An Interview with Felix Rojas and Chulisi & Growing Up Gonzales

Sometimes you see your own story on stage. Sometimes it is within a scene. Sometimes it is through one character. Sometimes it is the whole play.  I want to go on the journey. I want to be “shackled to the beat”. I’ve been following Growing Up Gonzales by Felix Rojas over the years. I finally got to see his show with the engaging and riveting performance of Andres “Chulisi” Rodriguez.

Growing Up Gonzales is a poignant, hilarious, moving solo show about two Puerto Rican brothers from the Bronx. Played with expert precision by Chulisi, Johnny is tasked with cleaning the apartment of his recently deceased brother, Cisco, when he stumbles upon Cisco’s diaries. A treasure trove of memories, Chulisi shares those moments through the eyes of Cisco, his abuela, “la chilla”, the hooker with a heart of gold, Boo Boo and others. He oscillates to real time as Johnny with a simple costume piece. Those stories include time spent in Puerto Rico, going to church, his father’s funeral, cooking in his mother’s kitchen with an attitude, getting sick, Johnny’s drug addiction, and so much more under a layer of humor.

As a Trini-New Yorker, I could relate to the stories even if the people are from a neighboring island in the Caribbean. Everyday life is infused with dramatic and tragicomedic moments. As a matter of fact, the first time I met Felix was a day of drama. He and Chulisi sat with me to talk about the earthquake, building the show over the years and the next steps.


Malini: We were invited to celebrate Ken Davenport‘s birthday at Great Adventure. It was Felix, Mark Allen (who ended up winning Ken’s prize to be the composer for his show, Garage Band), and my husband. We ended up spending the whole day together…remember the earthquake?

Felix: They closed the rides for a couple of hours because of the earthquake.

Chulisi: Like a real earthquake?

Malini: We were getting on the Superman ride.

Felix: You have a great memory.

Chulisi: That’s crazy. That’s scary. Did you feel it?

Malini: Yes. True story. When was that?

Felix: It was about 2011/2012 because I was about to start Growing Up Gonzales.

Chulisi: It was 2012.

Malini: You were going to Jan Hus and I remember I couldn’t come to it. And that’s why this is interesting when you don’t hang out with people you hang out with once and been following this for 5 years. I guess I was supposed see it when I was supposed to see it. I was really moved and had so much identification with this story as a Trini and New Yorker. Especially the way you beautifully balanced these touching life moments with the everyday stuff. Like the kitchen. The grating of the vegetables! I have gotten that yell from two rooms. Come here and grate the cheese! How much of this did you work with Felix in developing?

Felix: That’s a beautiful thing. That’s a beautiful thing for me to hear.

Chulisi: It’s all Felix’ writing and in 2012 it was a different beast. It’s day and night. People who saw it in 2012 and see it now ask if it’s the same play. It’s completely different. The set is completely different, the dynamics of the brothers are completely different.  I am a different actor than 3 years ago when we first did it. I came to it this time with layering. I said to Felix we have to layer this. I don’t believe in doing a project that isn’t personal to me and this is very personal. I am a recovering addict. I was Johnny. I was Cisco who became a Johnny. My sister was one of the first people who had the virus when it came out in the ’80s. So much of the story is more me. For him [Felix] it’s not. Very little of his life is in it.

Malini: Really?

Chulisi: Very little of his [Felix] life is here. I tell Felix he just writes for me. This time around, Felix would give me a direction and I would tell him what I am feeling. He would say okay, that would work or wouldn’t work. We always came to finding the layers. That’s why it is so intense.

Malini: Let me ask you this. You wrote this, directed, and produced and I know what it’s like to wear those three hats at the same time and your brain wants to explode. How was that relationship.

Felix: We had a productive relationship. Lots of respect for each other. Since 2012, he has done some amazing things. I follow him. I watch what he does. I have grown as an artist and as a person. When I did this show in 2012, it was the first thing I had done in 17 years. I took a hiatus…forever…and thought, “let me give this thing one more shot.” It was very dynamic. It was magical. It was hard. It was tough. The first time we did the show, it was very different. Chulisi already had his characters in him. The hardest part of the process is exorcising those characters that were already there. He was Johnny a certain way and Cisco a certain way. So that was the toughest part.

Chulisi: In 2012, Cisco was played slow and Johnny was an asshole. Straight street. This time around the dynamic is Johnny actually realizing who Cisco is instead of already knowing who Cisco was.


