5x Perri!

A granddaughter bonds with her grandfather as she helps him confront the regrets of his youth in Glory Kadigan‘s riveting play featuring David L. Carson as Robert, a former surgeon having served in Guadalcanal during World War 2. Through magical realism, Kadigan’s work explores the regrets of his youth and how his granddaughter helped him confront them. Broadway veteran, Tonya Pinkins, helms this premiere at the Theatre at the 14th Street Y, 344 E 14th St, New York City.  

Planet Connections Theater Festivity in partnership with The Theater at the 14th Street Y present a powerful new play written by Glory Kadigan and directed by Broadway veteran, Tonya Pinkins

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The production features Mehret Marsh,* June Ballinger,* Perri Yaniv,* David L. Carson,* Mary Monahan, and Gina Lemoine

Running January 11-26. Tickets available at https://14streety.secure.force.com/ticket#details_a0S36000007OsctEAC.

PERRI YANIV WILL BE APPEARING ON PASSIONPIT on PODBEAN next week but here is a taste of the conversation.

TWMA is his fifth show in a row in just under a year.

Perri by Gonza.jpg

Gonzalo Ezequiel Brea, photo credit

Tell us about yourself as an artist?

I love to think of actors as artists because as actors, we have the must create and manifest within ourselves. I always think of the artistry of our physical bodies. As an actor, my body is my paint brush AND my canvas. I’m constantly trying to assimilate myself to look more like how I imagine the character I’m playing, that’s what I want an audience to see first. Stephen Spinella is someone I really admire because I rarely recognize him before I’m halfway through any play he’s in, so I guess I aspire to that level of commitment.  
What does this play “say” to you? Can you relate?
Till We Meet Again really speaks to how impressionable children are, and how we never really lose that part of ourselves, as we become impressionable adults. As an actor it’s been a phenomenal experience watching Glory and Tonya weave new yarns into this vast tapestry that finds ways to show all wars as one endless war, and how an entire civilization can exist within this one particular family, at once savage and pristine.

This play packs a punch.  What is your process as an actor when you are involved in a piece with such subject matter?
Because there is a lot of information in the play, it’s about getting very specific about what your character does not know, getting very specific in each moment about what they think they know, and how that affects their behavior with the other characters. I don’t usually do a lot of back-story because I’m usually more focused on physical-emotional life in a given moment of the story the audience is witnessing, but story-telling is so important in this play  that getting character histories in order has been imperative to to arriving at the moments that happen in front of the audience. The cast is doing a wonderful job of discovering all these layers for each moment, and Tonya is doing a great job of putting it all together and remains incredibly committed to guiding us into the pathways that really make these characters snap crackle and pop. It feels like a high-wire act!
Tell us your thoughts on independent theater – What purpose does it serve both to the artist community and New York audiences.
Look- everyone says it’s tough out there, and it is, but ultimately you have to make it work. I’ve been very fortunate to find communities within the indie theater scene and it makes the work even more joyful. Finding your tribe (or tribes) is key. I always imagine high school cafeterias where your posse is at the table. The camaraderie is like nothing else in the world. I wish I had all the financial and logistical solutions to the myriad of issues companies face trying to produce work in this prohibitively expensive city. We’re always trying to do more with less, and I think the companies who survive have learned how to pace themselves…store your powers and then do less with more. Companies like The Assembly. New York Classical, Nylon Fusion, Hudson Warehouse, Brave New World, and Barefoot Theatre Company all have inventive and creative leadership that build what feels like a legacy of one brilliant season after another, but then they’ll disappear for a bit and marinate on the next idea. I know for a fact there are extreme sacrifices of all kinds to make that happen. We live with the desire to inspire, and companies have cleared unimaginable hurdles to keep that alive here. When you compare that to the commercial realm (which is a whole other ballgame of sacrifice, complication, and difficulty), there’s something more immediate in the indie realm; we have less time to produce and so it’s easier to incorporate current events, there’s less emphasis on the power of the producer and trust is within the ensemble. That’s why I think it’s so critical to have your antenna out here; this city feeds you in so many ways if you can ride the wave, and then as artists we get to filter it and give it back to the audience with a pretty quick turnaround. It’s a wild ride. 
What’s next for you? 
After 5 productions in 9 months (The BedBug, Raft of the Medusa, Caligula, The Brutes, and Till We Meet Again), I’ll be taking a nap! It’s been such a wonderful year for me as an actor I’m eager to cultivate other parts of my creativity and then find a way to feed it to my acting. Maybe I’ll take up painting…The quest always continues! 

