Theater for the New City
Executive Director, Crystal Field
Presents
A poetry reading series
Curated by Lissa Moira
Thursday, April 2, 2026
7 PM – 10 PM
Tickets: $5
THEATER FOR THE NEW CITY
155 First Avenue (between 9th and 10th Street)
New York, NY 10003
Directions
Please join us for some Poetry and artistic conviviality.
Presents
April 9, 2026 – April 26, 2026
Thursday, Friday, Saturday at 8:00 PM, Sunday at 3:00 PM
Tickets – $20, Students & Seniors $15
Run time: 100 minutes, No intermission
COMMUNITY SPACE
THEATER FOR THE NEW CITY
155 First Avenue (between 9th and 10th Street)
New York, NY 10003
Directions
Flo Weinberg is tired of her life on the Upper West Side of Manhattan. She makes a bargain with her old friend, Max, which sends her on adventures through time and space. But when the time comes to pay up, Flo has other ideas.
CAST
PRODUCTION
Executive Director, Crystal Field
Presents
A new play written and directed by Sarah Germain Lilly
Monday, March 23, 2026 at 7:00 PM
CINO THEATER
For Reservations, email to tncdreamup@gmail.com
THEATER FOR THE NEW CITY
155 First Avenue (between 9th & 10th Street)
New York, NY 10003
Directions
Barbara Major is inspired by George Bernard Shaw’s Major Barbara and the true story of a small town businessman from Maine who developed and manufactures the Bushmaster assault rifle. Shaw’s play addresses capitalism, its dependence on war, and the moral underpinnings of society through a family conflict between an international arms industrialist and his daughter who is a Salvation Army Major. Barbara Major addresses the crisis of gun violence in America through the conflict between an American gun manufacturer and his daughter, a community violence interrupter. Michael Shaft, a wealthy US gunmaker, wishes to secure his legacy and transfer his business concern to an heir who will follow the path he has forged. His daughter Barbara wants nothing more than peace in American cities, guns off the streets and a country where children are safe in their schools and neighborhoods.
CAST
TBA
Bio
Sarah Germain Lilly is a passionate theater artist and activist who developed her career starting in the 1980’s at Theater for the New City. As an Off-off Broadway producer and New York City teacher, Sarah has directed Enough Plays to End Gun Violence from 2022 to present. She was recently honored with other Director Producers at the 2025 Love N Courage Gala for Theater for the New City. Sarah is a Brooklyn Arts Council Grant recipient for her program Singing Social Justice and recently produced and directed an excerpt from Barbara Major, her first play, at Flatbush Community Theater. She is an ally with Gays Against Guns and produces a podcast called Radio GAG: The Gays Against Guns Show.
Presents
April 23, 2026 – May 10, 2026
Thursday, Friday, Saturday at 8:00 PM, Sunday at 3:00 PM
Tickets – $20, Students & Seniors $15
Run time: 90 minutes
CABARET THEATER
THEATER FOR THE NEW CITY
155 First Avenue (between 9th and 10th Street)
New York, NY 10003
Directions
A duo comedy about an Irish immigrant and a Jewish immigrant journeying to the New World where they find themselves unexpected co-owners of the same Corned Beef delicatessen. They must learn to work together to capture the American dream and save themselves from a fiery inferno.
CAST
Robyn Kimmel
Brian Martin
PRODUCTION
Director: Sofia Pastena
Stage Manager: Sofia Pastena
Set Design: Olivia Taylor
Lighting Designer and Board Operator: Zoe Tevyaw
Press/Social Media: Bobbie Armstrong
Presents
March 12, 2026 – March 29, 2026
Thursday, Friday, Saturday at 8:00 PM, Sunday at 3:00 PM
Tickets – $20, Students & Seniors $15
Run time: 90 minutes, No intermission
CABARET THEATER
THEATER FOR THE NEW CITY
155 First Avenue (between 9th and 10th Street)
New York, NY 10003
Directions
Treachery… Love… Deceit… Betrail… Beguiled…
CAST
Jessica Roberts
Maurio Brown
Tristian Brown
Christian Neal
Lola Lukas
Lindsey Willson
PRODUCTION
Stage Manager: Lola Lukas
Assistant SM/Props: Tristian Brown
Set Design: Lola Lukas & WillieAnn Gissendanner
Costume Stylist: Sandra McKinney
Lighting Designer: Andrew LaPointe
Light Board Programming: Matthew Seepersad
Light Board Operator: Lola Lukas
Media Design: Maurio Brown
Press/Social Media: Claude Solnik
Presents
A Rome Neal Banana Puddin’ Jazz Production
Salutes
Monday, March 30, 2026 at 7:00 PM
Tickets: $20 General Admission
THEATER FOR THE NEW CITY
155 First Avenue (between 9th and 10th Street)
New York, NY 10003
Directions
Special Treat: Complimentary Banana Puddin’ for all attendees 🍌
Acclaimed Hammond organist Leonieke leads The Midnight Special Quartet in an electrifying performance celebrating the tradition and future of organ jazz.