Malini: What’s next for this?

Felix: We want people to come see the show. We are looking to have it move to a bigger venue that would add elements to the piece. Possibly Netflix.

Chulisi: This is a full story. A tangible story.

Felix: The goal is to get people see this show.

Chulisi: We are two independent Puerto Ricans. It’s been a great run.  People are walking up 3 flights of stairs to see it.

Felix: This show is great for our people. They eat it up. It’s an experience of a lifetime. But I think it can reach the general audience, the Off Broadway audience that always go to shows. I think they would like it. They live for these kinds of experiences.

Chulisi: I think this story relates to everybody. If you can’t relate to the very Spanish stuff, you can identify with the AIDS epidemic, the drug addict, it’s relatable. It is always interesting to see what people relate to which tends to be the tragic part of the story.

Malini: I can’t imagine someone leaving here and not being moved.

Felix: People want to be moved. When I go see  I want to  be moved. I wanna see something that’s going to touch me.

Chulisi: I am such a drama queen, I rather stay with the funny.

Malini: I just want to go on a journey. Where are you taking me tonight. Last question: Was there a moment during this process where you said I don’t want to do this anymore. I’m leaving it.

Felix: That happens to me every other day. I say this is my last. I need to get to my wife and my kids. This is consuming and I work 50 hours a week. Should this be the last one?

Chulisi: I feel the same. I always say this is my last show.

Malini: Then you have a night like tonight.

Felix: Then I see him on stage and then I say maybe I can stay. I took him out of retirement. He was doing stuff. We both were.

Chulisi: I was done and he was persistent. I was in a place where I was finding some healing. My brother’s name is Johnny. I’m a recovering addict. I know when the universe throws you a sign then something is up.

Felix: In other words, he fell in love with that shit!


Growing Up Gonzales runs through Sunday, April 9th at The Medicine Show Theatre.

Visit for more information.

LPTW: Awards Celebration 3/31/17

LPTW.pngLPTW.jpgFriday, March 31
6:30pm – 10pm

Awards Ceremony at the TimesCenter
242 West 41st St
At 8th Avenue

Big Mingle Reception at Sardi’s
Sponsored by Planet Connections
234 West 44th Street
Between 7th and 8th Avenues

Tickets: $100

Click HERE to purchase tickets

Hosted by Tamara Tunie

Theresa Rebeck & Daryl Roth,
Advisory Council Co-Chairs

Carol Hall
The Lifetime Achievement Award
Presented by Julie Gilbert

Lileana Blain-Cruz
The Josephine Abady Award
Presented by Branden Jacobs-Jenkins

Jess Chayes
The LPTW Lucille Lortel Award
Presented by Neil Pepe

Emily Simoness
The LPTW Lucille Lortel Visionary Award
Presented by Madeleine George, Boo Killebrew, and Mfoniso Udofia

Linda Cho
The Ruth Morley Design Award
Presented by Darko Tresnjak

Liesl Tommy
The Lee Reynolds Award
Presented by Lynn Nottage

The Other Plays and Kyle

Featured playwrights include Neil LaBute, Bekah Brunstetter, Lameece Isaaq, Dennis A. Allen II, Tatiana Rivera and others, writing about what it’s like to be “other” in our society. Please click the button below to purchase tickets.


Click HERE for tickets.

KyleKYLE is a new comedy by Hollis James, inspired by his knock-down-drag-out battle with drug addiction. It’s about a guy named Jack, his friend Kyle, and Kyle’s friend cocaine. Thanks to his new friends, Jack’s life quickly begins to spiral out of control. He loses his job, his girlfriend, his health, and all sense of personal hygiene. Will Jack find the strength to get his life back on track or will Kyle ultimately win?

Written by Hollis James and directed by Emily Owens, March 9-25 at UNDER St. Marks (94 St. Marks Place between 1st Avenue and Avenue A)

Click HERE for ticket information

Interview with Barrie Gelles, Director of Marry Me a Little at The Gallery Players


Barrie Gelles stages revivals in unexpected ways. That’s what she said to me when we were chatting about her upcoming revival of Sondheim’s Marry Me a Little. The musical premiered Off-Off Broadway in 1980 for a two month run and then ran again for a in 1981 at The Actors Playhouse. After that, Marry Me… enjoyed runs around the world though it’s never been produced on Broadway. Gelles felt that this was a musical that best reflects her aesthetic. She knew her concept of a two character play performed by three casts would be ambitious and a great challange. However, she knew she had her vision and the support of the historic,The Gallery Players, to make it happen. A woman after my own heart.

