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Andrew C. McGibbon

Andrew C. McGibbon


Andrew C. McGibbon has spent the past thirty years working in live theatre as a stage manager, general manager, producer and leader in the convergence of Broadway and online.

Mr. McGibbon worked as a stage manager and general manager for ten years. In 1994 he created a website devoted to live theatre, The site was subsequently bought by, and became He continued to manage the site for Playbill for four years. In 2000 he became the website manager for With the 2008-09 season he finished his ninth year on the show. He has also worked as a webmaster for the Broadway League and Jazz at Lincoln Center. He is presently the Director of Digital Media for the New Jersey Performing Arts Center.

Mr. McGibbon is a member of the American Theatre Critics Association, the Independent Theatre Bloggers Association, AEA and AFTRA.

In addition to his work in the theatrical industry, Mr. McGibbon is also a partner in Simple Solutions Distributing, a manufacturer of filtration equipment for the waste-water industry.

Photo: Elizabeth Leitzell












(September 20, 2010 – New York, NY)  Lead producers Margo Lion and Hal Luftig announced today that the new musical CATCH ME IF YOU CAN will open on Broadway Sunday, April 10, 2011 at a Nederlander theatre to be announced.  This new musical, created by a team of Tony winners, features a book by Terrence McNally, music by Marc Shaiman, lyrics by Scott Wittman and Marc Shaiman, choreography by Jerry Mitchell and is directed by Jack O’Brien.  Previews begin March 7, 2011.  Casting and additional design team will be announced shortly.

CATCH ME IF YOU CAN is based on the book and hit 2002 DreamWorks film of the same name directed by Stephen Spielberg with screenplay by Jeff Nathanson and book by Frank Abagnale, Jr. 

CATCH ME IF YOU CAN captures the astonishing true story of Frank Abagnale, Jr., a world-class con artist who passed himself off as a doctor, a lawyer, and a jet pilot—all before the age of 21.  With straight-arrow FBI agent Carl Hanratty on Frank's trail, we're off on a jet-setting, cat-and-mouse chase, as a jazzy, swinging-sixties score keeps this adventure in constant motion.  In the end, Agent Hanratty learns he and Frank aren't so very different after all,  and Frank finds out what happens when love catches up to a man on the run.


We were at The Drama Book Shop researching an idea for another show when a new book about the film "CATCH ME IF YOU CAN" caught our eye. "We'd rather make a musical of THAT" we said in tandem and promptly arranged a meeting with Stephen Spielberg.  Our idea was to musicalize "CATCH ME" with a score that would use as its inspiration the idea of a classic Ed Sullivan Show (since that was the time you might see and hear Frank Sinatra, The Beatles, Judy Garland and Aretha Franklin all on one evening's entertainment) and he said yes right away!  We began devouring the book the film had been based on, the true life story of the incredibly young con artist Frank Abagnale, Jr.

As we began writing, we immediately involved our favorite collaborators Jack O'Brien & Jerry Mitchell, who made the exciting suggestion of inviting Terrence McNally in, as well.As we wrote, we presented the work to the Broadway producers we had strong emotional connections with; luckily for us, Margo Lion and Hal Luftig found themselves attracted to the project and for the same reasons we were - a chance to create a "business man's musical" featuring beautiful long-legged girls in swinging mid-60's fashions combined with a soulful look at the bond between fathers and sons, whether related by blood or discovered.  A Musical For Men -- and the women who love them!

Writing a musical about a real live living person is daunting, but getting to meet the actual Frank Abagnale Jr. (at least, we THINK that was him!) made the experience incredibly fulfilling.  His story of learning what is really true in life - and how he learned it - is a fascinating, actual tall tale.  A true story of a brilliant young man's joy and heartbreak as he searches for someone to tell him to do what's right, "CATCH ME IF YOU CAN" caught us right in the heart and we are truly excited to share it on Broadway, with a great big orchestra!

CATCH ME IF YOU CAN is produced by Margo Lion and Hal Luftig.

CATCH ME IF YOU CAN opened at Seattle’s 5th Avenue Theatre for a limited engagement from July 23 – August 14, 2009.

Ticket information, including on sale date and point of purchase, will be announced at a later date.


TERRENCE McNALLY (Book) has won four Tony Awards for his plays Love! Valour! Compassion! (as well as the New York Drama Critics' Circle Award for Best American Play and the Outer Critics Circle and Drama Desk Awards for Best Play) and Master Class and his musical books for Kiss Of The Spider Woman and Ragtime. Recent Broadway credits include the revivals of his plays The Ritz and Frankie and Johnny In The Clair De Lune. His other plays include A Perfect Ganesh, Corpus Christi, Dedication or The Stuff of Dreams, The Stendhal Syndrome, Lips Together, Teeth Apart (Drama Desk Award Best New Play) and It's Only A Play.  Earlier stage works include Bad Habits (Obie Award Best Play), Where Has Tommy Flowers Gone?, …And Things That Go Bump In The Night and Next. He also wrote the books for the musicals The Full Monty, The Rink, and A Man of No Importance.  The San Francisco Opera presented Dead Man Walking with McNally's libretto and music by Jake Heggie.   McNally has written a number of TV scripts, including Andre's Mother for which he won an Emmy Award.  He has received two Guggenheim Fellowships, a Rockefeller Grant, a Lucille Lortel Award, and a citation from the American Academy of Arts and Letters.  He has been a member of the Dramatists Guild since 1970 and is twice the recipient of the Hull-Warriner Award for Best Play. His most recent play, Unusual Acts of Devotion, was seen last season at La Jolla Playhouse after opening the season at Philadelphia Theatre Company. In August, the 5th Avenue Theatre in Seattle presented the world premiere of his musical adaptation of Catch Me If You Can with a score by Marc Shaiman and Scott Wittman. This season, the Kennedy Center will produce three of his plays under the title Terrence McNally’s Nights At The Opera: Master Class, The Lisbon Traviata and the world premiere of Golden Age. Other recent work includes his musical adaptation of The Visit at Arlington’s Signature Theatre, his play Deuce on Broadway and his play Some Men at Philadelphia Theatre Company and off-Broadway’s Second Stage.

MARC SHAIMAN (Music and Lyrics) enjoyed composing the music and co-writing the lyrics for Hairspray with Scott Wittman.  For their score, the pair won the Tony, Grammy and Olivier Awards.  Their next Broadway score was for Martin Short—Fame Becomes Me, for which they won absolutely nothing.  As a composer and arranger, Marc’s film credits date back to the silents and include When Harry Met Sally, Beaches, Misery, City Slickers, The Addams Family, A Few Good Men, Sister Act, Sleepless in Seattle, The First Wives Club, Patch Adams, The American President, George of the Jungle, South Park: Bigger, Longer & Uncut, and The Bucket List.  He has been nominated five times for an Oscar and lost every time.  Marc is currently Emmy nominated (for Musical Directing and co-writing this years The Oscars), was Emmy-nominated for writing on Saturday Night Live (the Sweeney Sisters) and an actual Emmy Award winner for co-writing Billy Crystal’s medleys for The Academy Awards.  His arrangements for Harry Connick,  Jr. resulted in two Grammy nominations, as did the Hairspray soundtrack.  He has worked with many artists, including Will Ferrell, Jack Black, Eric Clapton, Kristen Chenoweth, Jennifer Holliday, Jenifer Lewis, Patti LuPone, John Mayer, Barbra Streisand, Rob Thomas, Raquel Welch although not all at the same time.   As her music director and co-producer, Marc brought his long time partner, Bette Midler, the Grammy-winning songs, “The Wind Beneath My Wings” and “From A Distance”, but it is their collaboration on her Emmy Award-winning performance for Johnny Carson’s penultimate Tonight Show that will always remain a dream.  He auditioned but was not chosen to play himself on her sitcom.  Marc's Internet sensation, PROP 8-The Musical, had been viewed over 4 million times ( and won a Webbie Award, whatever that is.  Marc and Scott are currently co-writing an original Broadway musical based on Charlie and The Chocolate Factory (to be directed by Sam Mendes) as well as collaborating with Steven Spielberg on a new scripted series for SHOWTIME about the goings-on behind the scenes of the creation of a Broadway musical.  Yes, that's right, an actual scripted television show.  How old school!

