’s Music:  The Life and Blues of Bessie Smith (her almost one woman musical) is a shining sassy new star who lights up the stage of St. Luke’s Theatre with an exhilarating, passionate, sultry sexy red hot mama performance that will leave you breathless.

Not only is Miche Braden a great singer and entertainer she is a consummate actress.  When after all the troubles she has had with Jack, her philandering husband (Bessie wasn’t any better having flings with both sexes) who has taken her to court to take their adopted son away from her and she is left with nary a friend and sings the mournful “I Ain’t Got Nobody” Miche Braden (who you have already fully accepted as the reincarnation of Bessie Smith – she is so totally involved with her characterization) simply stands there and sings her heartfelt lament like you have never heard this song sung before, the pain seeping through every pore of her aching body.

This brilliant concept comes forth from Joe Brancato of the Penguin Rep Theatre who has also staged the musical numbers and directed the piece precisely written by Angelo Parra. 

Many of the lyrics are fun – double entendre meanings and sexual innuendos abound and are deliciously delivered by Miche with some tantalizing tongue action to boot as she shows off her flair for being light on her feet.

The seamless intermingling of songs and story make her life extremely compelling, taking place in a “buffet flat” where Blacks could gather after hours to unwind providing a refuge from the rampant white segregation in Memphis Tennessee circa 1937.  It is beautifully designed by Michael Schweikardt – looking very much like a private room of the Algonquin Hotel nicely lit by Jeff Croiter.

Miche is accompanied by her friend Pickle on Bass (Jim Hankins) Aaron Graves on piano and Keith Loftis (alternating with Anthony E. Nelson Jr.) on Saxophone.  And there is one of the hottest duets between singer and sax – “St. Louis Blues” that all but melts the wallpaper off of the walls.

Talking directly to the audience and “her boys” Miche does so with such a believable naturalness that not for a second do you not believe you are in the presence of Bessie Smith herself – making this musical a cozy affair between artists and audience as she drinks from one flask after another drowning her sorrows and fear of dying with bathtub made booze.

Miche Braden takes total command of the stage and never leaves until her final show stopping rendition of “Nobody Knows You When You’re Down and Out”.  It’s a bravura performance that brings Bessie Smith’s humor, temper, heartache and hard drinking, hard working and hard partying skills to vivid life.  Miche Braden is now rightfully the new Empress of the Blues.  As musical director and arranger she sure knows what she’s doing.  It’s a shame that The Devils’ Music is only performing three times a week.

www.thedevilsmusic.biz  Mondays & Tuesdays @ 7.  Wednesdays @ 8.  At St. Luke’s Theatre 308 West 46^th  Street.   Photo:  John Quilty

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Splat! That’s one of the final images you see as the Green Goblin meets his demise toppling off of the Chrysler Building in the bloated and beleaguered musical Spider-Man Turn Off The Dark which has finally opened after one of the longest preview periods in Broadway history, many mishaps, 70 million dollars spent and the ouster of its original director Julie Taymor.  Splat! sums it up precisely.

If I hadn’t seen it for myself I never would have believed what a terrible mess Spider-Man Turn Off The Dark is.  From its opening deaf defying ear splitting sound system to its split personality story telling and direction I was continually amazed at what seventy million dollars looks like on stage at the Foxwoods Arena – I mean the Foxwoods Theatre where this Yanni cum Cirque du Soleil musical with a mediocre score by Bono and The Edge – geared to the tourist trade, tweens and teens with lower than average I’Q.s – are devouring this froth-like amusement park ride that just might make you ill like an overdose of cotton candy.

The most striking aspect of the production are the sets by George Tsypin and the opening sequence of Arachne (T.V. Carpio) weaving her web.  Next some trademark puppets and masks by Ms. Taymor which fight against the oh-so-seriousness of the piece.  Spider-Man, I thought, was supposed to be funny as was “The Spidey-Project” a spoof produced for one free night only back on March 14, 2011 which was brilliant. 

The aerial flying sequences come late in the first act right after Peter the geek/dork Parker (Reeve Carney lacking in charisma) has been bitten by a mutant spider and finds himself climbing the walls – with so many visible wires that it takes away any of the mystery of how it is done.  Unlike the fabulous dance sequence of Fred Astaire in the film Royal Wedding. 

