Mask Arts Company

Teaching & Workshops
Director & Development
Plays Written
4 online videos

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current & upcoming classes & workshops
Commedia dell'Arte workshop ****
Mime - Movement - Rhythm workshop ****
Neutral Mask Metaphysical Mask Lab ****
Creating Original Material - Beyond Devised Theater ****
Mask Making
Clown nose and mask making workshop,leather, neoprene & paper
Stanley's history - reviews - comments

This video is from one morning in three weeks of the our Commedia dell'Arte intensive summer workshop. For information about workshops coming to your school, theater company or institution please contact us.

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"In difficult times, one of the highest achievements is to bring a smile ... some laughter to another and relieve worries and concerns for a time. Performers, players, actors, dancers, and all artists,
are the reflection of, and a relief to our world. Our society. Our Culture.
Stanley Allan Sherman

Covering the northern Commedia dell'Arte
Commedia dell'Arte

actors, artists, dancers, singers, directors, teachers, students & variety artists

"Anyone can open the drawer marked Commedia dell'Arte,
but, having opened it, how does one know what to choose from it
Carlo Mazzone-Clementi 1974

Roving Classical Commedia University* (RCCU*) with Mask Arts Company
Teaching Classical Commedia dell'Arte since 2001 as close to its original form as we believe it was performed in the 1500s to 1600s.
Participants discover and develop their personal historical Commedia dell'Arte traditional characters, style with their individual qualities.

Areas of concentration:
Commedia dell'Arte characters
History of the characters; their movement and gestures, improvisation, lazzi, mask work, mime, physical skills, prop manipulation, rhythm, scatology, scenario work, and more; all integrated.

Women of the Commedia dell'Arte

Scenario & Improvisation
Working from five scenarii, much of the scenario and improvisation work will be from our own translation of four Flaminio Scala scenarii* we believe were performed by the legendary Gelosi Company 1572 to 1604, plus an anonymous scenario from 1611 we recently discovered.

Stanley Allan Sherman smiling outside
taught by master teacher director artisan

Stanley Allan Sherman
about Stanley

Special Guest Teacher Michela Musolino playing the tambor
Michela Musolino
Michela is a Sicilian-American folk singer known internationally, who specializes in the traditional and contemporary music of Sicily. She will be teaching Sicilian and Southern Italian tambourine.

Contact Stanley

Academic credit.
For students or teachers seeking academic credit please discuss the possibility with your academic advisor about receiving credit as independent study.
Teachers seeking CEU's, please speak with your administration about receiving credit for this non-accredited workshop. We are happy to help you with any documentation you will need. A public school teacher has receive credit for our workshop.

Thank you for passing on this information to someone who might want to take advantage of it.

Yes we will be happy to arrange a workshops at your school or theater company, anywhere in the world.
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master teacher director artistian:
Stanley Allan Sherman

Metaphysical mask Carlo Mazzone-Clementi
add Jacque Lecoq's Neutral mask
we continue the exploration

"After the first theater Metaphysical Mask Lab, walking out of the studio, all day I saw the world in a deeper more revealing way." - Stanley Allan Sherman

Neutral Mask Metaphysical Mask Labs

Metaphysical Massk & Neutral Mask side by side front view

The Metaphysical Mask Lab combining Carlo Mazzone-Clementi exercises and movement vocabulary with our own ongoing explorations now with the Jacque Lecoq Neutral Mask.

Carlo Mazzone-Climenti photo by   Chris Bickford
"Character starts with the foot."

- Carlo Mazzone-Clementi
1920 - 2000

Exploring using both masks. Exercises from our two great movement theater pioneers, plus ones we have developed. This lab is for actor, artists, clowns, directors, dancers and creators; we have also have had writers join us.

Neutral Mask
- being one in the moment.
Metaphysical Mask
- a constant state of becoming.

Discovery on multiple levels, openness, stimulating truthful performance, economy of movement, intention becomes an act, superfluous gesture - exposed, awareness, connection with the soul of the actor/performer, thought becomes a deed and more.