SCOTT WITTMAN (Lyrics) has received the Tony, a Grammy, the Drama Desk, and an Olivier Award for his work on Hairspray.  He conceived, co -wrote, as well as directed Martin Short in Fame Becomes Me on Broadway.  For the Broadway stage he has created two shows for Patti LuPone as well as theatrical concerts for Christine Ebersole, Sarah Jessica Parker and Nathan Lane.  Scott has co-written with and for Billy Crystal on the Oscars and Neil Patrick Harris on the Tonys and the Emmys. He was recently nominated for a writing Emmy for the Oscars with Steve Martin and Alec Baldwin. He is currently collaborating with Marc Shaiman on a new musical of Charlie and the Chocolate Factory with director Sam Mendes as well as an original series for Showtime with producer Steven Spielberg. He was also an executive producer on Hairspray, the movie.

JERRY MITCHELL (Choreography) is currently making his West End debut as director with the new hit musical, Legally Blonde, for which he also served as Choreographer  there and on Broadway and was nominated for both the Tony and Drama Desks Awards for his choreography and the Drama Desk Award for his Broadway direction.  He also choreographed the current West End production of Sir Andrew Lloyd Webber's sequel to his Phantom of the Opera, titled Love Never Dies, heading for Broadway later this year.  Jerry received Broadway's Tony, Drama Desk and Outer Critics’ Circle Awards for his dazzling choreography created for the 2005 Tony Award winning Best Revival of La Cage Aux Folles, having also been nominated for the Tony Award in the same category for the smash hit musical, Dirty Rotten Scoundrels. Previously, Jerry had received Olivier, Tony, Drama Desk, Outer Critics Circle and Astaire Award nominations for choreographing  Hairspray and Tony, Drama Desk and Astaire Award nominations for choreographing The Full Monty, both shows having been directed by his cherished collaborator, Jack O’Brien. Jerry began his choreographic career as associate choreographer to Michael Bennett on Scandal and Jerome Robbins on Jerome Robbins Broadway. Emmy-nominated for choreographing The Drew Carey Show, his memorable film work includes In and Out; Camp; Drop Dead Gorgeous and Scent of a Woman. For Broadway, Jerry also choreographed the hit revival of Gypsy, starring Bernadette Peters, which combined his own work with his recreation of Jerome Robbins’ original, as well as Never Gonna Dance, the first and only Broadway musical based on an Astaire/Rogers film, making him one of the only choreographers to ever have three Broadway musicals running simultaneously (a distinction which occurred yet again in 2005 with the simultaneous runs of Hairspray; La Cage Aux Folles and Dirty Rotten Scoundrels). Prior to those productions, Jerry choreographed the Broadway revivals of The Rocky Horror Show (Drama Desk nomination) You’re a Good Man, Charlie Brown; Hedwig and the Angry Inch (on stage and film); the national tour of Jekyll & Hyde and Paper Mill Playhouse’s critically acclaimed Follies, featuring Ann Miller.  Jerry proudly conceives, directs and choreographs Broadway Bares, a comedy burlesque performed annually for the charity Broadway Cares. Most recently, he directed and choreographed Peepshow, a Las Vegas extravaganza production show.  Currently, he is supervising the writing of Broadway musicals based on the films, Mad Hot Ballroom, Kinky Boots and Queen of the Stardust Ballroom, all of which he will direct and choreograph for Broadway. 

JACK O’BRIEN (Director). Broadway: Impressionism; The Coast of Utopia (Tony Awards® 2007, Best Director and Play); Dirty Rotten Scoundrels (Tony nominations 2005, Best Director and Musical);Henry IV (Tony Awards® 2004, Best Director and Play Revival); Hairspray (Tony Awards® 2003 and Drama Desk Awards, Best Director and Musical); Imaginary Friends; The Invention of Love (Tony nominations, Best Director and Play; Drama Desk Award, Best Director); The Full Monty (Tony nominations, Best Director and Musical); More to Love; Getting Away With Murder; Pride’s Crossing; The Little Foxes; Hapgood (Lucille Lortel Award, Best Director); Damn Yankees (Tony nomination, Best Musical Revival); Two Shakespearean Actors (Tony nominations, Best Director and Play); Porgy and Bess (Tony Award®, Most Innovative Revival; Best Director nomination); St. Louis Woman; The Most Happy Fella. For the Metropolitan Opera, Il Trittico, 2007. London: Love Never Dies, Spring 2010; Hairspray (Olivier Award Nominations, Best Director and Musical); His Girl Friday.  Artistic Director of the Old Globe Theatre, San Diego, from 1981-2007. Six movies for PBS’s “American Playhouse.” Awards: Artserve Michigan 2008 International Achievement Award; 2008 Theatre Hall of Fame Inductee; National Theatre Conference 2007 Person of the Year; 2005 John Houseman Award; 2007 and 2001 Joan Cullman Award for Extraordinary Creativity, 2004 Thomas Degaetani Award (USITT), 2002 “Mr. Abbott” Award (SDCF); 2001 Joe A. Callaway Award (SDCF); the Drama League’s 2001 Julia Hansen Award for Excellence in Directing. Member, College of Fellows of the American Theatre; Honorary Doctorate, University of San Diego; Honorary Doctorate, University of Michigan. Film (as an actor): Sex and the City: 2.


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The Public Theater and 3-Legged Dog
Begin Previews
Saturday, October 2 For


First Performance Part of
The New Yorker Festival

Written and Performed By
Pulitzer Prize Winner Lawrence Wright

Directed by
Public Theater Artistic Director

Oskar Eustis

31 Performances Only! Tickets On Sale Now

September 20, 2010 – The Public Theater (Oskar Eustis, Artistic Director; Andrew D. Hamingson, Executive Director) and 3-Legged Dog will begin previews on Saturday, October 2 for THE HUMAN SCALE, an unsparing and graphic exploration of the ongoing crisis in Gaza.  Written and performed by Pulitzer Prize winner Lawrence Wright and directed by Public Theater Artistic Director Oskar Eustis, THE HUMAN SCALE will continue performances through Sunday, October 31 at 3LD Art and Technology Center (80 Greenwich Street), with an official press opening on Thursday, October 7.  The October 2 performance is being presented as part of The New Yorker Festival.

Following up on his essay "Captives" published in the November 9, 2009 issue of The New Yorker, Wright performs his newest piece, THE HUMAN SCALE, about one of the most searing political conflicts of our day.  Wright’s last play, My Trip to Al-Qaeda, premiered at The New Yorker Festival in 2006 and then enjoyed a sold-out run at The Culture Project. My Trip to Al-Qaeda has beenmade into a documentary film, directed by Alex Gibney who won the 2008 Academy Award for Feature Documentary, which will premiere on HBO on September 7.

THE HUMAN SCALE will feature lighting design by Deb Sullivan; video design by Aaron Harrow; sound design by Matt Hubbs; and scenic consultation by David Korins.

LAWRENCE WRIGHT (Author/Performer) is an author, screenwriter, playwright, and a staff writer for The New Yorker.  He joined the staff of The New Yorker in 1992, where his work has won the National Magazine Award for Reporting as well as the John Bartlow Martin Award for Public Interest Magazine Journalism, and Overseas Press Club’s Ed Cunningham Award for Best Magazine Reporting.  Wright is the co-writer (with Ed Zwick and Menno Meyjes) of the film The Siege, starring Denzel Washington, Bruce Willis and Annette Bening. He also wrote the script of the Showtime movie, “Noriega: God's Favorite,” directed by Roger Spottiswoode and starring Bob Hoskins.  His history of Al-Qaeda, The Looming Tower: Al-Qaeda and the Road to 9/11, was published to immediate and widespread acclaim, spending eight weeks on The New York Times bestseller list and being translated into 25 languages. It won the Lionel Gelber Award for nonfiction, the Los Angeles Times Award for History, the J. Anthony Lukas Book Prize, the New York Public Library Helen Bernstein Book Award for Excellence in Journalism, and the Pulitzer Prize for General Nonfiction.  In 2006, he premiered his one-man play, My Trip to Al-Qaeda, at The New Yorker Festival, and then enjoyed a sold-out six-week run at the Culture Project. It was made into a documentary film, directed by Alex Gibney who won the 2008 Academy Award for Feature Documentary, and will air on HBO in September, 2010.  Wright has published six previous books: City Children, Country Summer; In the New World: Growing Up with America, 1960 – 1984; Saints & Sinners; Remembering Satan; Twins: Genes, Environment, and the Mystery of Identity; and God's Favorite. Wright is a fellow at the NYU Law School's Center on Law and Security and a member of the Council on Foreign Relations.