Max’s Treehouse

The sudden passing of an ex-boyfriend (Benjamin Cardona) forces Scout (Emily Sullivan) to return to her hometown and confront her feelings for Winnie (Rachel Schmeling) and the moments they shared together in an old treehouse in Max berry’s deep exploration of even deeper feelings in Treehouse of Dreams – part of the 2019 NYWinterFest at the Hudson Guild Theater, 441 West 20th street in NYC.

Reliving their memories and the emotions they evoke and looking their affection for each other right in the eye.

Treehouse of Dreams the story of three best friends, Winnie, Scout, and Mark as they navigate grief, loss, and drastic change at the cusp of young adulthood.

Max Berry’s parable of friendship and confronting powerful feelings premieres as part of NYWinterFest @ the Hudson Guild Theater, 441 W 26th St, New York, New York 10001
January 7 @ 6:15pm; January 11 @ 9pm; January 13 @ 3:30pm


Treehouse of Dreams, a play by Max Berry, features
Rachel Schmeling,
Emily Sullivan,
Benjamin Cardona
and is directed by Brooke Viegut


We climbed the tree for some one-on-one with the cast. 

Tell us about yourselves as artists?

Brooke: Oof… That’s tough! As a director and choreographer I believe that ordinary people lead extraordinary lives full of love, lust, light, and languish. I strive to dive into the universal struggle of our individual experiences and recognizing, relating, and ultimately learning from them; in whatever medium it comes in!  I came to theatrical storytelling through dance, so most of my practice is based in movement and music. We all have these beats, natural rhythms that drive us through life, and my work tends to highlight that. I direct/choreograph musical theatre quite a bit, and it’s been very refreshing to tackle a full length play again. 

Rachel: What a loaded question! I guess…I am a storyteller. I love telling stories about humans to create empathetic connections in today’s world. 

Emily: My background is primarily in live theatre, specifically working with the classics–I’ve done more Early Modern work than anything else! Lately I’ve been working on more new works, which is very exciting–it’s very special to work directly with a playwright and create something new. The weirder the play, the more interested I’ll be. I write poetry as well and have a secret passion for music. 

Ben: Thank you for using the term artist. I actually go by creative. It can be frustrating to have to answer to a single discipline when you’ve done other things. I started as an actor in college, yet was always interested in directing and writing. I can safely say I enjoy writing and directing my own material, but acting for projects that don’t come from within. I’m an observer and a listener. I’m the kind of person that can listen to a piece of music and will likely safe the lyrics for last. If there’s a musical journey, to me that’ll suffice.

What does this play “say” to you? Can you relate?

Brooke: For better or worse, I can very much relate to Treehouse. Each of these characters are incredibly likable, and watching them navigate grief, guilt, and honest love for each other is gut-wrenching at times. That, surrounded by our base expectations for how society functions is the epitome of human struggle, and we can easily find pieces of ourselves in Winsten, Scout, and Mark’s individual experiences.

Rachel: To me, this play is about love and grief coexisting, and how we navigate being young and having lots of feelings that we maybe don’t know what to do with. And it’s important to see that struggle, see the loss and love existing beside each other because that is so much a part of life. I can definitely relate to that. I’m going through it right now in a way! Processing all those feelings at once, for the first time….it’s hard. But a very human struggle, and I hope people resonate with the play. 

Emily: The idea that love doesn’t validate behavior or can ultimately be harmful immediately stuck out to me when I first read “Treehouse”, and it’s an aspect of the play that still resonates with me. The characters of the play are at the threshold to adulthood, and that’s a hard lesson to learn, especially with regards to romantic love. I can definitely relate; it took a while for the realization that just because you love someone, or they love you, doesn’t mean they’ll be kind, or a relationship is healthy.

Ben: Treehouse of Dreams doesn’t deal with this particular topic explicitly, yet the conflict is unequivocally moved by it, and that’s the effect of assumptions as a solution to uncertainty. I can certainly relate to the uncertainty aspect of it since it’s one of the most unbearable feelings to me. Of course, it’s supported by the aspect of expectations which have been established in my brain. I can’t help it! Being imaginative is in my nature.