Stanley Allan Sherman created a Metaphysical Mask with and for Carlo Mazzon-Clementi. With Peter Kors we explored Carlo's used the Metaphysical Mask. Because of these labs Stanley has exchanged information with others in Europe and the United States that use the Metaphysical Mask, including Ole Brekke that has replace the Neutral mask with the Metaphysical mask at The Commedia School.

These are pioneering investigative labs, now we are adding the Neutral Mask. This work is quite amazing and helpful with many forms of theater.

The first lab with Peter Kors & Stanley Allan Sherman; a video from the lab by Jim Moore, "Metaphysical Mask Improv" on his blog Vaudevisuals.

Metaphysical - Neutral Mask Lab:
Contact Stanley

You can also join the new Metaphysical Mask Connections group on facebook.

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Mime - Movement - Rhythm workshop
Theater elements touching all areas, we'll play with and explore. Mime for almost every area of stage, essential movement exercises and rhythm making everything come alive. Vital techniques, point fix, creating an imaginary object. More than just technique creates illusion - there is an element where suddenly magic, it actually seems like the object is there. If you can create an object, you can create a world that you step into from the moment you begin.

Rhythm "timing is everything". When I was at Ecole Jacque Lecoq's 1970 -72, a friend Richard Hayes-Marshall said to me, "Stanley I think one of the things we need to discover is our own personal rhythm. We each have a different personal rhythm" Have been playing with this since then and Richard is right. Finding your personal rhythm makes everything you do better, from voice to walking down the street.

Mime - Movement - Rhythm workshop:
Contact Stanley

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Creating Original Material
Beyond devised theater; discover how to create bits, lazzi and a full original show.

Creating your own piece of theater, dance theater, lazzi or bit is a joy, an adventure and can be the difference in making a creative fun living.

Have made my living performing my own original material, directing and developing others, in movement theater, clown theater, dance theater and music, I know how to create and develop full performance shows and material. Your original piece of theater has several elements. You bring your training, technique, love, passion, joy, fun and ideals that will become your piece. You will explore, discover secrets and original creation techniques that you will be able to use your creative life time.

Lazzi - Bit
Lazzi in the Commedia dell'Arte is the bit of business that is set. A Lazzo can be physical, musical, vocal - verbal - singing, instrumental, prop manipulation, mime, dance, involve food... and a combination of these.

This workshop/lab will be devoted to you coming up with your original lazzi, bit, short theater or dance piece or full show.

graphic of Arlichenno dancing with a dog walking on its front paws

Creating Original Material - Beyond Devised Theater workshop:
Contact Stanley

If you have a question about a workshop, please ask.

Thank you for forwarding this information to anyone who might be interested.
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"In a 1970's article I read about a mask maker in Bali that put souls into the masks he made for use in their rituals but not the ones they made to sell. Part of the art of mask making is to be able to put a soul into your mask". Stanley Allan Sherman

Mask-Making Labs

Leather Clown Nose making lab
Includes all material, tools and supplies which you get to keep plus an extra piece of leather to make a nose on your own.

One session. For detailed information about the custom fitted clown noses class go to

Mask-making classes run on a flexible schedule and can be from 1 to 4 hours depending on what stage in the process we are at.

All mask-making classes covers:
Design development
Sculpture of the mask
Mask Making Technique for Paper or cloth, neoprene latex and or leather Materials, supplies tools and where to get them or how to make them

Paper & Cloth Meche
6 to 10 days
This class includes all your basic supplies, paper, clay, tools and glue. Students can bring in cloth for cloth meche.

Neoprene Latex
$450 (take both Paper and Cloth Meche and Neoprene Latex $645)
This class includes all your basic supplies, clay, tools, mold making material, neoprene latex and some finishing materials. People are free to bring in special paints and other finishing materials. This class includes how to put in hair.

Leather Mask Making
$1,945 (take Neoprene mask making and leather class $2,375)
This class includes some of your basic supplies like clay, some sculpture tools, master mold making material, some leather and some finishing materials. Part of the class is buying your own leather tools and some optional finishing tools. Buying and making tools and supplies is part of this class.

It is common for student to take their clay sculptures home with them to work on them.