OSKAR EUSTIS (Director) has been the artistic director of The Public Theater since 2005. From 1981 through 1986, he was resident director and dramaturg at the Eureka Theatre in San Francisco, and artistic director until 1989. Then he moved to LA’s Mark Taper Forum as associate artistic director, where he remained until 1994, before serving as artistic director at Trinity Rep for 11 years. At The Public, Eustis staged the 2008 Shakespeare in the Park production of Hamlet, featuring Michael Stuhlbarg and Sam Waterston, and the New York premiere of The Ruby Sunrise by Rinne Groff. At Trinity Rep, he directed the world premiere of The Ruby Sunrise, as well as Tony Kushner’s Angels in America (earning the Elliot Norton Award for Outstanding Director for Part 1), Kushner’s Homebody/Kabul (Elliot Norton Award for Outstanding Production), and the world premiere of The Long Christmas Ride Home by Paula Vogel (Elliot Norton Award for Outstanding Production). He has directed premieres for Philip Kan Gotanda, David Henry Hwang, Emily Mann, Eduardo Machado, Ellen McLaughlin, and Suzan-Lori Parks, among many others. Along with Tony Taccone, he commissioned Angels in America at the Eureka and directed its world premiere at the Mark Taper Forum. Eustis was a professor of theatre, speech, and dance at Brown University, where he founded and chaired the Trinity Rep/Brown University Consortium for professional theatre training. He received an honorary doctorate from Brown in 2001; an Elliot Norton Award for Sustained Achievement in 2005; and a Tony Award, with The Public, for producing the 2009 revival of Hair. He currently serves as Professor of Dramatic Writing and Arts and Public Policy at NYU.

3-LEGGED DOG Media + Theater Group owns and operates 3LD Art & Technology Center where it produces new, original works in theater, performance, media and hybrid forms. Their mission is to explore the narrative possibilities created by digital technology, and to provide an environment for curated resident artists to create new tools and modes of expression so that they can excel across a range of disciplines.  With this residency program 3-Legged Dog has transformed a tightly knit producing company into an international community that directly facilitates the work of approximately 650 artists a year from 23 countries around the world.3-Legged Dog’s own productions and installations have been seen at The Metropolitan Museum of Art, the Venice Biennale, Signature Theatre, The Kitchen, PS 122, La Mama, the Ontological Theater, and at their home 3LD Art & Technology Center. In 2011, 3-Legged Dog productions, Losing Something and Fire Island will be featured at the Prague Quadrennial Exhibition of Performance Design. The company has won numerous awards including the American Theater Wing’s Hewes Design Award and The Rockefeller Foundation Cultural Innovation Fund Award.

THE PUBLIC THEATER (Oskar Eustis, Artistic Director; Andrew D. Hamingson, Executive Director)was founded by Joseph Papp in 1954 and is now one of the nation’s preeminent cultural institutions, producing new plays, musicals, and productions of classics at its downtown headquarters and at the Delacorte Theater in Central Park. The Public’s mandate to create a theater for all New Yorkers continues to this day onstage and through extensive outreach and education programs. Each year, over 250,000 people attend Public Theater-related productions and events at six downtown stages, including Joe’s Pub, and Shakespeare in the Park. The Public has won 42 Tony Awards, 151 Obies, 41 Drama Desk Awards and four Pulitzer Prizes. The Public has brought 54 shows to Broadway, including Sticks and Bones; That Championship Season; A Chorus Line; The Pirates of Penzance; The Tempest; Bring In ‘Da Noise, Bring In ‘Da Funk; On the Town; The Ride Down Mt. Morgan; Topdog/Underdog; Elaine Stritch at Liberty; Take Me Out; Caroline, or Change; Well; Passing Strange; the Tony Award-winning revival of Hair; and this fall, the rock musical Bloody Bloody Andrew Jackson and the 2010 Shakespeare in the Park production of The Merchant of Venice.

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All tickets for THE HUMAN SCALE are $30 with the exception of The New Yorker Festival performance on Saturday, October 2, which is $35. Single tickets for performances October 3 to October 31 are on sale now at (212) 967-7555,, or in person at The Public Theater Box Office.

3LD Art and Technology Center is located at 80 Greenwich St. The nearest subway stops are the R and 1 at Rector St., or the 4 or 5 at Wall Street.

For The New Yorker Festival performance on October 2 only, tickets are available at or at (800) 440-6974.

The performance schedule for THE HUMAN SCALE is Tuesday through Friday at 8 p.m., Saturday at 2 p.m. and 8 p.m., and Sunday at 2 p.m. and 7 p.m. There are no performances on Saturday, October 9; Wednesday, October 13; Tuesday, October 19; or Wednesday, October 20. On Sunday, October 3, there will be a 7 p.m. performance only. There will be a performance on Monday, October 11 at 8 p.m.

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The LuEsther T. Mertz Charitable Trust provides leadership support for

The Public Theater’s year-round activities.

The Public’s 2010-2011 downtown season is made possible with the generous support of both The Philip and Janice Levin Foundation and The Ian Madover and Arielle Tepper Madover Family Foundation.  Time Warner is the Supporting Sponsor of The Public’s 2010-2011 season.

Bank of America is the proud Season Sponsor of Shakespeare in the Park.

Major support for The Public Theater is provided by The Andrew W. Mellon Foundation, the Doris Duke Charitable Foundation, the Shubert Foundation, the Harold and Mimi Steinberg Charitable Trust, the Carnegie Corporation of New York, the Susan Stein Shiva Foundation, the George T. Delacorte Fund at the New York Community Trust—Fund for Performances at the Delacorte Theater in Central Park, and by Warren Spector and Margaret Whitton.

Additional generous support is provided by Apollo Management, the Horace W.

Goldsmith Foundation, The Shen Family Foundation, and the Stavros Niarchos Foundation.

New York Magazine is the official print and online sponsor of The Public Theater’s 2010-2011 downtown season.

Public support is provided by the New York City Department of Cultural Affairs; the New York State Council on the Arts, a state agency; and the National Endowment for the Arts, an independent federal agency.

Special thanks to Continental Airlines, the official airline of The Public Theater.

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Ghostlight Sets 9/21 to Unleash Two-Disc Original Cast Recording of ‘THINGS TO RUIN – The Songs of Joe Iconis’

“A theatrical rock concert about human beings who are messy, emotional, drugged up, knocked down, inspired, electric and who don’t have nearly enough time to cause the kind of commotion they so desperately need to”

9/24 CD Release Party to Take Place at Sardi’s

Ghostlight Records continues their exciting Fall season with the announcement of the September 21st double-CD digital release of their Original Cast Recording of ‘THINGS TO RUIN – The Songs of Joe Iconis.’ Listen to audio samples, here: A CD release party has been confirmed for 9/24, 8-10:30pm, at Sardi’s in New York City. Visit for additional details about the OCR, audio samples of multiple tracks and more.

Things To Ruin is an incendiary collection of songs by Kleban and Larson Award Winner Joe Iconis (writer of the rock musical The Black Suits and the new musical Bloodsong of Love, which opened at Ars Nova last April). Directed by John Simpkins, Things To Ruin is a theatrical rock concert about human beings who are messy, emotional, drugged up, knocked down, inspired, electric and who don’t have nearly enough time to cause the kind of commotion they so desperately need to. Performed by a cast of viciously talented young singers and a highly flammable four-piece band led by Joe himself, Things To Ruin rocks with an occasionally profane and always heartfelt explosion of music and high drama. Things To Ruin has been seen at the Second Stage Theatre, The Zipper Factory, Joe’s Pub and Ars Nova.

