Tuesday-Saturday @ 8:00 p.m.
June 18th- July 9th
Reviewed by Yolanda Shoshana
Expressive Theater) new show Big Times
is a homage to
vaudeville and what a homage it is. Big
Times is seventy-five minutes of entertaining
and clever theater, directed by Leigh Silverman
and starring Mia Barron, Maggie Lacey, and Danielle
From the minute
you walk into Walkerspace, you feel like you
are in an old
vaudeville theater; there are old posters in
the lobby area and a smell of popcorn in the
air. The theater even has red curtains, a staple
in old vaudeville theaters.
boasts three main characters: Sadie, Nellie,
and Lucy. Three girls with nothing to lose,
they show up in the Big City with a ukulele
and a dream of making it in the Big Time. As
they look for their place in the spotlight,
they stumble into each other, join forces and
realize there is nothing they cannot do.
as Sadie is simply delightful. Sadie is full
of sweetness and naiveté, but certainly
not the smartest one in the bunch. Mia Barron
is a hoot as Nellie, the wisecracking orphan
who has dreams of making it big. Danielle Skraastad
is fabulous as Lucy, the sexy, hardened ex burlesque
dancer. Lucy has the air of classic movie divas
like Katherine Hepburn. She shines every time
she hits the stage.
Barron, and Skraastad hit their mark with their
individual performances, their ensemble work
should be commended, as well. The timing between
the actresses is impeccable. Their choreography,
provided by Lisa Pilato, is consistently in
sync. One of the things that is so clever about
this show is that you feel like you are watching
a show within a show as the characters stories
intertwine with vaudeville acts. Kudos to the
director, Leigh Silverman, for utilizing the
talent of the cast in the best possible way.
The set is sparse
with a table, a few chairs and some suitcases.
The minimal setting suggests the locale and
work to focus the audience on the performers.
Live music provided by the Moonlighters is integrated
into the play. The music fits the scenes and
enhances the storytelling. The song "So
Many Years Ago" begins the show and gives
the audience a little background on the three
ladies. When the band plays "Box Car with
a View," the scene reminds you of the Hollywood
is another triumph for WET. Part of WET's mission
is to challenge stereotypes of women's roles.
And with the comeback of vaudeville being mainly
male-dominated, this show helps highlight what
the women of vaudeville can do.
If you want to
have fun, see a great show and see some talented
(not to mention hot) women, run, don't walk,
to Big Times.
Walkerspace 46 Walker Street
The Devil Winks
Be or Not to Be on Ave B)
June 2005 by Mikal Saint George
Theatre is a
process. In today’s media-saturated, cookie-cutter
world most people simply sit back with arms
folded, legs crossed, and vodka-lubricated,
waiting to be “done.” Sitting in
the dark, silently exclaiming, “I defy
you to entertain me” while imagining the
delights that await them at The Olive Garden.
Thanks to this, we have Mama Mia, Brooklyn:
The Musical and the Granddaddy of them all,
the Mecca of banality…Cats.
The fun, the
joy, the privilege is to be in on a creative
experience from its inception. This is not a
passive world and there are times when even
entertainment should be a sort of interactive
experience. Where the audience gets to grow
with the piece - the performers being benevolent
tour guides. You don’t have to like it.
But to be a part of the growth of anything –
to see the first spark of creative desire -
is a privilege.
Such is the case
for David Sirk’s The Devil Winks.
A guided tour of the playwright, performer,
producer, director, burnout, former yippie’s
experience of the East Village in the 80’s,
this is not so much a finished piece as a slice
of a slice of a seminal moment in the artist’s
creative journey that may or may not be finished.
Sirk is the guy
at every bar, at every urban rooftop barbeque
with a story to tell. Whether or not you want
to hear it. Even if you just want to quietly
escape, he knows his territory. Regardless of
the weather, the time of day or the occasional
police surveillance, he knows he will keep you
there with the precise determination of Dracula
on a feeding frenzy. That is his initial power.
His ultimate power, however, is his ability
to capture your attention. To paint a verbal
picture regardless of your personal opinion,
hold your attention, steer your imagination
and usually – somehow – force you
not only to buy him another drink, but also
to like him!
In the journey
that is Devil Winks, Sirk inhabits
many characters to illuminate his one-man-show.