This play packs a punch. What is your process as an actor when you are involved in a piece with such subject matter?

Brooke: This piece is a whirlwind! As a director I believe it’s imperative to create a safe, open, compassionate space regardless of the piece we’re working on. Cast and creative, we’re all a team dedicated to telling this story and it’s my job to bring us together. Things like bringing in an intimacy director and making sure everyone feels empowered in the room lets the entire team do their best work. This show has some moments that are deeply personal to me, and finding a balance between thinking objectively as a director and relating empathetically can be difficult, but so important.

Rachel: Being able to let stuff go after rehearsal, leave it in the room so to say, is really important. I have to find a way to separate my character from Rachel the actor and feel real feelings, but be able to feel them as Winsten and not so much as Rachel. It’s an interesting process…and differs show to show, but being able to “tap out” and say goodbye to things in the room is helpful. 

Emily: It’s important to me as an actor when dealing with emotionally fraught subject matter to relate to my cast on a personal level and build relationships–I want to create an environment where I feel I can let go and that I’m on good terms with my co-artists. Trust is key. Working with an intimacy choreographer for the first time on this show has also completely changed my approach to physical intimacy and confirmed my belief in the importance of consent and communication on and off stage.

Ben: Music really helps me create an internal rhythm for my characters so once I identify a piece I consider suitable I play around it. Our director (Brooke) mentioned the integration of movement so I’ve been exploring a bit with motion for Mark. It’s a work in progress, but it has been most helpful. A piece like this one can easily turn gloomier than necessary so it has been refreshing to have Brooke pull us out of that pit to level it.

Tell us your thoughts on independent theater – what purpose does it serve both to the artist community and New York audiences.

Brooke: Independent theater is a place to explore worlds closer and further from our own. For most of our team, this is one of our first full-length productions as well, and independent theater is our way to break into the industry. It’s where you get to see new ideas of normalcy played out onstage, and where artists have more freedom to explore their mediums, blurring the lines of conventional storytelling. The New York theatre community is itching for shows to break the mold, for old stories told in new ways as well as new stories, and this production of Treehouse of Dreams is just that. . It’s a way to be seen as creators and share our skills while 

Rachel: I think independent theatre is where you get to see really cutting edge, experimental, new, exciting theatre that doesn’t always make it to the mainstream. It’s raw and unique and an exciting world to be a part of. You see a lot more risk and sometimes the reward is great. It’s also a great place to try things and fail and try again…the community is really supportive. I also think it makes theatre and the arts more accessible to NYC audiences. 

Emily: Independent theatre in New York is unbelievably important–it provides work and a platform for the New York artist community that isn’t Broadway, which is becoming increasingly hard to break into considering how productions utilize celebrity actors in order to draw audiences and keep the lights on. Independent theatre needs a lot less money for less lights, and can give new actors, directors, designers, writers, an opportunity to be seen, and it can more directly engage New York audiences. The financial threshold for audiences is lower as well, which allows for greater economic diversity in patrons.

Ben: I live for independent theater. Although they’re not synonyms, independent is usually a euphemism for low-budgeted. Before I moved to New York I directed Angels in America: Millenium Approaches stripping it from the elaborate effects and expenses. It’s amazing what you can achieve when you face limitations that end up distinguishing a creative vision expanding its horizons. To me, that’s the true purpose of this independence. It’s a way to rebel against conventional forms (usually supported by capital) to achieve the same (and at times better) result via other means.

What’s next for you?

Brooke: Life is full of possibilities! I’ve been developing a few plays with some lovely writers, have a few other ideas bouncing around in my head, and a few things that I can’t quite share yet. I’ve only been in working in the New York theatre community for a few months, so it’s a period full of growth and discovery. 

Rachel: Lots of auditions, waiting to hear on summer contracts….diving back in! I am doing a short film in January, and a regional premiere in February of a show I was involved in a few months ago. Exciting things on the horizon and I hope more to come.

Emily: I’ve been in New York three months and plan to stay! Back to the audition grind and expanding more into screen work. There’s a lot to learn in the city and I’m excited I have the chance to live here and grow. 

Ben: Before coming to the city I finished shooting a second feature titled Onomatopoeia that’s currently being edited. We hope to have it completed before the end of 2019. I will also fly back home (Puerto Rico) to shoot a short film for L’Alliance Française titled Kinder that I wrote a while ago. Also, auditioning! We gotta keep up that muscle.

