Baba Goya
By Steve Tesich / Directed by Harris Yulin

With Patrick Breen, David Clarke, Ron Faber, Martha Gehman, Irving Metzman, Estelle Parsons, Thom Sesma, Jack Wallace

Set by Tom Kamm / Lighting by Mal Sturchio / Costumes by Candice Donnelly / Sound by Gary and Timmy Harris / Hair by Antonio Soddu / Production Stage Manager Camille Calman / Stage Manager Edward Phillips / Press Representative Richard Kornberg / Casting by Simon and Kumin Casting

Originally produced by The American Place Theatre in New York City, 1973.

This season was supported in part by public funds from the New York City Department of Cultural Affairs, The New York State Council on the Arts, and the National Endowment for the Arts.

"Harris Yulin's direction has drawn adroit performances from the entire cast. A dandy crew to spend two hours with."
— Don Nelsen, Daily News

"Tom Kamm's set and Candice Donnelly's costumes evocatively reproduce the tackiness of Queens, circa 1973."
— Frank Scheck, Back Stage

"Baba Goya, splendidly revived, is still very entertaining. Baba Goya is played by Estelle Parsons with an effective, tough sort of charm that does not over-emphasize this character's eccentricity. Thom Sesma is very funny."
— William A. Raidy, Staten Island Advance

Square One
By Steve Tesich / Directed by Jerry Zaks

With Richard Thomas, Dianne Wiest

Set by Tony Walton / Lighting by Paul Gallo / Costumes by Ann Roth / Sound by Aural Fixation / Hair by Antonio Soddu / Musical Director Norman Weiss / Production Stage Manager Leslie Loeb / Stage Manager Scott Rodabaugh / Press Representative Richard Kornberg / Casting by Simon and Kumin Casting

Square One was selected through The AT&T New Plays for the Nineties Project.

"An achingly sad, brutal, futuristic two-character comedy that is strangely sweet as often as it is chilling. Director Jerry Zaks is a master of dark comedy. The writing and rhythm are perfectly beautiful."
— Linda Winer, Newsday

"Dianne Wiest is a joy from beginning to end. Under Jerry Zaks' direction, this is indeed a very stylish production."
— Roy Sander, Back Stage

"A truly excellent science fiction play. Steve Tesich has authored, with a dazzlingly sinister wit, a most provocative and frighteningly funny play. Dianne Wiest and Richard Thomas are terrific, offering us a double tour de force."
— Daily Record

What a Man Weighs
By Sherry Kramer / Directed by Carole Rothman

With Richard Cox, Christine Estabrook, Harriet Harris, Katherine Hiler

Set by Andrew Jackness / Lighting by Dennis Parichy / Costumes by Susan Hilferty / Sound by Gary and Timmy Harris / Hair by Antonio Soddu / Production Stage Manager Pamela Edington / Stage Manager Lori Lundquist / Press Representative Richard Kornberg / Casting by Simon and Kumin Casting

Made possible in part by a grant from the NBC "New Voices" Program.

"Keep your eye on actress Christine Estabrook, who gave an excellent performance not long ago in Israel Horovitz's The Widow's Blind Date, and is now giving an even better one in What a Man Weighs. There is intelligence, truth and range in her portrayal of the complex leading character."
— William Wolf, Asbury Park Press

" What a Man Weighs is a contemporary romantic comedy with some serious things to say about sexual politics. Richard Cox is a seductive charmer. Katherine Hiler is wonderful. And Christine Estabrook has more facets than a diamond."
— Leida Snow, 1010 WINS Radio

"Sherry Kramer is an exceptionally stimulating writer."
— William A. Raidy, The Star-Ledger

Jersey City
By Wendy Hammond / Directed by Risa Bramon

With Alison Bartlett, Eddie Castrodad, Jude Ciccolella, Adina Porter

Set by James Youmans / Lighting by Anne Militello / Costumes by Sharon Sprague / Sound by Bruce Ellman / Hair by Antonio Soddu / Fight Coordinator Robert Goodwin / Production Stage Manager Liz Small / Stage Manager Elise-Ann Konstantin / Press Representative Richard Kornberg / Casting by Simon and Kumin Casting

"Jersey City holds one's rapt interest all the way through, and provokes lots of thought and conversation afterwards. Let's salute Second Stage for having the guts to produce this play."
— Michael Sommers, Back Stage

"All the way through Jersey City, except for what was happening on stage you could hear a pin drop. The audience, so I judge, was holding its breath. God knows I was. You could hear that pin drop until the rifle volley of applause at the end. Tell you something: extreme as is its content, I believed it."
— Terry Tallmer, New York Post

"It is a brilliant, brilliantly felt performance by a young actress whom I had never seen before, whom I imagine I will be seeing again, as will you. Her name is Allison Bartlett."
— Rick Harris, WBAI-FM