His “Pope of Dope” character and
rendition of Life Café founder “David
Life” show plenty of promise and allow
Sirk to display his most promising abilities.
He has some genuine verbal gems and at times
manages to be simultaneously dark, funny and
timeline is sometimes uneven. He refers to MTV
“just taking off” at the same time
that Madonna’s "Material Girl"
hits the airwaves. There is at least four years
between the two. Although Sirk relies heavily
on the East Village heyday of the 80's to draw
attention and publicity to his show, he is really
more a product of the late 60’s and 70’s.
In fact, he makes it a point to vilify the very
artists and punks who made the area enough of
a point of interest that he might be able to
draw an audience based on his recollection of
the time and era. It is odd to hear someone
from Cleveland - who admittedly spent his time
doing nothing other than drinking and getting
high - complain about the infiltration of punks
from Jersey. He takes the time to dismiss artists
and curators of the era but never explains his
claim to the area. In fact, his most prestigious
achievement appears to be this show and even
that is at the expense of the very people who
actually make it relevant.
This is the reason
it should be seen. This is a city not just for
the cool, the hip, the polished or the entitled.
This will always be a place to percolate ideas,
ideals, dreams, hopes and complete idiocy. Success
and failure are relevant terms and we must all
find touchstones by which to evaluate them.
I will always light candles to the David Sirks
of the world who take their ideas and experiences
and shine a bright light on them for us all
to see. That is the very essence and often the
very starting point of all things great. Or
at least worth talking about over gin and tonic
while killing time.
advice is to, “Have intense passion for
the project and all the faith you can muster.
Because there will be ten thousand reasons not
to go on with the show.” No truer words
have been spoken and let’s hope this show
Creative Place Theatre 750 8th Avenue # 602 (between 46th and 47th), NYC
June 2-19 -- Tuesday through Sunday
at 8:00 p.m.,
$15 (students and seniors, $10)
THE PUBLIC CAN MAKE RESERVATIONS BY CALLING: 212-726-1486
On The Web: www.thedevilwinks.com
Saturdays, July 9th, 16th, 23rd @ 8:00 p.m.
August 6th, 13th, 27th @ 8:00 p.m.
Reviewed on April 23, 2005 at 9:00 p.m. by Caroline
more refreshing than snorting out loud because
you’re laughing so hard? I guarantee that
that distinctive noise hardly escapes your trunk
at other amateur stand-up nights around the
city. This doesn’t even happen while you’re
watching SNL on a good night. But on April 23rd,
I joined the circus with award-winning sketch
comedy group, Elephant Larry, and laughed like
a hyena. New Yorkers in general need to laugh
These guys were
electrifying. The funny tune that opened the
show only had a snowball effect for the remainder
of the hour. The audience loved the immediate
energy that this group brought and their outbursts
of chuckles echoed every wild and outrageous
sketch. Clever jokes aside, I had the impression
that these were five little boys having fun.
That comes with knowing, collaborating, and
surrounding oneself all the time with each other’s
talent. And I was right. All five elephants
were once members of Cornell University’s
sketch comedy group, Skits-O-Phrenics. After
graduation, their laughter moved to NYC and
BOOM! history was made. Check out their
Elephant Larry presents two shows as part of
the New York International Fringe Festival.
June 2004: Elephant
Larry wins the Audience & Jury Awards at
the Bass Red Triangle Comedy Tour.
June 2004: Elephant
Larry named Backstage Comedy Best Best of 2004.
Elephant Larry begins their three month sold-out
run of All Aboard the U.S.S. Boatship.
Winner of Sketch Fights at Caroline’s
Comedy Club, awarded the title of “New
York’s Best Comedy Writers.”
May 2003: Finalist
for “Best Sketch Comedy Group” at
the ECNY’s (Emerging Comics of New York
In all honesty,
this review has already been written. There
is no bragging necessary for this talented group.
But what I can say is that I admired the group’s
collaboration and originality. Not only were
you listening to jokes, but also you were having
a multi-media and smile-inducing experience.
Colorful, random video skits enhanced the live
skits on stage.
that there’s a quirky and absurd quality
to the makeup of this group, but this helps
define and stretch the term, “sketch comedy.”
The city is hungry for this kind of energy.
They’re quick, smart, and keep the ball
moving. Sketches influenced by puns and “What
Year Is It?”, to name a couple, grabbed
you. But ending with the “Earth Rap”
made our hearts and laughter BOOM from our chests.