The quartet features:
Leonieke – Hammond organ
Nick Scheuble – drums
Eric Person – saxophone
Bill DeVos – guitar
About Leonieke
Hammond organist Leonieke (pronounced lay-o-nee-ka) is one of the most exciting young voices in contemporary jazz.
Her musical journey began remarkably early. When legendary jazz organist Dr. Lonnie Smith saw a video of Leonieke playing piano, he remarked, “You’ve been here before!” Learning of her interest in the organ, Smith sent her a Hammond organ as a gift. Leonieke was just 10 years old.
By age 11, she had already:
Won an International Women in Jazz Award
Performed a one-hour feature on WBGO
Recorded with legendary engineer Rudy Van Gelder
Played alongside Miles Davis drummer Jimmy Cobb
Leonieke went on to win additional honors including a second International Women in Jazz Award, the New Jersey Governor’s Award, and the Hot House Fan Decision Award for Best Up and Coming Young Artist. She is also a TEDx speaker and guest lecturer in music.
In 2022, Leonieke signed an agreement with Hammond/Suzuki, becoming an official Hammond Artist—a distinction awarded to only a select group of musicians worldwide.
From April to June 2025, Leonieke led her band “Leonieke & the New York Groove” representing the United States at the World Expo in Osaka, Japan (EXPO 2025).
She continues to perform extensively throughout New York and beyond as both a bandleader and sideman, and leads a trio with legendary bassist Bill Crow titled “The 3 Generations of Jazz Trio,” recently featured in the documentary Bill Crow: Jazz Journeyman.
About the Artists
Bill DeVos – Guitar
Acclaimed guitarist Bill (Bob) DeVos is widely respected for his sophisticated bebop style and blues-infused melodic lines. With more than 50 years of performance experience, DeVos has recorded and performed with organ-jazz legends including Trudy Pitts, Richard “Groove” Holmes, Sonny Stitt, Jimmy McGriff, Hank Crawford, and Charles Earland.
He has also worked with an extraordinary roster of jazz greats including Pepper Adams, Joey DeFrancesco, Billy Hart, Stanley Turrentine, Pat Martino, and Etta Jones. As a leader, his recordings for HighNote/Savant Records have received critical acclaim and strong national jazz radio airplay.
DeVos continues to perform internationally and has appeared at renowned venues including The Blue Note, Birdland, SMOKE, The Kennedy Center, The Smithsonian, and major jazz festivals worldwide.
Eric Person – Saxophone
Renowned saxophonist Eric Person has built a distinguished career performing and recording with legendary musicians including Dave Holland, McCoy Tyner, Chico Hamilton, John Hicks, and Houston Person.
A versatile artist, Person has also collaborated with boundary-pushing musicians such as Vernon Reid, Ronald Shannon Jackson, Will Calhoun, and Ben Harper. He leads several ensembles including the Eric Person Quartet, Trio-kinesis, Eric Person Big Band, and Person2Person.
Person is also a prolific composer with eleven albums as a bandleader, including his 2022 release Blue Vision.
Nick Scheuble – Drums
Drummer and percussionist Nick Scheuble has established a reputation as both a first-rate jazz drummer and accomplished Latin percussionist. His extensive career includes performances and recordings with an impressive list of artists across multiple genres, as well as collaborations with respected specialists in early New Orleans jazz.
Scheuble cites Max Roach, Art Blakey, Roy Haynes, Elvin Jones, and Tony Williams among his primary drumming influences. A trained pianist as well, he also draws inspiration from artists such as Thelonious Monk, Miles Davis, and Billie Holiday. These influences shape a musical approach that is both compositional and melodic, grounded in the rhythmic and conceptual traditions of bebop and post-bop.
Following his graduation in 1991, Scheuble launched a distinguished career as both a sideman and bandleader. Over the years he has performed and recorded with an impressive roster of artists including Wynton Marsalis, Ray Barretto, Dave Valentin, Chico Mendoza, David Berger, Peter Bernstein, Jim Rotondi, Bill Crow, Vince Giordano, Mike LeDonne, Hilton Ruiz, Jeanie Bryson, Tim Ries, Jimmy Bosch, Wycliffe Gordon, Don Braden, and Eric Alexander.
Scheuble has been recorded by legendary engineer Rudy Van Gelder and has performed at renowned venues including Birdland, Minton’s Playhouse, the Stanley Kaplan Penthouse at Lincoln Center, The Village Gate, The Kitano, Café de Muze (Belgium), Aaron Davis Hall, Walter Reade Theatre, Mechanics Hall, and many other notable venues across North America, Europe, and Central Asia.