Kurt Deutsch, President of Sh-K-Boom & Ghostlight Records, had this to say: "Joe Iconis is one of the most exciting new voices in musical theatre. The first time I heard the song "I Was Born This Morning," I thought it screamed with vitality and raw human emotion. Here was a new guy in town fusing rock, pop and musical theatre in a way I hadn't heard before. Things to Ruin is raw, passionate and about people dealing with their stuff in a real way. His songs speak especially to the generation growing up right now, and I envision young performers hearing this album and wanting to do the concert in their theatre companies and schools, sing the songs in their own concerts and in auditions, and keep spreading Joe's music. I encourage that and can't wait to see the Things to Ruin movement grow."

“Humorous, vital music that kicks 1960’s-style pop tunefulness with hard post-punk beats. Joe Iconis recalls the excitement that that surrounded Marc Shaiman, Jonathan Larson and Jason Robert Brown. I would call ‘Things To Ruin’ the beginning of something, except that it is already well underway.” - The New York Times

”Iconis seems hell-bent on finding all the commonly shared emotional moments that nobody else has yet set to music. It’s so much fun that it’s a little overwhelming – ‘transporting’ is probably the best word!” – Variety

“This bold and prolific musical theater writer, Joe Iconis isn’t just hot; he’s boiling. Things to Ruin is a revue of his bawdy and profane – and sometimes very poignant – songs.” - TheaterMania

Produced by Ian Kagey and Joe Iconis
Album Executive Producers: Kurt Deutsch and Sara Katz
Co-Producers: Noah Cornman, Matt Hinkley and John Simpkins
Associate Producer: Steve Norman
Mixed by Ian Kagey
Engineered by Alex Venguer
Mastered by Oscar Zambrano, Zampol Productions
Recorded at MSR Studios, NYC; Mixed at Sh-K-Boom Records

CAST (alphabetical):

JOE ICONIS – piano; IAN KAGEY – bass; MIKE PETTRY – guitars;
BRENT STRANATHAN - drums/percussion
recording conductor/musical supervisor: MATT HINKLEY

Things to Ruin ran at The Zipper Theater in NYC from Oct. 31 – Nov. 28, 2008 & at Second Stage from May 8th - May 18th 2009

Track Listing for THINGS TO RUIN:

2. MAMMA, CUT ME DEEPER! (Eric William Morris)
3. NERD LOVE (Jason “Sweet Tooth” Williams)
4. THE WAR SONG (Lance Rubin)
5. GOOD FOR YOU (Sarah Glendening)
6. ASLEEP ON MY ARM (Nick Blaemire)
(WITHOUT ME) (Badia Farha, Company)
9. HEAD SHOT (Sarah Glendening, Katrina Rose Dideriksen, Badia Farha)
10. THE WHISKEY SONG (Company)

1. SON OF A GUN (Eric William Morris)
2. DODGE BALL (Jason “Sweet Tooth” Williams)
4. JUST MEANS (Badia Farha)
5. HELEN (Jason “Sweet Tooth” Williams, Company)
6. HONEY (Nick Blaemire, Women)
7. THE BAR SONG (Jason “Sweet Tooth” Williams, Joe Iconis, Company)
8. ALMOST THERE (Katrina Rose Dideriksen)
(REPRISE) (Company)

Liner notes by Joe Iconis:
I need to remember to thank my mother in these liner notes. I wrote that so I remember to do so. But first, I need to explain what you’re listening to. When people ask me what Things To Ruin is I say: “It’s a theater version of a concept album that doesn’t exist.” Now that the album’s been made, I can’t really say that anymore. Shit. So now I’m left pondering what is Things To Ruin, really? It’s not a song cycle, I know that for sure. And even though it’s definitely theatrical, I don’t think it’s a musical. So, I guess I don’t know what the hell this God Damned Thing is. However, I do know what it’s about. It’s about people who are on the verge of something huge and who are chomping at the bit to make the leap. It’s about people with a lot to prove and not enough time to prove it in. It’s about people who are restless and fired up and hell bent on destruction and creation and forging their place in the world, regardless of the consequences. So, in essence, I guess it’s about humans. I bet that smart Theater-savy people (ya know, British People) might even call these humans “characters.” And you know what? Those Brits would be correct. Come to think of it, all of the songs are character pieces. And I’d even like to think that these characters learn something. I’d like to think that the dude who sings “Asleep On My Arm,” grows a pair and is able to express his feelings a little better in “Honey.” I’d like to think that the girls of “Head Shot” make some choices about their life and end up on a road trip of self discovery… or in porn. So, yes. There are characters. And there’s even some drama… or at least, I hope there is. I want people to be chomping at the bit to find out if the little bastard in “Dodge Ball” is going to get picked for the team. I want people to be shocked when the woman in “Everybody’s At The Bar” descends into madness and crushed when the kid’s friend moves away in “Albuquerque Anyway.” So I’ve got characters, drama… could T2R be a song cycle or a musical after all? Am I just deluding myself into thinking that this show is something more unique than it is? Nah. I will stand firm that while T2R might have musical theater tendencies, a musical it is not. “Well, what is it?!,” ask the Theater-Savy Brits. “You’ve got to give it a label, you daft sod! You know what they call things without a label? Garbage!” Shut up, Brits. I’m proud it doesn’t have a label. In fact, I think that T2R revels in its stubbornness to not be categorized. It’s messy and all over the place and fired up and won’t be tied down… (wait for it)... Much Like The Human Beings Who Inhabit It.

I think what I’ve come to understand is that Things To Ruin is whatever you think it is. I could give a damn. The only thing I know for certain is that this show doesn’t apologize for itself. It’s here. Love it or Fuck Off.

So, kindly play this album loudly and disruptively. Sing the songs at home, at work, in the car, in church. Go to a Broadway musical and jump on the stage and start belting out “Never Heard Nothing” at the top of your lungs. Take the actual CD and use it to carve your name on a show poster in Shubert Alley. Go to the most hardcore rock club you know clutching the album and proclaiming: “Showtunes are where it’s at!” Just don’t have T2R playing in the background. Myself and the great people who made this thing (read all of their names ten times please) are a family. And we’re a family that Cares. We care deeply about the art we’re making. We feel and we believe and we bleed and we ask that you do the same. Confront the music. Meet it in the middle. Let’s all get riled up together and change the world. And not apologize for nothing.

Thanks, mom.

-Joe Iconis
August 2nd, 2010 Dunkin Donuts, Manhattan, New York

Liner notes from John Simpkins
I grew up thinking that the people who wrote musicals must have loved creating imaginary worlds. Places where there were princesses and dragons, talking cats, dancing furniture, things like that. So as a director, I used to take great pains to imagine those fantastic, but unrealistic, worlds. I would then try to create them on a stage.

And then I met Joe Iconis. I knew him first at NYU – where he was “the writer and piano player who played too loud,” the faculty would say. We crossed paths in the hallways, worked on a production of Godspell together…but I never really knew what he was all about. Until...

Joe came to me with a project. He was “looking for a director for the thing” and asked if I was interested. He gave me a few CD’s of his songs and away we went. We didn’t exactly know how to begin pulling it all together, so we started talking about people. People who have dreams of all the things they want to do in their lives but feel like they have no time in which to do them - or nobody who takes those dreams seriously. People who have a hard time putting their feelings into words. People who take a stand for what they believe in no matter what the negative outcome may bring. People who have voices in their heads of others who tell them that they will never succeed. People who want to fight those very voices and yearn to tell them to dig it or fuck off. People who long for a community of friends to laugh with, cry with, and get drunk with.

I started to see that Joe writes in a voice that I had never seen before. He is actually writing in (pardon the simplicity) “real life.” He is writing lyrics that talk like people actually talk – not just like heroes who are singing songs in order to get the girl that we already know they will get. He is writing music that, when it deals with something emotionally devastating, is so loud that you can feel it in every bone in your body and your ears ring from the volume. He is writing melodies that are sometimes deliberately set just outside of the top of someone’s vocal range – so that an actor actually has to work and sweat to even achieve it. All of this adds up to a reality that I had never seen in the theatre and to which I was immediately drawn.

As we started rehearsals for Things to Ruin, I noticed that I wasn’t really “directing a musical” or even “staging a concert.” I was just asking our incredibly talented cast questions about behavior and feelings and dreams and fears and about how these songs relate to them and their own lives. We had conversations about how, while the material may have slightly different circumstances, the situations Joe writes about are so familiar. So painful. So joyful. So frustrating. So real. We found ourselves drawn to a surprisingly elusive thing for writers, directors, designers and actors - the ability to be human. It may seem strange, but the task of actually capturing and portraying reality is next to impossible.