When I heard about your concept for Marry Me a Little, I was intrigued. This is a two character musical by Stephen Sondheim and your concept of a rotating cast (2 couples: a man and a woman; two men; and two women) is a fresh and new approach. It’s clever and ambitious. How did the concept present itself and how did you go about bringing it to fruition?

Barrie: I am going to cheat a little here and answer by way of the “director’s note” that I wrote for our audiences.  When I started working on this show, months before casting, it became clear to me that the appeal of this show was its central thesis on love. With that thought, it seemed obvious that this production could and should subvert the typical gender-normative casting and hetero-normative narratives of most musical theatre. The premise of Marry Me a Little is that of two strangers, living in New York City, in the same apartment building, one floor apart.  The story is about love lost and love yet to be found.  It seemed a perfect opportunity to be more inclusive and rethink the casting of the lovelorn duo. I decided to cast three separate duos (one male/female, one male/male, and one female/female) because I believed that the distinctly different interpretations of the same piece of art would create a unique musical theatre experience.

I appreciate you saying it was clever, and I acknowledge that it certainly was ambitious, because we didn’t have any more time that we would usually have to create a musical.  An equity showcase production allots five weeks of rehearsal, regardless of how many casts you may have.  On top of that, we are doing Marry Me a Little in repertory with You’re a Good Man Charlie Brown, so we had even less time.  We had to budget our time wisely and create a system in order to block the show with three sets of actors.  We spent each rehearsal tagging-in to the blocking session.  So we’d begin blocking our opening number “If You Can Find Me, I’m Here” and one duo would start the work.  About a third of the way through the song, they would step down and the second duo would get on their feet for the blocking session, then the third duo would follow.  Once the entire number was blocked, each duo would have a chance to run through it in its entirety.  It was as strange as it sounds and more marvelous than you can imagine.  

What are some of the challenges and breakthroughs during the rehearsal process?

Barrie: As you can imagine, it was very challenging to block in the way I have described.  However, many of our breakthroughs happened because the actors had a chance to watch someone else play their part.  By having three actors all creating the same character, they could be inspired by the adjacent interpretations.  

In order to keep the show cohesive, I insisted that all three duos commit to following one clear and consistent narrative.  In that sense, I was very much the dramaturg of the show as well as the director.  During the months leading up to rehearsal, I worked on the show a great deal.  It has no libretto, it is a sung through musical and it is made up of songs that were originally written to be part of other musicals.  Because these songs have been uprooted from their original context, they carry with them their ghosted meanings.  In order to direct this show, I had to strip the songs of their original narratives and reconsider them anew.  I had to create a given circumstances for the show and a narrative arc that we could all latch onto in order to ensure the coherency of the piece.  Because we had three casts, I had to go into the first day of rehearsal with this story already fully formed so that the actors would have a tether to keep them grounded in a very emotional musical that has no traditional plot.  I believe that this process allowed the actors to move into the more delicious realm of character development and intricate song work.  I think that the breakthroughs that they had (individually and collectively) about the songs were so rich because we hit the ground running with the narrative of the piece.

For practicality reasons, most of the blocking of the show is the same between the duos. But there are distinct differences in the physical interpretations of each of the characters.  No two actors play the characters exactly the same way, nor do they take up the stage space in the same manner.  One of the most challenging rehearsals was also the most delightful: I had to choreograph three different dances for “A Moment With You” in order to suit the actors’ bodies and to honor each duo’s particular story.  What other circumstance would yield such a crazy exploration?  

Did the script and score need to be adjusted to fit your vision?

We did not change a single word of the score – the music and lyrics have all remained the same.  In fact, there is a female actor singing the “Man” role and a male actor singing the “Woman” role and we didn’t even change the key of the music for them, we simply cast actors who could sing it (and can they ever!). Through the magic of musical theatre, where we are so willing to suspend disbelief while acknowledging the overt theatricality of people bursting into song, the pronouns and gender specific words just seem to blend into the narrative seamlessly.  This is a huge credit to the actors who are playing the roles.  

Why did you choose this show?