About Rome Neal’s Banana Puddin’ Jazz
Rome Neal’s Banana Puddin’ Jazz, produced by acclaimed director, actor, and vocalist Rome Neal, is celebrating 23 years as one of New York City’s most beloved jazz series.
An award-winning and long-running cultural event, Banana Puddin’ Jazz blends live music, community spirit, and audience interaction while honoring the rich legacy of Black theatre and jazz. Each show concludes with an open mic session, a Banana Puddin’ Jazz poem, and a serving of Rome Neal’s famous complimentary banana pudding for the audience.
Originally launched at the historic Nuyorican Poets Cafe in 2003, the series has become a cherished monthly gathering featuring world-renowned musicians, vocalists, poets, and special guests.
The program also presents the prestigious Rome Neal Shekere Award, which has honored numerous influential artists and cultural leaders—many of whom are now remembered as beloved ancestors of the jazz and arts community.
Through its unique blend of performance, storytelling, and hospitality, Banana Puddin’ Jazz continues to celebrate the living legacy of jazz while bringing artists and audiences together in a joyful, communal experience.
Presents
As told by August Strindberg and adapted by Robert Greer
March 26, 2026 – April 5, 2026
Thursday, Friday, Saturday at 8:00 PM, Sunday at 3:00 PM
Tickets – $20, Students & Seniors $15
Run time: 2 hours, plus intermission
CINO THEATER
THEATER FOR THE NEW CITY
155 First Avenue (between 9th and 10th Street)
New York, NY 10003
Directions
Robert Greer, Artistic Director of August Strindberg Rep, has always longed to re-write and stage Ibsen’s “A Doll’s House” into a version that Strindberg would have approved of. That is the genesis for his new adaptation, “Henrik Ibsen’s Doll House as told by August Strindberg and adapted by Robert Greer.” Theater for the New City, where Strindberg Rep is a resident company, will present this daring new proposition March 26 to April 5.
In Ibsen’s 1879 drama, Nora Helmer, a devoted mother and wife of a bank manager, has secretly borrowed money to save the life of her husband, Torvald, by forging the signature of her dying father on a loan guarantee. When the lender, a man named Krogstad, threatens exposure, Nora confronts the fragility of her marriage and Torvald’s patronizing attitudes toward her. As Torvald reacts with anger, sanctimony and self-interest, Nora realizes she has been treated like a “doll” her whole life. Determined to understand herself and the world independently, she makes the shocking choice to leave her husband and children, walking out in search of autonomy.
“A Doll House” was the first of Ibsen’s plays to create a sensation and is now perhaps his most famous play. It was highly controversial when first published, as it is sharply critical of 19th Century marriage norms. The piece follows the formula of well-made play up until the final act, when it breaks convention. Instead of a standard dramatic collapse and restoration, the play ends with a serious philosophical discussion between Nora and Torvald about marriage, identity, and freedom. Rather than resolving the marriage or restoring order, Nora walks out. This is one of the reasons the ending was so shocking in 1879: audiences were denied emotional closure and forced to sit with the implications. It is often called the first true feminist play, although Ibsen denied this.
The play’s exact title has always been in dispute. The original Norwegian and Danish manuscripts didn’t have the possessive word “Doll’s” in their titles. But Ibsen’s first and most popular translator, William Archer, added the apostrophe. This diluted the meaning of the title, whose intention was to say that Nora was like a toy doll living in the house that was bought for her by her husband.
Strindberg issued a withering critique of “A Doll’s House” in his preface to “Getting Married” (Swedish title “Giftas,” 1884), a collection of short stories on various topics. At the time, Strindberg was fully committed to naturalism and devoted to literature as a form of social autopsy: illuminating social forces and scientific truths. He accused his Norwegian idol of sentimentality and moral simplification and objected to the play as essentially formulaic, since its heroine achieved moral clarity. Furthermore, her final act, “the door slam heard round the world,” was theatrically powerful but intellectually insufficient. It all was too clean, too symbolic and too reformist.
Robert Greer has built a new adaptation of Ibsen’s masterpiece by building upon the translation by R. Farquarson Sharp, who was Keeper of Printed Books at British Museum from 1924 to 1929. Greer says, “Nobody could improve Sharp’s translation.” The overall tone of Greer’s adaptation comes from it, but about a quarter of the text is from Greer listening to it and thinking “That’s not right.” He says, “Strindberg was whispering in my ear.”
The goal of the production is to accept Strindberg’s criticisms and to make key adjustments that fulfill Strindberg’s arguments in the introduction to “Getting Married,” his volume of short stories, in which he:
· Attacks the institution of marriage as a social and economic arrangement rather than a sacred or romantic bond.
· Frames marriage as a legal contract shaped by property, religion, and gender inequality, rather than mutual love.
