A core element of The Apothetae's mission is to expand the current existing narratives that depict people with disabilities. Too often in today's popular culture, we are painted as men and women who overcome adversity or act as symbols of pity and or inspiration. This wasn't always the case. While depictions of characters with disabilities throughout history may not have always been positive, I do not want to shy away from these stories. I feel great power rests in the retelling and exploration of these stories and embodiment of these characters.

It is my pleasure to announce, that this week we have been in rehearsals for a workshop of "The Penalty" by Clay Mcleod Chapman and Robert M. Johanson that will culminate in a closed, invite only reading at The Public Theater here in New York City.

This is an important step because we will be sharing our work with one of the most respected theatrical institutions in the country whose commitment to diversity, equity and inclusion is unparalleled in the field.

The Public Theater has been working with us every step of the way. It's a true exchange, one where both organizations are learning a great deal from each other while working collaboratively to present the best work possible.

We have an incredible, integrated cast of eight actors, four musicians and a musical director who have been working on bringing this play to life throughout the week.

People may be curious why I chose to adapt an obscure silent film from 1920 as one of the first crop of commissioned works by The Apothetae. I have been fascinated by the film version of "The Penalty" since I first saw clips of it on an "American Masters" special profiling Lon Chaney several years ago.The idea of a disabled revenge story captivated and intrigued me.The fact that the film came out in 1920 (and the book before that!), excited my imagination even further.

My own personal biography is filled with mixed feelings and emotions towards doctors and the medical community. For most of my life, I was led to believe that my disability was a direct result of medical malfeasance. When I first saw "The Penalty" I couldn't help but draw parallels between what I perceived to be the story of my own "botched birth" and that of Blizzard, the criminal kingpin who vows revenge against the doctor who wrongfully amputates his legs following a childhood accident. 
 
It wasn't hard to see that there was something fascinating about Chaney himself. I knew very little about him before seeing the PBS special and subsequent research on my own. First and foremost, Lon Chaney contradicted the Hollywood ideal of beauty, glamour and romance. Both his parents were deaf, and it was through non verbal communication with them with which he credits his mastery of the art of pantomime. In addition, Chaney's second wife, Hazel's previous husband was a double amputee. 

Beyond these real life coincidences however (or maybe because of them), throughout his career Chaney played myriad disabled characters imbuing each and every one of them with great strength and determination. 
 
Check out Lon Chaney as the nefarious, Blizzard 
 
Like Lon Chaney, I have always felt a great affinity for the monsters and the villains. As he (Chaney), eloquently stated in response to a fan letter inquiring why he played such dark, detestable characters, "...No matter how evil the characters are there's some redeeming spot of good in them." 
 
Blizzard has overcome a great deal of adversity in his world to become a great power on the Lower East Side. He is challenging because he is dark, complex and let's face it- EVIL. Underneath the universe of blood, thunder and tears however, beats a human heart. 
 
Thanks to all who have made this chamber version of "The Penalty" possible.

 Kind regards,
Gregg Mozgala, Artistic Director

Evan Ruggiero (Emcee) & Ensemble perform an excerpt from "Disorders"

Clayton Bates (October 11, 1907 – December 8, 1998) lost a leg at the age of 12 in a cotton gin accident. He subsequently taught himself to tap dance with a wooden peg leg. His uncle, Wit, made his crude first prosthetic leg after returning home from World War I and finding his nephew disabled.

Bates was a well-known dancer in his day. He performed on The Ed Sullivan Show 22 times, and had two command performances before the King & Queen of England in 1936 and then again in 1938. He retired from the dancing business in 1996.

He owned and operated the Peg Leg Bates Country Club in Kerhonkson, New York, from 1951 to 1987, along with his wife Alice E. Bates. This made Bates the first black resort owner in Ulster County in the Catskill Mountains, the famous Borscht Belt of Jewish resorts, hotels, and bungalow colonies.

No mere novelty act, tap dancing is half dancing and half percussion, and Bates's wooden leg gave him a bass drum while everyone else was dancing around on two snares. This enabled him to completely reinvent the popular dances of his time. During a USO hospital tour, he partnered with vaudeville tap dancer Dixie Roberts, who said "he danced better with one leg than anyone else could with two." He loved to tell youngsters that they could do anything they wanted. He would say "look at me."

It's easy to see why- we can't take our eyes off of him...