Posted in aging, comedy about a serious subject, comedy-drama, dysfunction, family, family comedy drama, family drama, mothers and sons, new dramatists, new work, Playwrights Horizons, serious comedy, spendthrift


The TreasurerSeptember 06, 2017 – October 22, 2017 Peter Jay Sharp Theater Written by Max Posner Directed by David Cromer
Pun Bandhu & Peter Friedman in a scene from The Treasurer. Photo © Joan Marcus. Note the modern industrial sets by Laura Jellinek.

Family often cuts to the heart of who we are.

Relationships that can be kind can also be cruel, as we find in Max Posner’s The Treasurer, at Playwrights Horizons through October 22nd extended to November 5th, under David Cromer’s direction, a comedy about family, aging, guilt and dying.

Caring for an aging parent who abandoned him when he was 13 is a huge and unwelcome responsibility for The Son (Peter Friedman).

His mother sees it differently. Her version is less dramatic. “Everybody gets divorced,” Ida Armstrong (the wonderful Deanna Dunagan) tells Ronette, (Marinda Anderson) a shop clerk at Talbot’s.

The TreasurerSeptember 06, 2017 – October 22, 2017 Peter Jay Sharp Theater Written by Max Posner Directed by David Cromer
Deanna Dunagan & Marinda Anderson. Photo © Joan Marcus

Ida’s charm is seductive. Her conversations, like her exchange with Julian (Pun Bandhu), a young man she memory-dials, make promises which are then also abandoned. Profligacy has left Ida penniless and dependent on the charity of The Son and his brothers, Allen and Jeremy (Marinda Anderson and Pun Bandhu on the phone). Her continued spending evades The Son’s best efforts as the titular “Treasurer” and leaves him frustrated. Friedman’s narrative is delivered with a nonchalant grace.

The Treasurer could have gone in any number of directions, but Posner’s play goes on its surreal path in an unexpected if foreshadowed course. The result, or rather, the conclusion, is not fully satisfying.

For more information and tickets, please visit the @PHnyc website.

Posted in Mazzini Dance Collective, mothers and sons, Paul Taylor Dance Company

Premieres and more at MDC’s Debut New York Season

Often it seems that defying gravity is how we define dance. Hold your breath as dancers twirl in impossible contortions before you. Catch your breath as they move gracefully and effortlessly through air and space, sometimes telling a story, sometimes just rejoicing in movement.

Annmaria Mazzini, a former Paul Taylor Dance Company dancer, and Artistic Director of The Mazzini Dance Collective rejoices in dancemmaking as story telling.

The Mazzini Dance Collective (MDC) holds its two-day only debut New York season on September 6th and 7th at The Ailey Citigroup Theater in The Joan Weill Center for Dance.

MDC was formed to be a collaborative between artists across visual and performing arts media. MDC is an inter- disciplinary, multi-generational troupe, integrating the arts of film, music and design.  At MDC, young dancers are inspired by veterans to reach new levels of excellence in technique, performance and choreography.

On the bill in this inaugural season are the work of MDC Composer-in-Residence Robert Paterson, members of the American Modern Ensemble, Orion Duckstein, and Francisco Graciano, appearing courtesy of the Paul Taylor Dance Company.

Several premieres will be presented during the two days of programming. They include “Playing with Angels,” a reflection on the relationship between mothers and sons, choreographed by Annmaria Mazzini with music by Robert Paterson, with the score performed live by members of American Modern Ensemble: Billy Hestand on bassoon, Billy Short on bassoon, and Bryan Wagorn on piano. “When We Rise” is a premiere of a piece choreographed by longtime MDC collaborator Orion Duckstein with music by Zoe Keating and performed by Mr. Duckstein and Annmaria Mazzini. Another new Mazzini creation, “Criminal Commoners,” set to music by the Yeah Yeah Yeahs, St. Vincent, Phantogram, Cold War Kids, Pulp, and Goldfrapp, and an original piece by Damian Eckstein,  features guest artist Francisco Graciano.

For additional information, and a full list of programming,  please visit