Elephants never forget and neither should you,
so get to The PIT and start your roaring. These
Geoff Haggerty, Stefan Lawrence, Chris Principe,
Jeff Solomon, and Alexander Zalben
Call 212.563.7488 For Reservations or Contact:
People’s Improv Theater (The PIT)|154
W. 29th Street
(Between 6th and 7th Avenues)
Howie the Rookie
@ 8:00 p.m.
Sunday @ 3:00 p.m.
May 12-June 5, 2005
Irish Arts Center
Reviewed by Caridad
Howie the Rookie, a play about two
lads drinking themselves through a rough night
in the underbelly of a depressed Dublin suburb,
is a magical evening of theater. Now playing
at the Irish Arts Center, the script consists
of two interconnected monologues performed consecutively:
one by Howie, a pit bull of a character; the
other by Rookie, the local lothario. Although
they are unrelated, the two unemployed louts
share the same last name, Lee, which to the
violence-obsessed Howie, is a wonderful tribute
to his idol, Bruce Lee. O'Rowe's writing is
rough and Joycean, filthy and precise. Like
Irish writers Connor McPherson and Enda Walsh,
he is adept at the monologue form. What's more,
his racing plot lines are adorned with clever
turns of phrase, wicked insults and a not overused
street vernacular (lodgy-bodgy means to screw)
that makes his dialogue pop and his language
The play is cinematic
in its storytelling as the two fellows tear
through the city on their desperate adventures.
Director Nancy Malone makes use of this quality
and keeps her actors moving throughout the industrial
set. A rusty backdrop, dingy bench and suspended
pipes suggest a dodgy part of town and the many
sound cues punctuate the action, bringing clarity
to the often accented diction and unusual slang.
Despite their heightened lack of sophistication,
both characters are funny and obviously as instinctually
intelligent as their writer. The script is filled
with references to kung fu films and American
westerns. One of many colorful screwballs introduced
in the story, Chopper Al, makes the Rookie think
of The High Chapparal when he says
hello (Hi, Chopper Al). A vicious bruiser in
his loose-fitting Bruce Lee T-shirt waiting
to pounce, Howie says, "I'm like Tarzan,
I dive like the fucking Weissmuller I am,"
a reference to the first actor to play Tarzan.
Howie is a thug looking forward to a night where
he can beat the living daylights out of his
former friend, the Rookie, who slept on his
gay friend Ollie's mat and left scabies behind
for the next visitor, Peaches. A crime magnified
by the fact that Peaches was later humiliated:
found by his father naked, with his pubic hair
shaved and begging to be put down like a dog.
Howie, about to attack the Rookie, says, "I
take down my prey like a feral hunter and hold
them tight." Despite the hard-hitting dialogue,
Mark Byrne sensitively underplays Howie's rage,
underscoring instead his frustration and lack
of opportunity in life. The night ends horribly
and Howie is cruelly and unfairly blamed by
his parents, who should have blamed themselves.
Howie is transformed by grief and it is a much
altered man that we hear about (but do not see)
in the Rookie's post intermission monologue.
The Rookie enters
in act two, his hands down his pants scratching,
not knowing that he is infected with scabies.
He has to come up with seven hundred cash to
pay off another thug, Ladyboy, whose exotic
fish he accidentally knocked over and killed
while scratching himself. So far, he has raised
two hundred from the "dollies" who
are besotted by him: "Handsome bastard
I am - break hearts and hymens I do." He
is unable to raise any off his parents because
he slept with his stepmother to pay back his
father for leaving his real mother, and anyway,
the father didn't have any money to begin with.
In the second
act, Howie is obsessed with helping the Rookie,
to erase the consequences of the night before
which ended in such horrible tragedy. In contrast
to the Rookie, the only girl that Howie can
get is his friend Peaches' two hundred and thirty
pound slut of a sister, called Avalanche, who
siddles up behind him while he's having a piss
and jerks him off saying, "Slip into me
room and slip into me womb."
The attitude of all the men toward women in
the play is completely appalling and recognizably
Irish. They are judged on looks alone and when
not acting as masturbatory tools, expected to
stay at home. In a full circle plot twist, Peaches
attacks Howie for sleeping with his sister,
raising her hopes even though everyone knows
she is "unlovable." One attractive
girl, who works at a supermarket to provide
for her retarded brother, rejects Howie on her
one night out (although she later sleeps with
the Rookie). Howie remarks that she should be
at home minding her brother (whom we later discover
is actually her child, but she was too embarrassed
to admit it).