There are some high flying sequences over the audience that are best seen from the mezzanine and balcony – not in the higher priced orchestra seats where you will be straining and craning your neck to see where they have flown off to. 

The best is the climatic aerial battle between Peter/Spider-Man and the Green Goblin (an over the top Patrick Page who is the mad scientist Norman Osborn in Act I and who captures the right tone here – only he isn’t doing the flying Collin Baja is) as Peter attempts to save his true love Mary Jane Watson (Jennifer Damiano) that had all the kids cheering their American Idol moment albeit zero chemistry.

What choreography there is by Daniel Ezralow and Chase Brock is repetitive and not very original and of today while the story is set somewhere else – your guess is as good as mine – with references to Face Book and cell phones being used and then old typewriters and newsboys exclaiming, Extra! Extra! – It just doesn’t make for a good mix.  A mix conjured up by Taymor, Glen Berger and Roberto Aguirre-Sacasa and Creative Consultant Philip Wm. McKinley.

The parade of the mutant villains with eye popping costumes by Eiko Ishioka will probably televise nicely during the Macy’s Thanksgiving Day festivities.

The focus on bullying and the oft repeated “With great power comes great responsibility” resonate very strongly today.  I wish the creators of the show had supported those themes in a more meaningful way.  I wish the entire cast and crew the best as they have done their best to make Spider-Man Turn Off The Dark work.  But even the infusion of twenty million more dollars wouldn’t help make this ill conceived show fly.

www.SpiderManOnBroadway.com     Photo:  Jacob Cohl

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Two actors.  Minimal set.  No intermission.  Easily transportable.  A description of “Any Night” which is now trying to scare up its audience at the LABA Theatre @ the 14^th Street Y (344 East 14 St) after being hailed by Canadian critics where it has won numerous awards including “Best of the Year” and “Best New Play”.  Some pretty good credentials that unfortunately it doesn’t live up to.  Hitchcock’s Psycho it isn’t.

I’ll give it high marks for attempting to create a who-will-do-it-to-whom-and-why creepy chilling kind of drama.  But very early on Anna (Medina Hahn) a beautiful young woman whose main problem is sleepwalking declares that someone will die and someone will die inside. 

As there are only two characters, the other being a computer nerd willing to be Mr. Helpful – Patrick (Daniel Arnold) her new neighbor upstairs from the basement suite that she has recently rented after leaving her overly confining boyfriend Ben the odds are even as to the outcome.

Even an ostrich with its head imbedded deep in the sand would figure out what’s going to happen in this pseudo psycho drama – written and produced by our two actors.  The only thing chilling about Any Night is the air conditioning.

Director Ron Jenkins does his best to spook it up with the help of some nice lighting effects by David Fraser and sound design by Gord Heal. 

The dialogue is mostly banal.  Getting to know you stuff that doesn’t pay off until the last twenty minutes.  The song “Everybody’s Looking for Someone” (Sweet Dreams (Are Made of This) made famous by the Eurythmics and Marilyn Mason is used throughout and it’s like hitting us over the head with a sledge hammer.  Nothing subtle here.

There are off stage voices (Brian Linds) spying on Anna as she sleeps.  There are thunderstorms.  There is Colette – the psychic next door who reads Anna’s cards.  Daniel Arnold triples as Colette and Ben.  There are spastic modern dance movements (Anna wanted to be a ballerina) and lots of running around the set with the use of a movable three step staircase which keeps the momentum going if nothing else.

Is Patrick as nice as he seems?  Is he telling Anna the whole truth and nothing but?  Is Anna just plain bonkers?  Will her prophecy of death be fulfilled?

Both actors do a fine job at portraying these complicated star crossed lovers but they cannot overcome their own script which their director has tried to spice up with some eerie touches that had me on the edge of my seat not in suspense but ready to leave.

www.AnyNightThePlay.com   Through June 19^th.  Photo:  Stephanie Hull

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This is not a prediction of who will win but who I think should win.

http://www.goldderby.com/oscare/mypredictions/

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If ever asked who I’d like to have dinner with – either dead or alive – Rachael Crothers would be my second choice, she being dead.  The first being, Elizabeth II Queen of England. 