Things to Ruin was put in front of audiences. I have never to this day seen people respond with such raw emotion to a piece of theatre. The crowds weren’t just clapping along. They were yelling and screaming and drinking and crying and thinking and loving. Sometimes it was messy – and sometimes it was happening all at the same time! And they were connecting to it as humans. Not just audience members. They were participating in a shared experience about things that most people don’t dare talk (or even think) about.

A couple of weeks ago, President Barack Obama was welcoming Broadway to the White House for a concert. As part of his introduction, he said that musicals “teach us a little bit of something about ourselves.” I now believe this in a way that I never could have when I thought musicals were those princess and dragon-filled imaginary worlds.

So get to a computer or a CD player or an iPod or your car. Just make sure that you get listening to this shit right now! Cause it will get inside you and take hold. As a human. I know it has for everyone who has experienced Things to Ruin before you. Welcome to our T2R family!

Stay here for a while. Cuz it’s nice. Cuz it’s holy.
Laugh and drink and smile. Give advice. Take it slowly.
Life goes by so fast. But it’s still when you’re with me, here.

-John Simpkins
August 2010

More about Ghostlight Records:
Ghostlight was created by and for the Broadway community. The label has since emerged as the standard bearer on the Broadway music scene. Their releases of the OCRs for Tony winners In The Heights and Passing Strange, as well as their single release featuring the winner of MTV's Legally Blonde The Musical competition, have brought them acclaim for their innovative marketing techniques and their efforts to reach the next generation of Broadway music fans via iTunes, music videos and more. The label (and President Kurt Deutsch) recently earned their first ever GRAMMY AWARD for In The Heights. Coverage has ranged from Rolling Stone to USA TODAY to The New York Times, from Blender Magazine to Playbill to Billboard, from AP Radio to Entertainment Weekly, from New York Magazine to Variety to NY-1 TV, from Time Out NY to Paper Magazine to The Advocate and much more. Other current releases include the double CD collector's edition of 'Reefer Madness' and ‘Patti LuPone at Les Mouches,’ which received expansive and wildly favorable media overage. Their release of Sutton Foster’s solo CD, ‘Wish’, garnered coverage including two USA TODAY ‘Listen Up Music Picks’, an appearance on NBC-TV Weekend Today Show, and a debut on Billboard’s Heatseekers Chart. Their releases of ‘HAIR,’ ‘Next to Normal’ and ‘Everyday Rapture’ garnered national coverage as well. President Kurt Deutsch was interviewed by PLAYBILL, regarding the label's embrace of 'Broadway's Digital Age': <> . This fall, Ghostlight records will release the Original Cast recording of 'Bloody, Bloody Andrew Jackson' (opening on Broadway October 13), 'Christine Ebersole Sings Noel Coward,' (The 2-time Tony winner's 3rd album on the label), and the Original Cast Recording of 'Ordinary Days.'  The label celebrates its 10th Anniversary this year.









Classic Stage Company (CSC), under the leadership of Artistic Director Brian Kulick and Executive Director Jessica R. Jenen , will present its popular Books On Stage Reading Series this Fall, featuring the first major forays into theater by acclaimed authors Milan Kudera and Salman Rushdie.

On Monday, September 27, CSC will present Kundera’s Jacques and His Master, adapted from Diderot, featuring F. Murray Abraham and directed by Brian Kulick.

Join Jacques and his Master, the 18th Century’s answer to Beckett’s Didi and Gogo, as they make their way through the countryside, passing the time by telling all manner of tales: tall, long and shaggy—you name it, they have a story. In addition to Mr. Abraham the cast includes: Lynn Cohen, Adam Driver, David Garrison, Philip Goodwin, Roberta Maxwell, KK Moggie, Steven Rattazzi, Tara Schoch Frederickson and Elisabeth Waterston.

On Monday, October 4, the theater will present Haroun and the Sea of Stories, by Salman Rushdie, featuring Taylor Mac, directed by Rachel Chavkin.  “What’s the use of stories that aren’t even true?” A question that author Salman Rushdie answers in this fantastical adventure that began as a series of bathtime stories the author told his young son, Zafar. Join Haroun and his storytelling Father as they leave the City that forgot its name, outwit the Shah of Blah and navigate a sea of endless stories, in this whimsical ode to the power and necessity of fiction. The cast includes: Jolly Abraham, Yusef Bulos, Ian Lassiter, Taylor Mac, Manu Narayan, Bhavish Patel, Steven Rattazzi, Debargo Sanyal and JD Taylor.

Tickets are extremely limited.  For tickets and information, visit or call (866) 811-4111, or (212) 352-3101, or visit the CSC box office at 136 East 13th Street, Monday through Friday, 12 pm to 6 pm. 

Now in its 44th year as one of New York’s most exciting theatres, CLASSIC STAGE COMPANY is the award-winning Off-Broadway theatre committed to re-imagining the classical repertory for a contemporary American audience.   The company is currently presenting the New York premiere of ORLANDO, based on the novel by Virginia Woolf, and adapted by acclaimed, Tony and Pulitzer-nominated playwright Sarah Ruhl’s Orlando.  Led by Artistic Director Brian Kulick and Executive Director Jessica R. Jenen, they recently presented David Ives’ highly acclaimed Venus In Fur, directed by Walter Bobbie as well as Ostrovsky’s The Forest, adapted by Kathleen Tolan, starring Dianne Wiest and John Douglas Thompson, and directed by Brian Kulick.  In the previous season the company presented three sold-out acclaimed productions: Shakespeare’s The Tempest, starring Mandy Patinkin; Chekhov’s Uncle Vanya, starring Denis O’Hare, Maggie Gyllenhaal and Peter Sarsgaard; and Anne Carson’s An Oresteia.  Recent productions: critically acclaimed sold-out runs of Anton Chekhov’s The Seagull, starring Dianne Wiest and Alan Cumming; the world premiere of David Ives' New Jerusalem, directed by Walter Bobbie; Hamlet, Richard II, and Richard III starring Michael Cumpsty and directed by Brian Kulick; and Zoe Caldwell in Yasmina Reza’s A Spanish Play, directed by John Turturro.

CSC presents plays from the past that speak directly to the issues of today. As we return to works of the past, we endeavor to keep a clear eye on the future, particularly in terms of the next generation of artists and audiences.  Founded in 1967, CSC has received wide recognition for its significant contributions to theatre as an art form through productions of classic plays, translations and adaptations and a long-standing commitment to the identification and nurturing of leading and emerging artists. Classic Stage's artists are the finest established and emerging theater practitioners working in this country. Highly respected and widely regarded as a major force in New York and American theatre, Classic Stage has been cited repeatedly by all the major Off-Broadway theater awards: Obies, Drama Desk, Outer Critics Circle, Drama League and the 1999 Lucille Lortel Award for Outstanding Body of Work.  Memberships to Classic Stage Company productions are available at various price levels, including the flexible MasterPass membership, which in addition to prime seats entitles members to participate in CSC special series, including their sold-out Open Rehearsal events.  For more information on Classic Stage Company visit the theatre’s website at


“SHINE! The Horatio Alger Musical” at the Theatre at St. Clements

SHINE! The Horatio Alger Musical  with a Book by Richard Seff; Music by Roger Dean Anderson and Lyrics by Lee Goldsmith is being presented by Other Side Productions (Peter Mercurio, Chuck Blasius – Co-Artistic Directors) as part of the New York Musical Theatre Festival at The Theater at St. Clements, 423  West 46th Street. The director is Peter Flynn and the choreographer is Devanand Janki. Michael Bottari & Ronald Case are the set and costume designers. Greg Anthony is the music supervisor, arranger, orchestrator; Annbritt duChateau is the music director and the associate musical directors are Danny Percefull and Sue Anschultz.   With a highly melodic, hummable and bouncy score with bright lyrics, “SHINE the Horatio Alger Musical, has tons of period atmosphere, nostalgic charm, comedy and entertainment.  A multi-talented cast of 19 makes this one of the largest of the festival productions. Tickets are $20.  Performances are: Thurs. 10/7 at 8pm; Sat. 10/9 at 5pm; Mon. 10/11, at 9pm; Fri. 10/15, at 1pm; Sat. 10/16, at 9pm and Sun. 10/17 at 3pm.