The Rookie is
equally repulsive, but as played by the incredibly
charismatic John O'Callaghan (who premiered
Connor McPherson's monologue Rum and Vodka
in the US a few years ago), it is easy to see
why the ladies are so attracted to him. Despite
his foul mouth and despicable intentions, you
find yourself rooting for him to evade another
beating. Although he may not deserve a pummeling
for killing the fishes, he certainly has it
coming on behalf of the women he has so heinously
abused. O'Callaghan is that rare actor who seems
ten feet tall on stage; his sublimely talented,
effervescent performance is reason enough to
see the show. Howie the Rookie is definitely
one of the best performances I have seen in
a long time.
$40/$45 and are available by calling 212.868.4444
or visiting www.smarttix.com
Irish Arts Center |553
W 51st St
(Between 10th and 11th Avenues)
The York's Theatre Company's
The Musical of Musicals - The Musical!
The New Dodger Stages
Reviewed by Wendy
of Musicals - The Musical! is a hysterically
funny musical satire depicting a simple story, about
an ingénue who cannot pay her rent, told
in the style of five musical comedy greats: Rodgers
and Hammerstein (Corn); Stephen Sondheim
(A Little Complex); Jerry Herman (Dear
Abby); Andrew Lloyd Webber (Aspects of
Juanita); and Kander and Ebb (Speakeasy).
All of this fun was written by Eric Rockwell (Music
and Co-Writer Book) and Joanne Bogart (Lyrics and
Co-Writer Book), who also appear in the show. The
very talented Pamela Hunt is both director and choreographer
of the show.
The show works on many levels. First there is a marvelous cast: Lovette George (the ingénue who can't pay her rent); Craig Fols (the slightly foolish hero who will pay her rent); Joanne Bogart (the wise older woman); and Eric Rockwell (the villain/piano player). They all have great voices and to-the-nanosecond comic timing. They were also great fun to look at. Their costumes were simple, variations on black cabaret-type attire, but their faces were amazing. Lovette George, in particular, could give Jim Carrey a run for his money in a "Who's got the best rubber face?" competition.
Then there are the jokes - total howlers for audience
members familiar with the various composers, but
still funny enough to elicit a laugh from a musical
comedy novice. After I saw the show I was
talking about it with a relative who has performed
in musical comedies since she was a child.
I told her she had to see it, because she would
probably like it even more than I did because she
would get some of the more obscure musical comedy
references. She then asked me if her six-year-old
daughter would like it. I thought for a moment
and said, "Yes, she would. She would not get
the insider jokes, but the performers are so funny
and the musical numbers are so wonderful that she
would like it anyway." But before you make
reservations for a first grade class, let me add
one caveat: I know this kid and she adored
Phantom and Little Shop.
All the different
segments work. The show starts with a dead-on
send up of Rodgers and Hammerstein set amid the
corn fields of August, then moves on to a cynically
twisted scene set in an apartment house in the dark
world of Sondheim. Next it was time to idolize-a-diva
in the Jerry Herman scene. I have seen many middle-aged
community theater divas ham it up as Mame, so those
jokes killed me. A total Phantom junkie,
I loved the Andrew Lloyd Webber piece. The night
I attended, when it was time for the Webber piece,
someone in the audience groaned and said, "He deserves
to be skewered." But they sure did laugh during
the scene and all the Webberesque songs were beautiful.
The show ends with a very witty Kander and Ebb segment,
with the final bits sung in many different languages.
Life is so very Cabaret!
The York Theater
has an excellent road show on their hands.
Musical has a simple set and most of the
music is supplied by an onstage piano. This
show could easily be performed in a large cabaret
space. Throughout the country there are people
who cut their theatrical teeth on musicals, and
they will be a perfect audience for this show.
I only hope that if it tours, it tours with this
Reviewers note: I
saw this show last July at the York Theater and
wrote the review at that time. I saw it again on
opening night February 10th and it was even more
fun than the first time.
Tickets are $55 and
$59.50 (Friday and Saturday evenings) and are available
through Telecharge at (212) 239-6200 or at the Dodger
Stages Box Office. For information visit www.musicalofmusicals.com.