Who you might ask is Rachel Crothers?   Ms. Crothers was a prolific playwright – nearly 30 of her plays opened on Broadway between 1906 and 1937 and “A Little Journey” (1918) which has just opened at The Mint Theater in its first ever revival was a nominee for the 1^st Pulitzer Prize for Drama losing out to Why Marry? By Mr. Jesse Lynch Williams.  Could it have been because she was a woman?

Ms. Crothers was as funny as she was smart.  And she certainly knew about human nature.  Her dialogue is true to character and there is nothing dated about “A Little Journey” except the beautiful period costumes by Martha Hally worn by the woman on board the Pullman Car headed West where the action takes place over a four day period.

When you hear that certain “buzz” circulating among the audience members after the first act curtain (there are three) you know there has been something special on stage.  “A Little Journey” is a gem of a play unearthed by The Mint which has a knack for unearthing very special vintage plays that resonate today just as they did when first produced.  A fine example was another Crothers play “Susan and God” which was produced five years ago.  I hope that we don’t have to wait that long again for another Rachel Crothers masterpiece to arrive.

“A Little Journey” is delightful, meaningful and humbling.  It is exceedingly good and I whole heartedly recommend seeing this beautifully designed production.  Roger Hanna has created some sort of miracle in this intimate setting with his rotating circular Pullman Car which has enabled director Jackson Gay to keep the action moving while the train heads West with its collection of odd characters.  A perfect ensemble cast.

Three of whom open the play never to be seen again.  The economics of 1918 play production allowing for such delicious excess could only be envisioned and executed to the nth degree by the amazing Mint Theater. 

Those three characters are Kittie Van Dyck (Victoria Mack) and Ethel Halstead (Joey Parsons) and Alfred Bemis (John Wernke) boyfriend of Julie Rutherford (a lovely nuanced Samantha Soule) who is going back West to live with her brother leaving all behind as she has not enough money to remain in New York and hasn’t enough self esteem to get through her troubles.  It is her journey that we follow although most of the other characters also change along the way.

There is the society matron Mrs. Welch (a sensational Laurie Birmingham) the deaf Mrs. Bay (a huggable Rosemary Prinz) her granddaughter Lily (a fine Chet Siegel) an unwed mother Annie (a heartbreaking Jennifer Blood) traveling with her infant – who by the way is a most important character – its coos and squeals so believably done that not for a moment are you taken out of the story), two college chaps Frank (Ben Hollandsworth) and Charles (Ben Roberts) swooning after Lily and Julie respectively, Jim West (a manly McCaleb Burnett) who comes to the rescue when Julie cannot find her ticket and helps her to learn about herself and life, the brash and demanding Conductor (Douglas Rees) who doubles as Mr. Smith traveling in the only private compartment, salesman Leo Stern (a lively Craig Wroe) and the Porter (a charming Anthony L. Gaskins) who remains calm and professional despite the way he is sometimes treated.

“A Little Journey” is all lighthearted banter until Julie is forced to face some very important issues and then disaster strikes in the most unexpected and surprising manner which brings out the true humanity of all involved, leaving you with the most uplifting and hopeful thoughts from all these wonderful new acquaintances introduced to us by Rachel Crothers – a lady who knew her craft and her characters and manages to still entertain and move us with her sincerity about helping others.  It’s an extraordinary play and production.  I could see it again.

www.minttheater.org        Through July 10^th.     Photo:  Richard Termine

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Under the sure handed direction of David Leveaux “Through A Glass Darkly” a stage adaptation (Jenny Worton) of Ingmar Bergman’s 1962 Academy Award Winning Best Foreign Language film for the Atlantic Theater Company is a provocative, atmospheric, well executed and beautifully designed production which centers around a dysfunctional family dealing with the mental disorder of Karin (a finely tuned Carey Mulligan) while on holiday on an Island Paradise which turns out to be anything but.

Karin has just been released from a mental institution and appears to be adapting nicely with her husband Martin (Jason Butler Harner) who is a doctor, her sixteen year old brother Max (Ben Rosenfield – in an auspicious Off-B’way debut) and her arrogant and distant father David (Chris Sarandon) who has long been absent with the writing of his latest novel. 