Stephen Sondheim’s music is so lush and so heartbreakingly complex.  It is a pleasure to work with his material.  But I mostly chose this show because it is a unique character study within a musical.  It has the trappings of a realistic, contemporary drama: it is the small world of an apartment, on a single Saturday night, where the action of the play is steeped in everyday life tasks such as reading the paper and pouring a drink.  But along with this “real life” simplicity comes an overwhelmingly emotional journey for the characters, told entirely through song.  Furthermore, because the two characters live in two separate apartments, they spend a great deal of the show without interacting with a scene partner.  The show presents one of the strangest and most intoxicating acting challenges in musical theatre: realism within a musical; unity while being alone; and a story about love that is of the past or the future, but not the present.


This is a charming and bittersweet musical featuring rarely heard songs by Stephen Sondheim. Two urban singles live through a Saturday night of deep yearning and sweet fantasies while never leaving the confines of their solitary New York City apartments. Together they breathe new life and meaning into a collection of trunk songs that were culled from the original Broadway productions of shows such as Follies, Company, A Funny Thing Happened on the Way to the Forum, and A Little Night Music. A must for Sondheim aficionados and any New Yorker who ever found themselves alone on a Saturday night, thinking about love that was lost and love to be found.

By special permission from Mr. Sondheim, Gallery will be presenting this two character musical with male/female, male/male and female/female pairings.]


[A first for this show, there will be three rotating casts performing each weekend.]

Female/Female pairing

Laura Cetti

Cassandra Dupler

Male/Female pairing

Jesse Manocherian*

Alyson Leigh Rosenfeld*

Male/Male pairing

Adrian Rifat

Paul Williams


Thurs, Jan 26 @ 8:00pm (Jesse Manocherian & Alyson Leigh Rosenfeld) M/F pairing

Fri, Jan 27 @ 8:00pm (Adrian Rifat and Paul Williams) M/M pairing

Sat, Jan 28 @ 8:00pm (GalleryTalks) (Laura Cetti and Cassandra Dupler) F/F pairing

Thurs, Feb 2 @ 8:00pm (Adrian Rifat and Paul Williams) M/M pairing

Fri, Feb 3 @ 8:00pm (Laura Cetti and Cassandra Dupler) F/F pairing

Sat, Feb 4 @ 8:00pm (Jesse Manocherian and Alyson Leigh Rosenfeld) M/F pairing

Thurs, Feb 9 @ 8:00pm (Laura Cetti and Cassandra Dupler) F/F pairing

Fri, Feb 10 @ 8:00pm (Jesse Manocherian and Alyson Leigh Rosenfeld) M/F pairing

Sat, Feb 11 @ 8:00pm (Adrian Rifat and Paul Williams) M/M pairing

Thurs, Feb 16 @ 8:00pm (Adrian Rifat and Paul Williams) M/M pairing

Fri, Feb 17 @ 8:00pm (Jesse Manocherian and Alyson Leigh Rosenfeld) M/F pairing

Sat, Feb 18 @ 8:00pm (Laura Cetti and Cassandra Dupler) F/F pairing\

*appearing courtesy of Actors’ Equity Association


Producer – Jonathan King

Director and Choreographer – Barrie Gelles

Lighting Designer – Scott Cally

Costume Designer – Hayley Zimmerman

Set Designer – Paul Radassao

Production Stage Manager – Jillian Christensen

Assistant Stage Manager – Emily LaRosa


No Man’s Land – Opening 11/18


Created by: The Company
Written & Directed by: Melissa Moschitto
Dramaturgy: Lynde Rosario
Featuring: Michael Ables, Mariah Freda, Jean Goto, Brian Demar Jones
Scenic Design: Sarah Edkins
Costume Design: Lux Haac
Lighting/Projection Design: Nic Christopher
Sound Design: Christopher Gillard
Press Representative: Emily Owens
Production Stage Manager: Allison Newcombe
Assistant Stage Manager: Mary Daniel
Artistic & Programming Intern: Sarah Pyatt
Asst. Director / Asst. Producer: Alex Randrup
Producer: Malini Singh McDonald

Harvey: An Oldie but A Goodie – Opens 7/14

Photo Courtesy of Mark Lord,  Queens Chronicle

I rarely act these days. I tend to be behind the scenes – producing, publicizing, directing – enjoying the magic created by artists. I believe it takes courage to get on a stage and bare your soul.

“Art is prayer is love is creation is expression.” I came up with that gem some years ago. My personal prayer to the theatre gods who keep my passion burning for this art form. So when the opportunity presented itself, I thought to myself that it might be time to audition for a show. The opportunity presented itself through my dear friend and one of my actresses, Mary Lynch. Mary has one of my actresses for 13 years. She played M’Lynn in Steel Magnolias, my first professional gig. I was a young director finishing grad school; newly married; new to Queens theatre. She and I just connected and I directed her in at least 5 plays including Torch Song Trilogy and Plaza Suite.