Stages, Stage Five |340 W 50th St
New Extended Schedule -
Monday - Saturday @ 7:00 p.m.
Reviewed on May 29, 2005 by Frank
It is said that art flourishes
in ultraconservative times (that is before fascism
takes over and censorship thrives). One can argue
that we in the US are currently living in perilous
political times where the far right has a stranglehold
on free expression and our government appears to
want to dictate what we can and cannot say and think.
Master scribe A.R. Gurney’s
new work titled Screen Play brilliantly
satirizes the current American sociopolitical climate
while astutely theorizing about where we are headed
if we aren’t careful.
Set in 2015, the stage play is
presented as a dangerously subversive screenplay
Borrowing heavily from the Oscar-winning
classic Casablanca (made in 1942 when fascism
and Nazism were threatening the world), Screen
Play shows us a future fraught with wars, economic
frenzy and the dominance of the religious right.
Instead of Casablanca, we find
ourselves in Buffalo, NY, a waystation for many
Americans who feel the need to flee the US in order
to hold onto their eroding freedoms. The US has
become uber-conservative after the Bush/Gore election
of 2000. The rest of the plot mirrors the Humphrey
Bogart/Ingrid Bergman film, adding its own modern
A screenplay reading doesn’t
normally make for electrifying theatre, but in the
capable hands of the Flea Theatre and director Jim
Simpson, the play breezes by, provoking laughter
and thought and ultimately leaving you longing for
more as well as pondering how precious our freedoms
In the hands of a lesser playwright,
this exercise in satire could have easily ended
up a toss-away Saturday Night Live skit
or a tired Naked Gun rip-off. Instead it
becomes a profound comment on free speech and the
need for the protection of ideas in our time.
The ensemble is uniformly excellent.
Drew Hildebrand is solidly stoic,
yet playfully vulnerable as the Bogie character,
Nick, who was left at the airport by Sally (a spunky
Meredith Holzman) on the eve of the Gore/Bush debacle.
Brian Morvant dives into the thankless
task of reading most of the scene descriptions and
does so with great comic flair and vigor. He also
perfectly embodies the ideals of the Paul Henreid
character, Walter Wellman, a former Republican,turned
radical left polemicist.
The fundamentalist Christian right
and the hypocrisy they represent is masterfully
sent up by John Fico as Senator Patch--a funny,
frightening, appalling creature with a hilarious
In a clever gender-spin, the "play
it again" pianist is a female named Myrna played
by a charming and sexy Raushanah Simmons.
Derrick Edwards does a fine job
as Charley as does Kevin T. Moore in a variety of
roles--including a hilarious Peter Lorre-esque creation.
As with Gurney’s Love
Letters several years ago, one can easily see
Screen Play performed all over the country
with different casts, each adding their own spin
to the work. Imagine Tim Robbins and Susan Sarandon
as the ill-fated lovers; Johnny Depp as the liberal
speechmaker; Toby Keith as the conservative Senator
and Whoopi Goldberg as the sassy pianist...
For now, though, the Flea cast
members, known as the Bats, are more than capable.
Political satire has never been this much fun!
Tickets $20. www.theatermania.com
Flea Theater 41
This is a Play
Never Swim Alone
The Run is Over
by The Bridge Theatre Company Production; Directed
by: Jason Fraser
Reviewed by Troy Tolley
I don’t know if I have a new favorite director,
or a new favorite playwright, but whichever (or
both) is the case, I was so blown away by both of
these plays it has become a priority of mine to
This is a Play takes
you by surprise by having each actor choreographed
and presenting their characters as if they are fully
engrossed in the play, but instead, exposing you
to their inner thoughts, feelings, judgments, and
distractions as these become the actual dialogue.
Brilliantly, comically portrayed, each character
not only reveals themselves internally, but simultaneously,
self-consciously (or smugly) describes exactly the
tone, stance, and motivation that is required of
that particular exchange or scene of the character.
This is somehow accomplished while completely and
clearly unfolding the actual play, which ends up
being secondary, even as it is engrossing.