The principals for the show are: Andy Mientus (Richard Hunter); Michael Halling (Luke Gerrish); Meggie Cansler (Stacia Jane Hauser); Jimmy Ray Bennett (Gideon Chapin); William Ryall (Silas Snobden); Stanton Nash (Higgins); Philip Chaffin (Allen Carlisle); Tyler Merna (Rob Carlisle); Dan Lawler (Foswell); Evan Jay Newman (Mickey Maguire) and Kathy McGrath (Mrs. Mooney).

The Ensemble includes: Jason Mills was last seen as the Phantom in the tour of “The Phantom of the Opera” and “Forbidden Broadway: SVU”, “South Pacific” (Carnegie Hall),  and Encores!.  Cheo Bourne has performed in “Hot Mikado”, “Cabaret”, “Of Mice and Men”, “Animal Farm”,Jerry Springer The Opera”,HONK!”,The Comedy of Errors” to name a few.  Todd Horman was on Broadway in “Urinetown”, the tours of “Urinetown” and “Victor/Victoria” and a few Encore shows.  Some other credits are “The Full Monty”, “Les Miz” and “Guys and Dolls”Robert Mintz was in The Kennedy Center's “Broadway: Three Generations” and Signature Theatre's “The Visit” by Kander and Ebb.  Rachell Coloff some B'way roles are: SoupySue in "Urinetown", Rivka / Fruma Sarah in "Fiddler on the Roof", The Baroness in "Candide", and Off B’way as Mother in "Enter Laughing"Jessica Vosk just returned from London's Royal Albert Hall, where she was featured in the new ABBA musical "Kristina". Other credits "Lend Me a Tenor: The Musical", "To Carry On: The Music of Laura Nyro"Joy Hermalyn on B’way: “Fiddler on the Roof”, “Cyrano”, “Candide”, “Christmas Carol”, Baz Luhrmann’s production of “La Boheme”, and numerous Encores!.   Melissa Rain Anderson some NYC credits: “Bonnie and Clyde, a Folktale”; “Babes in Arms” and “Tenderloin” at Encores!; “Time and Again” as well as the National Tour: “South Pacific”

          “SHINE! The Horatio Alger Musical” follows the tale of Ragged Dick (Horatio Alger’s first best-selling hero) in lower Manhattan (1876) as he rises from penniless bootblack to budding Wall Street entrepreneur. Dick’s adventures with a little bit of luck, some charm and a whole lot of hard work bring him face to face with scheming ex-convicts, vicious comic villains, kind benefactors, and a world of colorful street characters in this charming rags-to-riches romp for everyone.

Richard Seff (Book) has spent a lifetime in the theatre as actor, playwright, columnist, critic, agent, librettist, investor and now memoirist. He first acted professionally in 1946 and took a 22 year leave of absence from the stage to become an agent representing artists in the musical theatre on Broadway.  Roger Dean Anderson (Composer) has been fortunate to collaborate with such legendary talents, Michael Smuin, Joe Layton, Wally Harper, Tony Walton, Vivian Matalon and Hal Prince. In 1979 he was paired with lyricist Lee Goldsmith, more than 30 years his senior; later composing the award-winning “Chaplin”, followed by “Quality Street”. Recent projects include “Ladykiller”;Flying Tigers” and “Abe”Lee Goldsmith (Lyricist) enjoyed an early career with National Comics scripting stories for The Green Lantern, Wonder Woman and The Flash. He adapted several projects for the stage, writing book and lyrics: “Come Back Little Sheba”, “Golddiggers of 1633” and his ground-breaking Broadway musical “Sextet”.

          Peter Flynn (Director) is Artistic Director of The Hangar Theatre and staged the star-studded Broadway concerts of "On the Twentieth Century" (Douglas Sills, Marin Mazzie, & Joanne Worley); “Chess” (Josh Groban); and “Funny Girl” (Whoopi Goldberg, Bebe Neuwirth, & Peter Gallagher, among others). Devanand Janki (Choreographer): directed & choreographed the award-winning hit “Zanna, Don’t”! and “Junie B. Jones”, “Cupid & Psyche”, “Henry & Mudge” and John Patrick Shanley’s “Romantic Poetry” (MTC). Broadway concerts: director of “Hair” (all-star cast, featuring Jennifer Hudson), choreographer of “Funny Girl” (16 Fanny Brices, including Whoopi Goldberg, Bebe Neuwirth, & Jane Krakowski).

$8 Tickets??? Crazy You Say? Nope – It’s OCHO LOCO!

The Deep Throat Sex Scandal

A Sinfully Entertaining New Play


The Deep Throat Sex Scandal, David Bertolino’s play aboutthe making of the famed 1970s pornographic film "Deep Throat" and the subsequent controversy the film ignited, today announced it will offer a sale on tickets for only $8 on select performances through October 17th.  $8 tickets can be purchased through with promotion code: OCHODEEP, or visit and get the deal by texting the $8 Ocho Loco! coupon to your cell phone. Then, just show the mobile coupon to the Bleecker Street Theatre box office anytime Mon – Sun, Noon – 8pm, and purchase your $8 tickets (cash only, subject to availability, additional fees may apply).  

"We're excited to be able to offer an OCHO LOCO deal for this exciting new off-Broadway play," says Landy Ung, co-founder of 8coupons, "It's a great opportunity for those New Yorkers who are interested in checking out off-Broadway shows to now be able to experience it themselves for less than the cost of a movie."

The Deep Throat Sex Scandal is appearing at The Bleecker Street Theatre at 45 Bleecker (near Lafayette Street.)  The Deep Throat Sex Scandal plays Tue - Fri @ 8pm | Sat @ 7:30 & 11pm | Sun @ 4 & 7:30pm. Seats are priced regularly at $25 and $79.50.

The official opening is scheduled for Oct. 10. Adult film writer-director Jerry Douglas helms the production. The production features scenic design by Josh Iacovelli, lighting design by Graham Kindred and costume design by Jeffrey Wallach. When Harry Met Linda produces.  For more information,please visit

8coupons is a fun and easy way to save time, money, and trees by getting the best, up-to-the-minute deals on your phone.  At, local businesses can easily create mobile (text message based) coupons, and in-the-know locals can share the lowdown on everything from the happiest happy hour special to a last minute shoe sale. OCHO LOCOs (crazy eights in Spanish) are 8coupons' special exclusive "almost-free" deals with an "8" in it.  They can range anywhere from 8-cent burgers to $8 theatre tickets. Anyone can sign up at to start receiving exclusive OCHO LOCO deal alerts via email.




Manhattan Theatre Club is pleased to announce guests for the upcoming session of After Words, the popular discussion panels held after selected Saturday matinees at the Samuel J. Friedman Theatre (261 West 47th Street). The latest offering will focus on the THE PITMEN PAINTERS by Lee Hall, directed by Max Roberts.

On Saturday, September 18, After Words will feature Tim Barringer, a professor of the history of art at Yale, and director Max Roberts.

On Saturday, October 2 After Words will feature playwright Lee Hall and author William Feaver, whose book Pitmen Painters inspired the play. In addition, following the discussion, Feaver will be on hand to autograph copies of his book which is currently on sale at the Friedman Theatre.

After Words is part of MTC's continuing effort to deepen and enrich the play-going experience for its audiences. Held after selected Saturday matinees, these panels, featuring writers, cultural critics and journalists, provide provocative and illuminating insights into the political, cultural, and artistic contexts of the work MTC produces.

For more information on After Words, or to download a podcast of past After Words, please visit:

TIM BARRINGER is Paul Mellon Professor and Director of Graduate Studies in the Department of the History of Art at Yale University, has published and lectured widely on British art and visual culture and on art and empire. His books include Reading the Pre-Raphaelites (1998), American Sublime (with Andrew Wilton, 2002) and Men at Work: Art and Labour in Victorian Britain (Yale, 2005). He is editor of Colonialism and the Object (with Tom Flynn, 1997) and Frederic Leighton: Antiquity, Renaissance, Modernity (Elizabeth Prettejohn, Yale 1998). Art and the British Empire (with Douglas Fordham and Geoff Quilley, 2007), Art and Emanciption in Jamaica (with Gillian Forrester and Barbaro Martinez-Ruiz, 2007) and Writing the Pre-Raphaelites (with Michaela Giebelhausen) will appear with Ashgate in 2008.