Taught by:
Stanley Allan Sherman
io, reviews & client quotes

Contact Stanley

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Custom Fitted Leather Clown Nose Making Workshop

Leather Clown Nose Making Workshops Information
Includes all material, tools and supplies which you get to keep plus an extra piece of leather to make a nose on your own.

Jenna wearing her just molded clown noseJenna painting her clown noseJenna punching nose holes in her clown noseJenna wearing her new clown nose
Jenna Horton making her first clown nose

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Recommended books on Commedia dell'Arte books

Mask Making

I teach Mask Making in groups and privately. There are three areas of mask making I teach: Sculpture of the Mask, Papier-mâché Mask Making and/or Leather Mask Making. If you would like me to teach a Commedia dell'Arte Workshops designed for your situation contact me to discuss your project.

Sculpture of the Mask

Developing your ideas and needs for your mask. Your sculpture map of your character, sketching your mask,
choosing clay, tools, equipment and supplies. Sculpting in clay. Finding the mask in the clay. Taking you through different exercises that will help you bring you mask to life in the clay.

Once you can sculpt your mask in clay you have a choice of making the mask in Leather or Papier-mâché.



Hovey Burgess sculpting a mask in clay

From Roving Classical Commedia University mask making class. Fellow teacher Hovey Burgess and others sculpting in candlelight.

Papier-mâché Mask Making

This is less expensive for mask making and much simpler and quicker. Papier-mâché or cloth meche masks can be very effective, strong, long lasting masks. This is a much shorter class and good for almost all ages.

Price $350

Students making Paper Meche masks, hands, glue & paper

Papier-mâché hands at work.

Leather Mask Making

You learn everything from how to buy and make tools, choose leather, making the master mold, different leather techniques, dyeing, staining, finishes and how to put in hair. This can be done over a period of 3 months or a quick intensive 2 to 3 weeks.


Alfredo Denaia with his unfinished leather mask After masque was finished  needs color now

Private student Alfredo Denaia

Performing in the Mask

How to perform in a mask and make it come alive, doing various physical exercises and exercises in the mask. I can also go into Neutral masks as well. These exercises have been developed from studying with Jacques Lecoq and over 30 years of experience as a performer, mask maker and teacher.


Most of my performing career has been spent as a theatrical clown doing my solo show in theatres from very intimate houses with less than 100 seats to 3,000 seats. And I have a very nice stack of rave reviews.

Developing your personal clown, developing original material, various physical exercises, mime, working with props, making them come alive, solo show, non-solo theatrical clown shows and more.

a Clown named Stanley looking at Arlecchino

Photo by Jim Moore

Classical Commedia dell'Arte

To study Commedia dell'Arte go to the web site of my traveling school Roving Classical Commedia University* (*Totally Unaccredited)
Contact Stanley Allan Sherman 212-255-2882
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Pantalone close up print

Development through Production of Solo and Ensemble Works

"Stanley you are a director," Jacque Lecoq told me. Here are some basics that we work with when directing and creating/developing your original material. Rhythm, every moment total truth, what do you care about enough that will inspires you to spend insane numbers or hours exploring and playing with, we use all your assets and deficits, we take total responsibility for every moment, what are you most afraid of - great lets go there. No fear. More than good; it must be great enough for complete strangers to give you the gift of taking their time and hard earned money for a total theater experience. Yes - fun, joy, tears and hysterical laughter.

Graduating from Ecole Jacque Lecoq, Theater Mime Movement in 1972 through the mid 1990's I performed various original solo shows. With rave reviews, did a 6-month run in LA, self produced, co-produced, booked at major festivals, all kinds of tours as well as the great teacher - performing in the street. With other artist developed material in what we called, "theater jam sessions." Learned business of surviving to thriving as an artist through the school of hard knocks. Was Off Broadway with a cast of 21 for 3 1/2 years. Have been acting and performing in the corporate world of entertainment, commercials, Late Night with Conan O'Brien 41 times. As a director I have a lot of special performance knowledge, tricks of the trade from experience that I now enjoy passing on, helping performing artists create their successful original show.

Artists I've worked with, specializing in clown, Commedia dell'Arte, mask work, mime, dance, theater and plays.