The brilliant and perfect cast
(and I do not exaggerate) consisted of
Esther Barlow, Lori Jane Jefferson, and Robin Mervin,
each contributing to the multi-layered play as we
jump from mystery, to commentary, to satire and
back with whiplash speed and with such humor that
you may find yourself snorting out a laugh beyond
Never Swim Alone continues
the genius that is Daniel MacIvor and/or Jason Fraser.
The play exists within an encapsulated and surreal
exploration of two life-long boys-to-men friends,
finding themselves in an inescapable state of competitiveness,
perpetuated by a beautiful young woman acting as
referee. As the two businessmen/boys begin their
playful rivalry, each engages the audience in pleas
for his case concerning why he is better than the
other. Eventually, this playfulness turns quite
sinister and even deadly as the struggle moves from
one round to another, from tests of masculinity
into raw exposure of the broken, wounded, and dark
places within each man. Although the battle may
have been prompted by the superficial, in the end,
even the audience finds a very disconcerting connection
to the spectrum ranging from arrogant, but lonely,
top-dog to bleeding, but genuine, underdog.
The exceptionally convincing cast
consisted of Amos Crawley, whose credits boast roles
in both Sophia Coppola’s The Virgin Suicides,
and Billy Madison with Adam Sandler; Dustin
Olson; and Jennifer Laine Williams. Both Amos and
Dustin were outstanding in their portrayals of the
EveryMan existing within the confines of modern
society’s contrived personalities, while really
only barely existing outside of the desperate, constant
approval of some outside force. Their absolute submersion
into character made their quick disintegration of
personality quite frightening and painful to watch.
Jennifer Laine Williams carried out her character
as the catalyst for the battle, while at once being
its judge and jury. Her gorgeousness and stone-faced
critique of each man as he fought for his position
was a powerful irony, emphasizing the utter importance
and irrelevance of her position between the two.
She stood as the epitome of the worst of EveryWoman
in relation to the worst of EveryMan: powerful,
guiding, manipulative, exploitive, and ultimately
Stephen Dolginoff 's
Thrill Me: The Leopold & Loeb Story
Monday - Saturday @ 8:00 p.m.
Wed & Sat @ 2:30 p.m.
Now extended until July 10th
A dark psychological
story about obsession and the sexiness of evil.
Starring: Doug Kreeger as Richard Loeb; Matt Bauer
as Nathan Leopold
Reviewed by Wendy R. Williams
“Relationships can be murder,” is the
tag line the York Theater is using to market their
new musical, Thrill Me: The Leopold & Loeb
Story. And it is a truly murderous relationship
being depicted in this musical - the relationship
of the infamous Nathan Leopold and Richard Loeb.
Most of the people who read this review will be
too young to know about Leopold and Loeb. Those
murderous boys were the OJ or Scott Peterson of
my mother’s generation - the bogey men who
scared her at night and the reason her own mother
warned her to never talk to strangers or she would
end up like little Bobby Frank. Yes, little Bobby
Frank, the little boy who died for no reason at
all except to supply a thrill to two privileged
University of Chicago students who killed little
him just for the fun of it.
The York Theater’s Thrill Me takes
the audience to a very dark place. The kind of place
you go to and afterwards you need a bath. And you
go willingly, holding onto the arm of your chair
as you fall into the sick relationship between these
two young men, a relationship of domination and
compulsion between the masterfully evil Richard
and his equally evil and willing slave, Nathan.
And as you fall you get shivers down your back from
the line, “Thrill me, babe!”
The York Theater’s production is spare, set
on a black stage with very little in the way of
setting. A piano is the only musical instrument
used to play the haunting and beautiful score. (But
it is a piano being played superbly by the very
talented Eugene Gwozdz, recently of Fort Worth’s
Casa Manana.) But the minimalism works by forcing
the audience’s focus on the sickness of the
relationship between the two men, and also on the
beauty of the sung score. So Bravo to the York Theatre
for pulling another one out of their hat. Congratulations
to Director Michael Rupert and congratulations also
to Jim Kierstead, the Associate Producer who shepherded
this show from the Midtown Theater Festival to the
Update: I just got an email from David McCoy, the
Executive Director of the York Theater. "Also
exciting is that the author (Stephen Dolginoff)
is now playing the role of Nathan. He is doing a
fine job ... adds a different dimension. What a
Playwright and Composer
AKA The Thriller
Tickets are $55. www.smarttix.com
York Theatre Company's
York Theatre Company at
St. Peters |619 Lexington Ave