Bringing the Rest of the World to New York, One Festival at a Time

Like it or not, there’s only one month left until school. But before you get ready to hit the books, enjoy cheap summer theater during the height the festival season. While you’ve certainly heard about the Fringe, the Midtown International Theater Festival (MITF) may have slipped under your radar. In its ninth year, though, MITF boasts over 50 productions, featuring award winning comedies, musicals, and dramas from all over the world. Spectator caught up with Executive Producer John Chatterton and had the opportunity to ask him some questions about this year’s selections. Following the Q&A, see our pick of MITF shows for this weekend.
—Laura Hedli and Anna Weinstein

SPECTATOR: This is the ninth year of the Midtown International Theater Festival. How does the festival today compare to the first MITF?

JOHN CHATTERTON: The first year we had about 19 plays and hoped to sell maybe 4,000 tickets in four venues. We sold about 2,500. This year we have 60 plays and expect to sell about 9,000 tickets in seven venues. The plays tended to be rough and ready the first year; this year the work is much more polished overall. (So are the venues.) So overall, we've grown in quality and quantity.

SPEC: Why do you think it's important for a New York audience to be exposed to international theater?

JC: Possibly the most outstanding play this year is an English entry, Intimate Exchanges, with two actors playing four parts. I didn't realize there were only two actors until I read the program afterwards. I recommend it highly. There are also a bunch of other interesting and exciting plays.

SPEC: How are participants of the festival chosen? What's the process like?

JC: We have several artistic directors, who select the scripts they like—plays, musicals, commercial shows, and international shows. Then our managing producer, Emileena Pedigo, looks at the entries from the point of view of their producibility in our venues. Finally, I look the proposals over from the point of view of whether they'll sell tickets. Shows that pass all three tests get invited into the Festival.

SPEC: Is there a certain theme or concept that links the chosen shows together?

JC: The vast majority are of very recent vintage, often never produced before. But we don't limit shows to originals only. This year someone did A Shot in the Dark, and someone else did three Chekhov one-acts, both of which were excellent programs and did well at the box office.

SPEC: In your opinion, what characteristics distinguish a "show" from a worthwhile piece of theater?

JC: I make no distinction. I love the commercial theater, show business. Theater is driven by the greed of the producer. Even non-profit theaters crave the blessing of their subscribers, though they crave even more the blessing of grants. Anyone who says otherwise hasn't produced theater and should probably restrict their intake of theater to what they can get from books. Of course, there are subsidized theater and opera. Even these ultimately depend on the favor of their audiences, though in Europe they are protected by the state. Whether this situation makes them better than American theater remains to be seen. Directors certainly have more freedom from the demands of producers.

SPEC: How do you think international theater may influence the New York theater scene or New York culture in general?

JC: It's refreshing to get a different cultural slant. I'd like to expose New Yorkers not only to more British and European theater but also Asian forms of expression. Maybe next year.

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It’s actually possible to squeeze in four MITF shows this weekend. Student tickets are $15 each. Here’s your itinerary, but for more information about other MITF shows visit the MITF website at www.midtownfestival.org.

Of course summers in the Ivy League wouldn’t be complete without Interning, but would anyone actually pay to watch you use the copier? In this dark comedy playing Saturday 5:45 PM at Where Eagles Dare (347 W. 36th St., Ground Floor), four interns are competing for the title of America’s Next Top Event Planner. If only!

Playing at the Dorothy Strelsin Theatre (312 West 36th Street, first floor), Natalie is about a college-grad who discovers that life is not just a check list of experiences. It sucks to grow up, but the journey begins Saturday 8:45 PM.

Get a closer look at the Capitol’s most infamous infidelity Sunday 2 PM at the Workshop Theater Company’s Main Stage (312 W. 36th St., 4th Floor). And if you order tickets to Hillary & Monica: The Winter of Her Discontent using the promotional code HILSBILL, you can even help pay off Hill’s steep campaign tab. It’s a win, win situation—well almost.

Finally, taking a page from his predecessors Seinfeld and Spalding Gray, Charles Gross chronicles his tales from the big city. With a title that sounds a bit reminiscent of a certain 1961 musical, How I Found an Affordable Apartment on the Upper West Side of Manhattan without Really Trying begins Sunday 7 PM at Stage Left Studio (438 W. 37th St., Suite 5A).

Interview conducted by Anna Weinstein. Summer picks compiled and written by Laura Hedli.