Now she is the director and I follow her vision. Harvey is a wonderful play. Yes, it is dated in some spots but there’s this innocence under the comedy that I find delicious. I am playing Nurse Kelly with an amazing cast. All we do in rehearsal is laugh and work. And eat. We enjoy eating very much.

I would like you to meet these extraordinary folks. I am putting them in the limelight as we get ready to open 🙂

See you at the show!

HARVEY by Mary Chase
Director: Mary Lynch

Producers: Paul Morisi and Stef Morisi

Tickets: $10 General Seating (all tickets sold at the door)

July 14 at 7pm
July 15 at 7pm
July 16 at 7pm
July 17 at 2pm

Our Lady of Mercy Parish Hall
70-01 Kessel Street Forest Hills, NY 11375
PLEASE USE THE ENTRANCE OF JUNO STREET. Elevator is available on the side of the church.

Nicole O’Connor
Cecilia Vaicels
Victoria Lardieri
Jim Haines
Malini Singh McDonald
Nick Radu
Jeremy Lardieri
Michelle Ruggieri
Rich Feldman
Kevin Abernethy
Chris Martens

For more info email

Photo Courtesy of Stef Morisi


Parkside Players Presents Edward’s Closet at 13th Street Rep

CaptureI’ve been talking about theatre beyond the bright lights of Broadway for so long that probably everyone thinks, “yeah, we know you LOVE theatre MALINI.” As a member of the indie theatre community for so very long, I know what goes into producing and promoting a show. I also know what it feels like to take the leap.


The Parkside Players are a theatre group in Forest Hills. My husband and I have worked with them in different capacities over the years. When I read Mark Lords’ article in The Queens Chronicle about their acceptance in the The Take Ten Festival, I beamed. It isn’t often that you read about community theatre companies leaving the community. Parkside has been serving up delicious plays for over 35 years in Queens. Though many company members have done commercial work outside of the neighborhood, they continue to work with the company to hone their craft. Kevin Schwab, company member and former President, answers a few questions.
Malini: First, congrats on Edward’s Closet written by Jenn Dlugos & Charlie Hatton, being a part of The Take Ten Festival at the 13th Street Repertory. This is wonderful exposure for all involved and for the Parkside Players. Why did you decide to submit to the festival?

Kevin: The playwrights contacted Johnny Culver about directing. He had directed in this festival circuit in NYC a few years ago and was referred to her.

Malini:  The Parkside Players has a 35 + history in Forest Hills, Queens. This is definitely groundbreaking in terms of stepping out of the theatre’s comfort zone (literally and figuratively). Even though many of the members has done theatrical work outside of the company, what are the challenges, if any, that come with producing outside of your home venue? What challenges are associated with bringing this play to life?

Kevin:  Scheduling time with busy actors, not knowing the performance space until the day before, and hoping that the actors understand the directors “idea” and are willing to go along with it!

From my perspective as an actor,  I love fast rehearsal periods with an element of flexible improvisation since you may have to adapt to different theatrical settings on the fly. There’s a different adrenaline rush with a play that hasn’t been proven yet. One-act opportunities fit well into my schedule and working with reliable friends in the business is very comfortable and enjoyable.

Malini:  Why did you guys say yes to doing the project under Parkside Players?

Kevin:  Parkside in Queens brings a lot of talent together under one roof which leads to conversations about branching out and taking some risks in Manhattan that we don’t get to experience in a church basement venue.

Parksides last show of the 2015-2016 will be “You Can’t Take It With You” opening May 21st and more details can be found on

Edward’s Closet by Jenn Dlugos and Charlie Hatton
Directed by Johnny Culver
Cast: Kevin Schwab, Mike Miller, Lauren Snyder,  Terri Matassov
13th Street Repertory
50 West 13 Street
April 26 – May 1
The Take Ten Festival is having its second annual series of short plays and the audience will vote on the winners each night to propel the plays forward to additional rounds.