WILLIAM FEAVER  is the former art critic for the (London) Observer, writer, curator, broadcaster, painter, author of Pitmen Painters, from which THE PITMEN PAINTERS derives, and most recently, books on Frank Auerbach and Lucian Freud, whose retrospective he curated in 2002-3. He is founder trustee of The Ashington Group, member of the art advisory committee for the National Museum of Wales, and a tutor at the Prince's Drawing School.


Manhattan Theatre Club's (Lynne Meadow, Artistic Director; Barry Grove, Executive Producer) American premiere of Tony Award winner Lee Hall's THE PITMEN PAINTERS at MTC's Samuel J. Friedman Theatre (261 West 47th Street). The play will celebrate a September 30 opening night.

Manhattan Theatre Club, by special arrangement with Bob Boyett, is producing the Live Theatre, Newcastle/National Theatre of Great Britain's co-production of THE PITMEN PAINTERS on Broadway.

The cast, who have been with the production since it premiered at Live Theatre in 2007, includes: Christopher Connel, Michael Hodgson, Ian Kelly, Brian Lonsdale, Lisa McGrillis, Deka Walmsley, David Whitaker and Phillippa Wilson.  The play is directed by Max Roberts.

Inspired by a book by William Feaver, and hailed by London critics as "a glorious instant classic" (Evening Standard), "a wonderful piece of theatre" (Financial Times) "a beautiful work of art that everybody should see" (The Times of London), and "a superb piece of work; warm, funny, sad, and thought-provoking" (The Daily Telegraph), the play tells the story of the Ashington Group - miners from Northumberland who became celebrated painters. THE PITMEN PAINTERS was named Best Play at the 2008 Evening Standard Awards.

Direct from a sold-out engagement at London's National Theatre, this funny and fascinating new play by Tony Award winner Lee Hall (writer of Broadway's mega-hit Billy Elliot) comes to Broadway with its entire original London cast intact. THE PITMEN PAINTERS is based on the triumphant true story of a group of British miners who discover a new way to express themselves and unexpectedly become art-world sensations! An arresting and hilarious salute to the power of individual expression and the collective spirit, THE PITMEN PAINTERS takes you on an unforgettable journey from the depths of the mine to the heights of fame.
THE PITMEN PAINTERS features scenic and costume design by Gary McCann, lighting design by Douglas Kuhrt, and sound design by Martin Hodgson.

The cast of THE PITMEN PAINTERS is appearing with the permission of Actors' Equity Association. The producers gratefully acknowledge Actors' Equity Association for its assistance of this production.

Tickets are available by calling Telecharge at 212-239-6200, online by visiting, or by visiting the Samuel J. Friedman Theatre Box Office (261 West 47th Street). Ticket prices are $57 - $116.

For more information on MTC, please visit
Please note THE PITMEN PAINTERS is dark on Mondays:

*   THROUGH SUNDAY, OCTOBER 3: Tuesday at 7PM, Wednesday through Saturday at 8PM, Sunday at 7PM. Matinees on Saturday and Sunday at 2PM.
*   MONDAY, OCTOBER 5 - SUNDAY, NOVEMBER 21: Tuesday at 7 PM, Wednesday through Saturday at 8 PM. Matinees on Wednesday, Saturday and Sunday at 2 PM.
*   MONDAY, NOVEMBER 22 - SUNDAY, NOVEMBER 28 (THANKSGIVING WEEK): Monday, Wednesday, Friday, and Saturday at 8 PM. Tuesday at 7 PM. Matinees on Wednesday, Saturday and Sunday at 2 PM. Dark on Thursday.
*   MONDAY, NOVEMBER 29 - SUNDAY, DECEMBER 12: Tuesday at 7 PM, Wednesday through Saturday at 8 PM. Matinees on Wednesday, Saturday and Sunday at 2 PM.

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Follow MTC on Twitter: @MTC_NYC or on Facebook.

Set in the late 90s on the Lower East Side of New York City, THE LESBIAN LOVE OCTAGON follows the journey of Sue, a less than butch dyke with a broken heart, as she tries to cope with losing her girlfriend to her ex-girlfriend. When Sue’s friends (a bevy of ex-girlfriends and ex-girlfriends' ex-girlfriends) come rushing to her aid, they incite a tempest of lust and betrayal as they try to convince Sue that the answer to happiness exists in polyamory, protests and pomade. A riotous look at a righteous time in lesbian history, THE LESBIAN LOVE OCTAGON is a musical for anyone who has ever loved wimmin's bookstores, tofu or cats. 
“Anyone who thinks lesbians don't have a sense of humor should see this show. Great songs, great performances, great fun!” Bill Russell, Tony nominated librettist for Side Show
THE LESBIAN LOVE OCTAGON will feature Sarah Louise Anderson, Felicia Blum, Kat Bridgeman, Sheaquan M. Datts, Missy Diaz, Tracie Franklin, Nikki Jenkins, Dana Musgrove, Lindsay Naas, Susan O’Dea, Ti, Lilly Walleck, Lauren Wood, and Rebecca Zaretzky. 
The production, presented by Horse Trade Theater Group and Cause Dyke Drama will play a limited engagement at The Kraine Theater (85 East 4th Street between 2nd Ave and Bowery), November 4-7 at 7pm.Tickets ($18) are available by calling Smarttix at 212-868-4444 or online at
KIMBERLEA KRESSAL (Book/Lyrics Writer/Director) is a director and playwright living in New York City. Kimberlea is an Artistic Associate for Wreckio Ensemble for whom she directs and writes regularly. Most recently she directed Bail Out The Musical by Wreckio Ensemble and Rooftops by Karly Maurer. She conceived, directed and co-authored The Ladies Aide Society Invites You to A Poverty Party to Benefit The Foundation for Ethical Art and Culture, for which Wreckio was granted a Chashama Performing Arts Residency and an opportunity to travel the show to Dublin, Ireland. In 2007 she received the "Best Director" award at The Wonderland Festival for her direction of Sandwich by Jessamyn Fiore. She is a Founder and former Artistic Director of the New York City based women's theatre company, the estrotribe.  Kimberlea has worked with activist groups creating and performing site-specific street theatre. She is the recipient of the Robert Moss Directing Award.  She received her BFA in Directing from NYU, Tisch School of the Arts where she currently serves as a Directing Mentor for 3rd and 4th year undergraduate directing students. In June 2009 Kimberlea was featured in GO Magazine’s “100 Women We Love” issue.
WILL LARCHE (Lyricist/Composer) is an actor, singer and songwriter living in New York City. His original one-man cabaret, Bumps in The Bathroom, directed by Kimberlea Kressal has been performed at The New York Theatre Barn and Earl Dax’s Pussy Faggot. On stage Will has performed in Enter Laughing, American Twistory, Closer Than Ever, Chess, Lucky Duck (directed by Bill Russell and featured on the original cast recording), A Little Night Music, All Lost To Prayers, Jesus Christ Superstar, Titanic, Crave, Hair and My One and Only. Will holds a BFA in Musical Theatre from The Boston Conservatory.
HORSE TRADE THEATER GROUP is a self-sustaining theater development group; with a focus on new work, it has produced a massive quantity of stimulating downtown theater.  Horse Trade’s Resident Artist Program offers a home to a select group of Independent Theater artists, pooling together a great deal of talent and energy. It is also the home of FRIGID New York – the first and only festival of its kind in New York City. 
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The Sullivan Project
in partnership with 1st Irish Theatre Festival

and in association with Alycia Aumuller, Maedhbh Mc Cullagh, Todd Miller,
and Williston Productions

the world premiere of

Graham & Frost
by Belinda McKeon
directed by Thomas G. Waites

Thursday, September 16 – Sunday, October 3, 2010
Performance Space 122

'A sharp, true, and quite eviscerating new play from the young Irish writer Belinda McKeon; Arthur Miller might have been happy to have orchestrated its humane and subtle ironies.'
- Sebastian Barry, Irish playwright and novelist

New York, N.Y., August 12, 2010 – The Sullivan Project, in partnership with 1st Irish Theatre Festival, has announced the world premiere of Graham & Frost, a darkly wry drama by award-winning Irish playwright and novelist Belinda McKeon directed by Thomas G. Waites. Performances take place Thursday, September 16 through Sunday, October 3, 2010, at Performance Space 122, 150 First Avenue, NYC.