Four Faces from “Two Mirrors”

Pink Arts Peace Productions, Inc. presents the revival of the compelling play by Mario Lantigua, Two Faces One Mirror. Mario Lantigua’s powerful drama will be revived at the landmark American Theater of Actors, 314 W 54th Street New York City, for a limited run, December 28 – 30. Tickets available at: https://www.eventbrite.com/o/pink-arts-peace-productions-inc-18255837545

YouTube sensation EmilyAnne Jolie Garcia makes her independent theater debut as Layla, her selfish, ungrateful teen daughter. Lantigua also directs his play – about the journey of a young single mother and her blind-to-reality daughter. “This play serves as a parable of love and sacrifice,” says Lantigua, regarding his play.

We spoke with Ms. Garcia and fellow castmates, Jillian Eckland, Lindsay Kennedy, and Daniel Collins.

image1 (10).jpegEmilyAnne Garcia: I am a Dominican-American playing the role of a disobedient 16-year old who hates her mother until she learns the truth about her and the struggle she went through. As an artist, I always wanted to be an actor. This is an opportunity I am getting to act in a play at a prominent theatre; this will be the start for me to shine bright as I always imagined. This play says a lot especially about character. I love this play because I can very well connect to it because my mom had me at the age of 16 and struggled to be a mom at such a young age. Although my mother and I are super close, this play signifies ways that other young mothers get treated. The thought of getting the chance to perform at the American theatre of Actors is frightening, but I am excited and cannot wait to start. After this, if everything workouts the way God has its plan out for me, I plan to take my experience to Los Angeles and audition for movies, television shows and commercials.

15697314_1197242407033308_2764029364305259623_nJill Ann Eckland: I love to create memories, beautiful moments and love with energy and positive vibes. This play touched my heart regarding the love and sacrifices a mother made for her daughter. Sometimes seen and unseen. I am extremely grateful for the gift of sharing the light and these moments of passion to the world. In the end, I go with flow and manifest my life by creating new things as the world is in need. I will continue to show up as I am invited to share the light.

40055303_1938761512811214_1356733619950845952_n.jpgLindsay Kennedy: As an artist, I find my best work is in that of expressing everything that isn’t said. I’ve spent the last 10 years of my life mastering the art of absorbing what is felt and converting it into words and into action. I like electric and controversial as well as community activism. I was drawn to Two Faces One Mirror specifically because it’s a role that reflects relationships I’ve experienced. More importantly, it allows me to give voice to so many others in this role in reality.  The message of the play speaks to the hearts of those who may not be as socially understood, in the face of sub-cultural moral expectations. We hope to magnify the art of individual strength and fortitude. I look forward to expanding the play come early spring.

Daniel Collins: I portray Gustavo a stubborn, old-fashioned and loving Dominican father to young Emily. He minces no words and means what he says. As an artist, I can honestly say I’m a very creative. I feel I have an advantage over other artists because I’m well-traveled and have experienced so much. I’ve been exposed to so much that I display multiple ways of expressing character and emotion. Especially in such a dramatic play. There’s a lot going on and life can be bananas … because it can come at you in bunches! I can definitely relate to this play because I come from humble beginnings which teaches you to accept life the way it is and how it is. I am truly blessed to be doing a play at the American Theater of Actors. This is a wonderful opportunity for me because it provides me a great platform to display a few of the multiple talents I have. Speaking of multiple talents, I’m also a comedian and I have a show coming up on January 12 called “It’s Funny But it’s True” at the Playroom Theater on 46th Street in NYC.



Analyzing Travis, Nathan, and Lizzy

A Therapy Session with Myself, a semi-autobiographical drama by Anthony J. Piccione about the inner struggles of living with mental illness and Asperger’s syndrome, premieres this January at the Hudson Guild Theatre, 441 W 26th Street, as part of 2019 NYWinterfest. Catch this powerful self-exploration on Tuesday, January 15 at 9 pm, Wednesday, January 16 at 6:15 pm and Saturday, January 19 at 3:30 pm. Tickets can be purchased by visiting www.brownpapertickets.com/event/3798842.

