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Update 2017
  We're still here and working, but this work below let's call an archive for now. You see here seven productions over three years. Contact us to see what's going on now.
1999-2000 Season

By Tom Mullady; directed by David Millman and Filippo Anselmi; lighting by Mark Schuyler; set by Jeffrey Perren; stage manager, Emily Bruce; dedicated to Kent Gasser; with David Burke (Herbert), Sandra Turner (Shelly), David Millman (Edward), Claudia Day (Muriel), Julius Bremer (Dr. Blanchard), Geraldine McKeon (Diane).

October 27-November 7, 1999 at the Pulse Ensemble Theatre, New York City.
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White Lies.

By J.B. Miller; directed by David Millman; lighting by Thurston Reyes; production design by Allan Dennis; produced by Julius Bremer; stage manager, Emily Bruce; with David Burke (Merritt Tate), Caroline Strong (Avery Hill), Carolyn Popp (Renata Tate), Valerie Stodghill (Lucy Tate), Michael Ornstein (Paul Karrow).

A politician admits to abusing his daughter. But did it really happen, and if not why does he admit to it? "White Lies" explores the ambiguity of memory in a vortex of family, police, and a cult.

Reviewed in Backstage.
Reviewed in OOBR.
May 31-June 24, 2000 at the Chelsea Playhouse, New York City.
1998-99 Season
Five Women Waiting.
By Michel Wallerstein; directed by Maggie Lally; sets by Peter King; lighting by Jim Hultquist; costumes by Janet Sussman; sound design by Julius Bremer; casting by Stephanie Klapper, CSA; stage manager, Amy Sturm; with Mary Cushman (Miriam), Claudia Day (Eleni), Krista Hoeppner (Hanna), Kate Levy (Pola), Adrienne Thompson (Ingrid).

After World War II, Sweden took in thousands of concentration camp survivors to rehabilitate them and offer them a new life. Some chose to remain in Sweden, others to leave, either going back to their countries of origin or taking their chance in new promised lands.

November 4-22, 1998 at the Arclight Theatre, New York City.
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We Make A Wall.
By Gary Garrison; directed by David Burke; production stage manager, Emily Bruce; with Filippo Anselmi (Danny), Andrew Mersmann (Victor), Bruno Iannone (Benny), Gary Martins (Marty), Laura Yengo-Chillemi (Angie), Joanne DiMauro (Regina)

March 18-April 4, 1999 at the New York Performance Works, New York City.
1997-98 Season
Bobby Supreme.
By J.B. Miller; directed by David Millman; sets by Selma Abramowitz and Jeffrey Perren; lighting by Mark Schuyler; stage manager, Emily Bruce. With David Burke (Bobby), Joanne DiMauro (Angel), Julius Bremer (Douglas), Barry J. Hirsch (Riggs), Lisa Collins (Janet) and Lisa Anne Sclar (Brandy).

Bobby, a performer whose misogynistic, quasi-racist act moves from small clubs to sports arenas, has lost the original "ironic" intent of the show along the way. Angel, his past love and co-creator, tries to pull Bobby Sikowski back from the abyss he has created in Bobby Supreme. The deeper you dig, the more blurred his identity becomes. In Back Stage, the performing arts weekly, November 14, Dan Isaac called our Bobby Supreme "an exhilarating knockout production" and a "tour de force." The following spring, the play moved to the 29th Street Rep Theatre. Bobby Supreme has been published in the anthology New Playwrights: The Best Plays of 1998 (Smith & Kraus, 2000).
      Reviewed in Backstage.
      November 5-23, 1997 at the Arclight Theatre, New York City.
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Story by Filippo Anselmi; script by Anselmi and David Millman; directed by Millman; sets by Peter King; lighting by Mark Schuyler; sound by Dave Brewster; stage manager, Emily Bruce. With: Filippo Anselmi (Jerry), Bruno Iannone (Gus), Jim Sterling (Bob), Michael Griffiths (Tom), Jack Scott (Billy), David Burke (Hank), John-Anthony Cavanagh (Don), Lorianne Kujawa and Jessica Tregerman (Girl), Ray Trail (Man) and Steve Rhindress and Julius Bremer (Controllers).

TRACON is the Terminal Radar Approach Control—the high security air traffic control facility where each day 20,000 lives are artfully woven amidst a constellation of blips, where jets in transit are "handed off" and "picked up" by the airport control tower. Unlike the airport tower however, TRACON is a windowless structure—a submarine-like box where a handful of men and women sit engrossed in the green glare of their radar scopes, dispatching jets. The only way to handle a job like this is to make believe there are no jets, just blips. The object is to keep the blips apart . . . and to keep sane, to keep from "going down the pipes." On The New York Times Web Site for April 25, Peter Marks called TRACON "a well-made re-enactment" and "breathless." Dan Isaac in the May 8 Back Stage called it a "new, exciting knockout of a play . . . crackling performances from a cast of 12 fine actors" and that "TRACON is so compelling and convincing that anyone who sees it may never want to fly again."

Reviewed in The New York Times.
Federal Aviation Administration. And don't miss the cool stuff at the real live air traffic command center.

April 8-26, 1998 at the Arclight Theatre, New York City.
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By Filippo Anselmi; directed by Robert Haufrecht; sets by Peter King; lighting by Kristina Clark; stage manager, Emily Bruce. With Bruno Iannone (Frank), Robert Stevens (Charlie) and Anselmi (Man).

In the eighth floor lobby of the Marriot Marquis Hotel, Frank and Charlie are waiting for a phone call. Between them, on a coffee table, lies a briefcase with over $90,000 in cash: their life savings. Meanwhile, something has changed since Frank and Charlie first sat behind their mundane office desks. The ground beneath their feet is slowly chipping away; glass elevators and timed faucets are not just trivial gimmicks anymore. Their desperate need for each other becomes a question of trust. Are they both waiting for the same phone call, is one of them the object of a con, or are they both being conned?

July 8-19, 1998 at the Arclight Theatre, New York City.