Downtown Urban Arts Festival Features Chip Bolcik & Ferry Limbo

Playwright’s Name: Chip Bolcik

Tell us about your latest project: 

Ferry Limbo is a play I wrote to honor my friend John, who died 21 years ago from a rare bone cancer. The play does not focus on the actual events of his life, but rather on the kind of person he was. This play is a departure from my normal style of writing. I tend to write comedies, and romantic comedies. Ferry Limbo, though it has some humor in it, is a much more serious, though septet play.

What excites you about being a part of the Downtown Urban Arts Festival?

The Downtown Urban Arts Festival is a big step up for me and my creative team. They are extremely well organized, and incredibly respectful of writers. I have never felt so important before! I respect the way they work, and how they treat the people they invite to participate.

What’s your upcoming project after the Festival?

After the festival, I’m headed home to Los Angeles, where I will continue writing the full-length play I’m writing about marriage.. Then I’m off to Alaska where my play, ‘Til Death Do Us Part” is going to be part of the Last Frontier Theatre Festival. It is my fourth year in a row being part of that festival.

Facebook Page:


Saturday, April 2 at 7pm

HERE (145 Sixth Avenue – enter on Dominick Street)
Tickets are $18 at or by calling 212-352-3101

Downtown Urban Arts Festival Features Anghus Houvouras & Dine & Dash

CapturePlaywright’s Name: Anghus Houvouras

Tell us about your latest project:  

Dine and Dash is a dark comedy about a blind date that takes some sinister twists and turns. She wants to get into his head. He wants to get up her skirt. By the end of the night, only one of them will survive.

What excites you about being a part of the Downtown Urban Arts Festival?

The chance to come to New York and for one night be a part of the theater scene. To be part of that electric current that runs through the city every night is something I always wanted to do. I’m a huge fan of the theater and comedy scene of NYC. It’s where the best work is being done. Razor sharp writing and seasoned performers entertaining audiences seven nights a week. Every time I visit NYC I walk the streets and think about the history there. The vaudeville shows of the 20s and 30s. The dynamic Broadway shows of the golden age. Cutting edge stuff like National Lampoon’s Lemmings in the 1970s. The comedy club stand ups of the 1980s. Being able to stage a show as part of this year’s DUAF has put a big grin on my ridiculous mug.

What’s your upcoming project after the Festival?

I’m working on a new play called A Civilized World which tells the story of a dystopian future where the unproductive of society are sentenced to death. The play chronicles one of the victims as they are processed through a final interview before their execution. There’s some twists and turns as we learn about what happens to the condemned as well as the faltering beliefs of the bureaucrat tasked with conducting the final interview.


Facebook Page:

Twitter: @anghusFM


Thursday, March 31 at 7pm

HERE (145 Sixth Avenue – enter on Dominick Street)

Tickets are $18 at or by calling 212-352-3101

Downtown Urban Arts Festival Features Tommy Jamerson & Rags to Bitches

575500_366575300061087_1668848070_n12809550_10101393081540544_4873688745399835533_n[1] (1)Playwright’s Name: Tommy Jamerson

Tell us about your latest project:

RAGS TO BITCHES: A Battle of Wits & Wigs tells the tawdry and bawdy story of two long-time drag rivals duking it out backstage at the US Open’s Legs Drag Pageant. But tucked under the sequins and just beyond the duct tape, there’s also a tale about insecurity, friendship, and learning to admit when you’re wrong. It’s basically an educational show for children, but with female illusionists’ and cursing.

What excites you about being a part of the Downtown Urban Arts Festival?

DUTF has a rich and wonderful history of helping out playwrights both green and seasoned. Being able to work with such an inviting and encouraging group has not only been a dream come true, but has also helped me reshape and see my play in a way I never thought possible. It’s not often a writer is given a chance like this, and DUTF has provided me with an invaluable (and artistically rewarding) opportunity.

What’s your upcoming project after the Festival?

I am primarily a children’s playwright, so I have a family show opening in Indiana (FROM HAIR TO ETERNITY: THE UNBEWEAVEABLE ADVENTURES OF RAPUNZEL) in May, as well an adaptation of Pinocchio (entitled ONCE UPON A PINE) premiering in New Orleans in the summer. I also have an adult, campy comedy (ETERNAL FLAME: THE BALLAD OF JESSIE BLADE) that’s currently playing here in New York at the Corner Office Theatre.



SHOW INFO:12809550_10101393081540544_4873688745399835533_n[1] (1) 575500_366575300061087_1668848070_n

Friday, April 1 at 7pm

HERE (145 Sixth Avenue – enter on Dominick Street)
Tickets are $18 at or by calling 212-352-3101