A Therapy Session with Myself tells the story of Alex Grayson, a young college student and aspiring writer suffering from severe social anxiety, depression and Asperger’s syndrome. During the summer before his senior year, he receives a mysterious visit from “himself”, a human incarnation of his inner consciousness. As they interact, Alex is forced to reflect on his own flaws and personality quirks, as well as some of the darkest and most painful memories of his adolescence, while also pondering the question of whether or not he can overcome his inner demons, and ultimately build a brighter future for himself.


We had a chance to chat with three of the cast members as they begin intense rehearsal.

Travis Martin, Lizzy Moreno, and Nathan Cusson


Tell us about yourselves as an artist?:

TRAVIS MARTIN: Due to a speech and language difficulty, I like to think of myself as a quiet actor. I’m interested in what a character doesn’t say rather than the dialogue. I am still able to do lines of dialogue (much better than talking in normal conversation), but I consider what other traits can be shown without talking. I am also a film writer, director, and editor, having made the shorts Afterthought and The Resident. I also wrote and self-published a book, Lion’s Heaven, which is currently on Amazon now. 

NATHAN CUSSON: As an actor, my one goal has always been to tell stories that will outlive me and change the lives of others for the better. Sometimes that’s included portraying characters that carry distinct and textured backgrounds and other times characters that who in themselves aren’t exactly “friendly”. That’s the challenge I’m always eager to tackle as the more I learn about these characters, these people – the more I understand them and I feel I’m coming closer to achieving my goal. When audiences watch the stories I have the joy of being a part of, we have an opportunity to share a mutual understanding of who these people being performed are and how we can use this conversation between storytellers and audience to develop a fuller understanding of our world and, in response, make it a better one. That’s the goal.

LIZZY MORENO: As someone who received a B.A in Theater rather than a B.F.A I have always been passionate about creating art for change. Art that humanizes statistics. Art that pushes boundaries beyond the classic Chekov, Shakespeare, Williams, and Ibsen plays. In a globalized, yet polarized world it is even more important to have art that represents a diverse range of perspectives. My number one goal is to challenge and surprise audience members on their own capacity to empathize. 
What does this play “say” to you? Can you relate?:

TRAVIS MARTIN: A lot of this play and what the main character Alex is going through internally, it’s almost verbatim what I have felt or gone through. The difficulties with verbal communication, the isolation, and the rage of being different and conformity, it was like every negative thought I had about myself was put in words. However, there are significant differences between Alex and myself: I went to a special needs school where I was taught how to overcome my special needs, I didn’t get physically bullied, I have a more spiritual and less cynical black-and-white view of the world, and I’m more lenient with changing some aspects of myself to fit with the world. When reading it, it was like looking in the mirror and seeing what it could have been for me if I didn’t have all the support and experiences I had. It made me wonder if I would have ended up with the same mindset if I hadn’t had the special treatments and adventures.

NATHAN CUSSON: Anthony and I had the pleasure of sharing a few years studying together – so I had some first hand experience of what this play addresses. I remember walking into a program thinking ‘Theatre is family.’ and walking out thinking ‘Theatre can be family.’ Both in professional and private social situations gossip, collective assumptions, and the ‘We’re not the a**hole, he/she is’. attitude are mob mentalities that perpetuate stereotypes and labels and burn bridges of conversation and unity. So in short, yes, I can relate. Today, the right environment can make enemies of friends in a time where we can’t afford to be divided any longer.

LIZZY MORENO: Who can’t relate to this play? It perfectly captures the multitude of perspectives you can have and the problem of not knowing which side to trust. It captures the every day grapple we have between what we think we should feel and what we actually feel. As someone who just graduated from a small liberal arts school this play resonates with me. Though small colleges provide a feeling of safety and a strong community, they also put you in a bubble and that same feeling of safety can easily metamorphosis into a feeling of restlessness and feeling emotionally trapped. 


This play – as with all Piccione’s works – packs a punch. What is your process as an actor when you are involved in a piece with such subject matter?:

TRAVIS MARTIN: Despite similarities to what Alex and I felt, it was important that I focus on how my characters were in the moments, rather than focus on the entire play’s narrative. While do read the entire play, I focus more on scenes that I am in to deconstruct my characters. For Henry, it’s about being a social butterfly and trying to connect with someone like Alex. Meanwhile, the patient I play is basically a volcano that’s already erupted and is now trying to cap it. However, there are leaks of lava that occasionally burst out.

