Anne Hamilton/Hamilton Dramaturgy

UNHEARD VOICES, A New Monologue Play with Music

One Performance Only!

With New Monologues about or in the Voices of Children

ASP commissioned African American writers to examine the 419 graves of the anonymous men, women and children who lived in colonial New York and are buried at the African Burial Ground.

The writers imagined their lives. These are their…Unheard Voices, a monologue play with music

Conceived by Judy Tate

Written by the ASP Writers’ Collective

Directed by Melissa Maxwell

Monday, October 21st, 7pm

170 Central Park West @ 77th St., NYC

Click Here for $10.00 Tickets

Free For Educators and Students!

RSVP to: or call (212) 485-9293

Featuring: Lynnette Freeman, Larry Floyd, Melissa Murray-Mutch, Devin Haqq

Original vocals by Aramide Ferguson and Percussion by Baba Don Eaton

Featuring writing by:Keith Josef Adkins, Dennis Allen II, Joshua Allen, Cassandra Medley, Dominique Morisseau,  Harrison Rivers, Judy Tate, Alexander Thomas and Cori Thomas

For more info visit the website:

The American Slavery Project is a fiscally-sponsored project of the Vera Institute of Justice.

A Rave Review for George Marcy’s Cabaret Show published a wonderful review by Stephen Hanks of George Marcy’s I WISH I WERE TWINS. Read the article here:

George Marcy -  I WISH I WERE TWINS

At 86, Broadway Veteran GEORGE MARCY Sings and Taps His Way Into Hearts At Don’t Tell Mama

by Stephen Hanks, October 2, 2013

Cabaret Reviews and Commentary by Stephen Hanks

Now that the legendary Elaine Stritch and Julie Wilson have retired from performing, the only celebrity 80-plusers who are still regulars on the cabaret circuit are the equally legendary Barbara Cook and Marilyn Maye. But now there’s another octogenarian on the scene and while he may not be a legend, George Marcy is an 86-year-old former Broadway musical theater actor/dancer who recently staged a totally charming and entertaining show at Don’t Tell Mama.

Marcy was the understudy to Ken LeRoy in the role of “Bernardo”–opposite Chita Rivera’s “Anita”–in the original Broadway production of West Side Story in 1957 and subsequently played in more than 850 performances between Broadway and various out-of-town productions. Marcy also appeared in the original Broadway productions of Damn Yankees (1955), Carnival! (1961), Billy (1969), and played Conrad Birdie in out-of-town productions of Bye, Bye, Birdie (1967).

Marcy certainly didn’t seem 86, let alone over 40, during the second night of his recent show I Wish I Were Twins at Don’t Tell Mama (September 23 and 29). Wonderfully and sensitively directed by his close friend Carol Lawrence, West Side Story’s original “Maria,” Marcy bounded onto the stage wearing a black vest and red hat and opened with the up-tempo Lee Adams/Charles Strouse song “Stick Around,” from the 1964 musical Golden Boy and set the tone for the evening: “Stick around, things are gonna happen . . . Fireworks, stick around and see . . .” Fireworks? This veteran hoofer performed as if he was shot out of a cannon, producing the energy and spirit of a man, well, 60 years younger. “I’m 86 and I don’t need a walker,” Marcy proudly proclaimed and then proceeded to prove it by tapping his way through Johnny Mercer and Harry Warren’s “I Wanna Be a Dancin’ Man.”

There probably isn’t a more honest and heartfelt reading of Herbert Kretzmer’s lyric of the Charles Aznavour ballad “Yesterday When I Was Young” then when it comes from someone with almost a century of life experience and Marcy’s take on the song was the ideal mix of emotion laced with tenderness. He then donned a black sequin jacket and black top hat and returned to Fred Astaire mode, showing off his still finely tuned rhythmic sense on Irving Berlin’s “Putting On The Ritz,” with a little bit of Cole Porter’s “Too Darn Hot” tacked on for good measure. Another hat change came–purple this time–for Leonard Cohen’s “I’m Your Man,” with Marcy’s Musical Director/Pianist Christine Sutin (who did a fine job throughout, as did Boots Maleson on bass and Aaron Russell on drums) leading him on a lounge lizardy arrangement that Marcy pulled off with a solid rendition of Cohen’s seductive lyrics.

It would be a total upset if someone of Marcy’s background didn’t nail Stephen Sondheim’s “Broadway Baby” and the old trooper came through, knocking it out of the park with energy to spare. Marcy and Lawrence made a savvy choice having the performer speak-sing the lyric to “I Understand,” turning it into a number of wistfulness and longing. But that was nothing compared to the emotional reaction Marcy engendered as he dramatically alternated from singing to talking on Charles Aznavour’s transgender soliloquy “What Makes a Man a Man.”

Marcy showed off remarkable endurance and resilience for a man his age with a finale on the up-tempo “Happy Ending,” the Danny Kaye number from the 1951 film On The Riviera. “Performing is what I have to do to feel alive,” Marcy told a supportive audience, before offering a heartfelt version of Peter Allen’s “Once Before I Go.” And what could be more self-revealing than an 86-year-old Broadway musical theater warhorse still spry enough to tap dance around a stage singing this lyric: Once before I go, I want you to know . . . That I would do it all again . . . I’m sure I’d make the same mistakes . . . But I could make it through, the pains and joys and aches . . . I knew back then, I’d do it all . . . I’d do it all again

Something tells me that before he goes, George Marcy will be doing it all again, not once but many times. Keep on tappin’, George.

© 2013 Copyright Wisdom Digital Media. All Rights reserved.


SoHo Rep in NYC has announced its fifth season of FEED, an outstanding series of educational and cultural events, in conjunction with its upcoming production of David Adjmi’s MARIE ANTOINETTE. Under the direction of Literary & Humanities Manager Raphael Martin, the series offers, “thematic live events, multimedia and publications that give you something to chew on before and after the show.” I feel that this is an exemplary series, and a terrific example for other dramaturgs to follow. Martin will lead a creative team talk with Adjmi and the director Rebecca Taichman directly after the performance on October 15th.

Other events include: A private tour of the ‘Artists and Amateurs’ at The Met Museum; a one-woman play called THE LETTERS OF MARIE ANTOINETTE at the French Institute -Alliance Francais; a discussion between Todd London, Marcus Gardley and Emily entitled, “What is a History Play?”; a writing workshop by Adjmi on “How to Grow a New Play”; and a lecture on French interior design by NYU’s Professor of Art History Meredith Martin.


October 15, 2013
Begins directly after the production. Free.

David Adjmi and Rebecca Taichman

Director Rebecca Taichman and playwright David Adjmi

Join playwright David Adjmi and director Rebecca Taichman as they speak about this new production of MARIE ANTOINETTE. What have they learned from working on the play in three very different settings? What has the job of re-envisioning been like for them? What is the history of their collaboration? In conversation with Literary & Humanities Manager Raphael Martin.

Anne Hamilton Resigns from America-In-Play

Regretfully, due to many uncertainties regarding the projects I would be involved in, as well as my current growing professional commitments and obligations, I have turned in my resignation as Senior Dramaturg of America-in-Play.  I am sending many good wishes to the company in all of its endeavors.