Turf wars, urban displacement, and cultural identity converge—and violently erupt—in an abandoned Italian restaurant at Graham Avenue and Frost Street in present-day Williamsburg, Brooklyn. Three men of disparate backgrounds and misaligned agendas—Benny, Sam, and Luca—go to loggerheads as each lays claim to home and heritage. In the process, the sleek veneer of New York City’s take-no-prisoners style of gentrification is stripped bare to devastating end. Combining deceptively congenial wit with the politics of pitiless self-gain, Graham & Frost sheds chilling new light on location, location, location.

The world-premiere production is directed by celebrated director/actor Thomas G. Waites (A Midsummer Night's Dream, Twelfth Night/TGW Acting Studios) and stars Steven Randazzo* (The Sopranos, Law & Order), Enrico Ciotti (Film: The Silver Rope/Abu Dhabi, Nantes, Puchon’s PIFAN 2007) and Dan Shaked (Stone Cold Serious/Theatre Row-Clurman Theatre). The production features lighting and set design by Tsubasa Kamei and Jennifer Stimple; sound design by Jeremy Joyce; and costumes by Brian Einersen. Stage manager is Cat Coffey. Photography is by Hunter Canning. Graphic design is by Valery Estabrook. Graham & Frost is produced by Maedhbh Mc Cullagh. *Actor appears courtesy of Actors’ Equity Association.

Belinda McKeon, Playwright
Award-winning Irish playwright Belinda McKeon has been recognized with the prestigious RTE P.J. O'Connor Award in 2005 for Word of Mouth; the Irish Times Theatre Judge's Special Award in 2007 for her play Drapes, as part of Fishamble’s Whereabouts; and RTE Radio 1 Fringe Audience Choice Award in 2008 for Two Houses.  She is currently under commission to the Abbey Theatre, Dublin, and recently workshopped a new play, Strut, at the Abbey.  Her debut novel, Solace, will be published in 2011 by Scribner (US) and Picador (UK). She works as an arts journalist and curator and is based between Dublin and New York.

Thomas G. Waites, Director
Thomas G. Waites directed A Midsummer Night's Dream and Twelfth Night at TGW Acting Studios in New York last season and has also directed The Seagull, Estrella, My Refugee, The Bear, Six Goumbas and A Wannabee, Golden Ladder, and The Stronger, all in New York City.  As an actor he was last seen in American Buffalo at the Studio Theatre in Washington DC and has been seen on Broadway in Search and Destroy, Teaneck Tanzi, with Debbie Harry, Richard the Third and as Ralph in Awake and Sing!  Tom was in American Buffalo with Al Pacino, and has done over fifty plays both regionally and Off-Broadway.  His favorite roles are Hal in Henry IV part one and Steve in Pastorale at Second Stage.  His film credits include: The Warriors, On the Yard, The Thing, Justice for All, Pity the Poor Soldier, Light of Day, McBain, Shakedown, Till Death Do Us Part and the soon-to-be-released An Affirmative Act. On television, Tom was a recurring character on the HBO TV series Oz and has been seen on Law and Order and Law and Order Criminal Intent and New Amsterdam. Tom is also a playwright and resides and teaches here in the city. He is a member of the Actors Studio and is the Artistic Director of TGW Acting Studios in New York.

The Sullivan Project
The Sullivan Project is an independent production company focused on developing film and theatre projects that reach right into the core of human nature and speak to a wide, cross-cultural audience. Recent projects include the award-winning feature film Last Call (distributed by Moving Pictures), and the American Premiere production of Thomas Kilroy's play The Shape of Metal at 59E59 Theatres, starring Obie award winner Roberta Maxwell, and directed by Tony award nominee Brian Murray. For more information, visit

1st Irish Theatre Festival
Now in its third year, New York’s annual First Irish Theatre Festival is a celebration of the best of Irish theater that is brought to you by Origin Theatre Company, which was founded in 2002 by artistic director George Heslin to showcase the works of European playwrights in America. Throughout September and early October, the 2010 1st Irish Theatre Festival highlights performances from 16 Irish playwrights new and old at 15 venues throughout the city. From September 7 through October 3, 2010, audiences in New York will engage with the best in Irish theater, readings, lectures, and panel discussions that represent companies from Belfast, Dublin, and Navan, as well as companies from across the U.S. For a full list of events, visit

Graham & Frost runs September 16 – October 3, 2010, at Performance Space 122, located at 150 First Avenue at Ninth Street, New York City. Tickets are $18 and can be purchased by phoning 212.352.3101 and online at

Fri     9/17/10 7 pm
Sat     9/18/10 1pm & 7 pm
Sun     9/19/10 1pm only
Wed     9/22/10 7pm
Thu     9/23/10 7pm
Fri     9/24/10 7 pm
Sat     9/25/10 1pm & 7 pm
Sun 9/26/10     1pm only
Wed     9/29/10 7pm
Thu     9/30/10 7 pm
Fri     10/01/10        7 pm
Sat     10/02/10        7 pm only
Sun     10/03/10        1pm only

Duration: 50 minutes. No interval/ No late seating.


“ T H R O U G H   T H E   N I G H T ”









New York (September 16, 2010) – Producer Daryl Roth announced today that Through the Night, the acclaimed solo show written and performed by Daniel Beaty and currently playing at the Union Square Theatre, has launched Shine the Light ProjectShine the Light, a special educational outreach program, is seeking contributions from corporations, foundations, and individuals to provide tri-state, inner-city students who would be otherwise unable to afford the $25 student price the opportunity to experience Through the Night by fully underwriting the cost of their tickets.  Through the Night officially opens on Sunday, September 26.

“Shine the Light came about because many people who have come to see this play asked how they could get involved in helping to spread the word and sponsor students,” Ms. Roth said. “We believe Daniel’s inspirational message of empowerment can change lives, young and old, and it is our goal to ensure that we reach as many people as possible.”

Contributions to Shine the Light can be made by visiting and clicking on the “Education” tab.  All donations are fully tax deductable and will be used solely to help cover the cost of student tickets to a performance of Through the Night at the Union Square Theatre.

Donors may designate particular schools to receive the tickets, or the producers will select appropriate tri-state area school groups.  Through the Night is deemed suitable for children aged 14 and older.

Through the Night is produced by Daryl Roth, in association with Jana Robbins, and presented with the enthusiastic participation of a “Who’s Who” of artists and influencers who are acting as Artistic Ambassadors for the production.  This select group, lending support through a variety of audience development efforts, includes Bill Cosby, Ruby Dee, Professor Henry Louis Gates, Jr., Thelma Golden, Hill Harper, LaTonya Richardson Jackson, Brian Stokes Mitchell, Phylicia Rashad, Ben Vereen, Pauletta Washington, and Malik Yoba.

Six characters.  Three generations. One unforgettable performance.  Mr. Beaty portrays an entire cast of characters, from inquisitive boy to elder preacher, spinning a tale in which lives collide to show how hope, faith and love can pull anyone Through the Night.   The New York Times calls it, “a thing of beauty, wit, grit and piercing lyricism.” Mr. Beaty’s last New York stage appearance was in 2006, winning an Obie Award for his acclaimed solo show Emergency (formerly Emergence-SEE!) at The Public Theater.

Regular tickets, priced at $65.00, are available via / (800) 982-2787 and in person at The Union Square Theatre Box Office (100 E. 17th Street, NYC).  The Box Office is open Tuesday-Sunday from 1:00 p.m. to 6:00 p.m. 

The performance schedule is as follows: Wednesday through Friday at 8:00 p.m., Saturday at 3:00 p.m. and 8:00 p.m., and Sunday at 3:00 p.m. and 7:00 p.m.  Please note: there are no matinee performances on Sunday, September 12 or Sunday, September 26, and no performance on Wednesday, September 15.