NATHAN CUSSON: First and foremost, it’s important for an actor to respect the text and the heavy thematic topics it covers. Especially when it is based on personal experience and so many issues we face as a culture of people. As far as the punch, I try to embrace the characters and the subject matter for what it is and then do my best to find out what motivates it all. Constant work to know and understand the material helps me prepare myself to develop that sort of atmosphere I know the cast and creative team are hoping to create. 

LIZZY MORENO: My theater adviser always told me “You find universality through specificity” and for this piece in particular it is super important to not play a stereotype. Even specifying the personality of the bullies or other students add dimension to Alex’s story. The conflicting objectives between each character are better highlighted when you treat each role as an individual and not simply only exposition to the story. 


Tell us your thoughts on independent theater – what purpose does it serve both to the artist community and New York audiences?: 

NATHAN CUSSON: Independent theatre artists are the pioneers of new media through storytelling. It allows artist communities to work styles that are not traditional and create new work that paves roads with inspirational and revolutionary work for new and old artist alike. Also, of course, allowing this type of work to be informing the audiences that populates the greatest city in the world also has it’s perks.

LIZZY MORENO: Independent theater artists are essential. They are the future. They’re like the Netflix TV shows to cable television. Broadway does not want to take many monetary risks. Hence an overproduction of Disney musicals or movies being turned into musicals. People recognize the name so ultimately they can take a safe bet that they will do well. However, independent theater does not need to fear failure and therefore can take so many more risks. Independent theater provides an unfiltered platform for new art to explore topics/themes. 


What’s next for you?:

TRAVIS MARTIN: For acting, don’t know. I am finishing the sequel to my book Lion’s Heaven, which I’m trying to have out sometime in January. Otherwise, I’m working as an editor for the Youtube channel ScreenPrism, editing a short film for a friend, and working on some scripts while finding my next gig. 

NATHAN CUSSON: I only just moved to New York a few months back but I’m hoping to well, you know, ‘make it.’ Between background work, theatrical performance, and building up my professional portfolio, I’m excited to tackle the city head on and break into the Film/TV and Theatre business. I’m also currently working on a full-length play entitled Love, La Familia that I’ve been speaking with Anthony about. Hopefully it will meet audiences for a New York debut in 2019. Aside from that, I will do as all the starting actors do: work, look for representation, and wonder how much crazier my life will become – laughing all the while.

LIZZY MORENO: I will be performing in a developing musical called Humanity’s Child at the Hudson Guild Theatre (again) this summer for the NYSummerfest.




As They Like To Say…

logo.jpgCarrie Edel Isaacman and her company, Shakespeare Sports, bring a fascinating new production of Shakespeare’s AS YOU LIKE IT to New York for the upcoming holiday season starting November 30 at downtown’s historic Players Theater, 115 MacDougal Street, between West 3rd and Bleecker Streets, in NYC.

As You Like It follows its heroine Rosalind as she flees persecution to find safety and, eventually, love, in the Forest of Arden. Ms. Issacman is setting her version in the Midwest in 1968, where we meet a recently homeless Orlando and Rosalind. Living in the woods out of necessity, they meet a merry band of “hippies” heralding the change that is in the air for all of them … and our country.

“This production shows us America’s most pivotal time through the eyes of a group of homeless. When you have nothing, it’s amazing what you see” says Isaacman, a stage director and indie filmmaker.

Ms. Isaacman appears in the production as well as directs it.

“This production shows us America’s most pivotal time through the eyes of a group of homeless. When you have nothing, it’s amazing what you see” says Isaacman, a stage director and indie filmmaker.

A few of her cast members are thrilled to bring the Bard to life in an indie arts environment:

Kaitlin Creed Boyce

Independent theater is really the force of nature which works on a community level to grow a greater love for theater and participation in the performing arts for more people. Not everyone has the access or means to attend a Broadway show; independent theater can kindle the spark of creativity without the massive overhead, gimmicks or marketing spin. in most cases, it is bare knuckled, bootstrapped theater which allows the truth of the playwrights’ words, and the work of the actors, musicians and designers to shine.”

Stephanay Slade

“Independent theatre allows new voices and faces to tell an older story in a new way or tell a new story that will make people think”

James Jagiello

“All the world’s an independent stage and we’re all actors playing our part”

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Orlando and Adam (2).JPGJaques Amiens (2).jpgRosalind and Celia (2).jpg

For more information, visit www.shakespearesportstheatrecompany.com