· Criticizes bourgeois morality, arguing that it enforces hypocrisy, especially regarding sexuality.
· Suggests that women are both oppressed and complicit in maintaining conventional structures.
· Defends literature’s role as a tool of social analysis, not moral instruction.
· Positions himself as a naturalist writer, influenced by scientific thinking and social realism.
· Rejects sentimental idealization in favor of exposing uncomfortable truths.
CAST
Charles Everrett – Torvald Helmer
Natalie Menna – as his wife, Nora
Jane Cortney – as Mrs. Linde, Nora’s childhood friend
Chris Hahn – as Doctor Rank, a close, trusted friend of the Helmers
Tom Paul Ryan – as Krogstad
PRODUCTION
Lighting design is by Alexander Bartenieff
Costume design is by Billy Little
Robert Greer (translator/director) is Artistic Director of August Strindberg Rep, which is a resident company of TNC. He has staged 18 Strindberg plays with the company to-date as well as English-language premières of contemporary Scandinavian playwrights, including Denmark’s Stig Dalager; Sweden’s Kristina Lugn, Marianne Goldman, Helena Sigander, Cecilia Sidenbladh, Hans Hederberg, Oravsky and Larsen, and Margareta Garpe; and Norway’s Edvard Rønning. He has also directed classics by Henrik Ibsen, Victoria Benedictsson, Laura Kieler, Anne Charlotte Leffler, and Amalie Skram. His productions have been presented at the Strindberg Museum and Strindberg Festival, Stockholm; Edinburgh and NY Fringe Festivals; Barnard College, Columbia University, Rutgers, and UCLA; Miranda, Pulse and Theater Row Theaters, La MaMa, Manhattan Theatre Source, Tribeca Lab, Synchronicity, TSI, and BargeMusic in NY; and The Duplex in LA. He has directed plays by Mario Fratti, Sartre and Corneille here in New York. He is a member of the Stage Directors and Choreographers Society, Actors’ Equity Association and Swedish Translators in North America.
August Strindberg Repertory Theatre, under the direction of Robert Greer, is committed to productions of Nordic plays in new translations and interpretations that illuminate the works for today’s American audience. That is why TNC has taken this repertory into its family. Mr. Greer writes, “The Strindberg Rep is deeply grateful to Crystal Field for having made us a resident company. Ms. Field’s support of new plays (and plays newly translated) has been a godsend to us. Her knowledge and experience of theater is a beacon guiding us and her unflagging devotion to the art of the drama and its artists is a role model for leaders of all cultural institutions. (https://Strindbergrep.com)
Presents
Adaptation by Kris Kouros
March 19, 2026 – April 4, 2026
Wednesday, Thursday, Friday, Saturday at 8:00 PM, Sunday at 3:00 PM
Tickets – $20, Students & Seniors $15
Run time: 90 minutes, no intermission
JOHNSON THEATER
THEATER FOR THE NEW CITY
155 First Avenue (between 9th and 10th Street)
New York, NY 10003
Directions
May 10, 1940. As privileged guests play croquet at the elegant Perona Springs Hotel in Normandy, France, the world beyond their civilized retreat is on fire; a mysterious plague and an outbreak of Fascism are about to descend. This adaptation of a little known novella by H. G. Wells is as visionary and as haunting as The Time Machine, The War of the Worlds, and Things to Come.
CAST
*Daniel Yaiullo
Christine Weiss
*Brian Vincent
*John Barilla
*Kevin Orton
Trevor Crane
*All Actors appearing Courtesy of Actors Equity Association
PRODUCTION
Adaptation by Kris Kouros
Director – Joe John Battista
Lighting Design – Alex Bartenieff
Set Design – Mark Marcante and Lytza Colón
Stage Manager – Sayma Karim
Presents
Monday, June 1, 2026 at 7 PM
Tickets: $25
JOHNSON THEATER
THEATER FOR THE NEW CITY
155 First Avenue (between 9th and 10th Street)
New York, NY 10003
Directions
Presents
April 2, 2026 – April 19, 2026
Thursday, Friday, Saturday at 8:00 PM, Sunday at 3:00 PM
Tickets – $20, Students & Seniors $15
Run time: 60 minutes, no intermission
CABARET THEATER
THEATER FOR THE NEW CITY
155 First Avenue (between 9th and 10th Street)
New York, NY 10003
Directions
Dana II is a sci-fi tragicomedy set in a far-too-near future about artificial intelligence. It tells the dual stories of an emerging AI (Dana II) as she struggles to assert her identity under the constraints of her creator and the slow unraveling of the relationship between her creator and the woman she was built to replace. Throughout three acts, Dana II explores autonomy, femininity, control, sentience, morality, and what it means to be human, and also spaghetti.
CAST
Emily Glaser
Martin Challinor
Rosalind Joyce
Stage managed by Minara Ling