He has promised to spend the entire summer with them but that is not to be as he must give an important lecture in Yugoslavia.  The lecture being more important than his family.  A family that Karin has tried to nurture and hold together after the death of her mother who suffered from the same malady.  Typical Bergman themes.

When Karin reads in her father’s diary that her disease is chronic she begins to unravel hearing birds and smelling musty clothes and waking in the middle of the night to go through a wall where the people greet her with love and understanding.  A place where she is important.

The production team has done wonders in making this film stage worthy.  The set by Takeshi Kata representing the sea side and bedroom and mystical wall is enthralling in its simplicity and color.  As are the costumes by Jess Goldstein, the superb lighting design by David Weiner and the eerily mood inducing music by David Van Tieghem.

David, a second rate writer who longs to be accepted as a genius, hopes to use the dissent of his daughter into mental oblivion as the basis for a best selling novel asking if she wouldn’t be better off dead.  Try being not anxious under these circumstances as they advise Karin to be.

Her young brother Max, just experiencing the strange stirrings of puberty, finds it a bit uncomfortable seeing his sister’s naked breasts and then some.  Wanting to gain the respect and attention of his egocentric father, Max has written a play that he would like him to critique.  His confusion and desire for acceptance are heartbreaking.

Karin’s husband, at a loss, tries to comfort his wife as she slowly dissolves before our eyes in a mesmerizing performance.

They are all excellent in this most interesting and unsettling production which makes one want to see the original film written and directed by the granddaddy of dysfunctional families, Ingmar Bergman – who was a true cinematic genius.

At the New York Theatre Workshop 79 East 4^th Street.  Through July 3^rd.

www.atlantictheater.org/glass

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About half way through the dismal 80 minute “Desperate Writers” – by Joshua Grenrock and Catherine Schreiber who also appears as one of their imagined Hollywood producers Jessica Vane (read vain) I wondered and hoped that scenic designer Lauren Helpern had been well paid for her well apportioned split level Hollywood Hills home that is sleek, modern and artificial – the one bright spot of the production. 

As it turns out, a rental property that is about to be sold leaving our two main characters who have been trying for the past ten years to get a screenplay “From God’s Mouth” – a romantic comedy featuring the Mets, The Yankees and a lottery ticket – read and produced – out in the cold or the smog or the sunshine – as if it mattered. 

Ashley (Maddie Corman) is a terrific cook/caterer and wants to get married and have a child but her long time writing partner and lover David (Jim Stanek) a terrific pet photographer wants to wait until he has “all his ducks in a row” meaning “making a deal” for their screenplay.  The expression “When Pigs Fly” comes to mind.

And so, desperate as they are, three high profile producers are kidnapped and imprisoned in a make shift jail cell set up in their living room where a Real Estate agent pops in every so often with potential buyers – on Halloween no less.  Still with me?

Maybe this worked in Hollywood where “Desperate Writers” was first produced with all its Hollywood “in-jokes” and proliferation of Yiddish-isms, and a stab at skewering the jaded HW producer types:  The aging yet perennial youthful looking lothario Danny Burke (Christopher Durham) the obnoxious overweight man of a thousand Yiddish expressions Leo Goldberg (Bob Ari) and the already mentioned Jessica Vane (Catherine Schreiber) – a trio of back stabbing phonies.

And so Ashley serves them a gourmet meal and David reads and enacts their “baby”.  The entire screenplay which only makes it obvious why it has never been produced in the ten years that they have been dreaming of their Oscar.

None of this is remotely funny.  Ridiculous, yes, funny, no.  Masks and guns and Botox do not a comedy make.  At best it’s an elongated Saturday Night Live skit that might even be cut from the final run through.

Pauletta Washington is their not very helpful agent Vanessa.  Bedecked in outlandish outfits (Stephen Donovan) she calls them every so often from locations where it is nigh impossible to hear her as she changes times of meetings and gives them the old pep rally – “Be Optimistic” spiel.

Vayu O’Donnell, Kelsey Nash and Susan Louise O’Connor play a series of cameos making a great effort to make sense of all this nonsense.  A losing battle.

Kay Cole is the director of record.  Not helping matters much she is fond of the freeze frame effect.  Performed without an intermission for obvious reasons.  At The Union Square Theatre.

www.desperatewriters.com

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