'Beast of Festive Skin'
Solo Show: Alexandra Tatarsky
New York Fringe Festival
'Now Leasing'

Solo Show: Lea McGowan
LA Fringe Festival
The Slipper Room, NYC
Edinburgh Festival, Scotland
'Duet for Solo Voice'

Play by:David Scott Milton

Jonathan Slaff,
Rachel Krah, David Zen Mansley
Theater for Then New City, NYC
Solo Show: Gautham
'John Paulsen's Lonely Banquet'
Solo Show: John Paulsen
Here Art Center, NYC

'Bride of Beowulf'

Ensemble: Mary Clark, Andrew Brum
Tour US
4 years, Young Audiences

Steps for developing, directing, consulting or show doctoring:
1. Phone, email or skype conversation
2. Arrange a meeting
3. We meet and discuss your project
4. We may do a trial session to see how we work with each other
5. We start developing your new piece of theater
6. Development, rehearsal and thinking time
7. Development of props and costumes
8. Show tech details and development
9. Testing your show out
10. Develop and refinement rehearsals
11. Running your show and polishing it
12. We also get into many levels of the business side of your show
13. This list is totally subject to change depending on the projec

Beast of Festive Skin
Writer/Performer: Alexandra Tatarsky
Directing Development Consultant: Stanley Allan Sherman

Show reviews -
Stanley's comments -
Performer Creator comments -

Alexandra Tatarsky sitting holding  her devil tail in hell speaking and smiing
Alexandra Tatarsky as the devil, NY Fringe Festival 2013

"There is no good-bye in Hell." But there is an open mic night. There's another thought that lets you know you're in Hell - as long as we're here we might as well make the best of it.

"I found Tatarsky's performance to be endlessly entertaining. She is charming and cozy every minute she's on stage. She's not afraid to be silly or completely absurd. She's not afraid to be silent either. There are moments of just expressions and gestures that are hysterical."
By Richard Hinojosa
August 11, 2013

Alex with a multi-colored robe, happy looking up and very happy

"… a one-woman absurdist vaudeville in Hell, featuring the astonishing Alexandra Tatarsky. … pouring with sweat, red light, accordion and her. One hour of ridiculous physical comedy and word-play and I was a happy man."
David Hanson, Cleveland Centennial Blog spot

Alex Tatarsky as the mound in hell.
Dear Stanley,

My deepest gratitude for everything! I do my positions and undulations every morning. You helped me find the walk and the talk, the path to going further - much further. I'm still working on it and will be for a long time. Thank you for your warmth, humor and wisdom - and the iced tea!
Alex Tatarsky

Stanley's Comment: Alexandra Tatarsky took the summer Commedia dell'Arte and later asked me to direct her show. Because of another show I was schedule to go out of town with there was not time to fully direct Alex's show as well. But accepted being the directing consultant. We did a lot of character, material and structure development refining important elements of the show. Alexandra Tatarsky's result; she sold out every show at the NY Fringe Festival, booked her show after the festival and is now on to many other projects.

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Now Leasing
By: Lea McGowan
Director & Development: Stanley Allan Sherman

Show reviews
Stanley's comments

Artist's comments

Now Leasing preview party post card. a new theater piece with a photo of  Lea McGown on the floor of the stage after coming down from theariel silk.

Summer 2013 four reviews from the Edinburgh Fringe Festival's month long run

A lot of shows in the fringe hurtle along at breakneck speed with all sorts of added electronics to keep the stimulation levels high but this show is different: McGowan eschews all gizmos allowing a quietness and acute attention to develop… the pace is unusual, but her audience was absolutely held.
Carrie Gooch
SG Fringe
The Edinburgh Fringe Festival Aug 21, 2013

Stanley's Comment: The first thing was taking out most of the prerecorded music. Before the first show Lea decided to be brave taking out all the recorded music. This freed Lea to make everything that happened on stage come from her, becoming totally responsible for every moment, jettisoning the theatrical music safety net allowing her to fully play. This enabled her to take advantage of new discoveries and strengthening the show. Result the reviewer Carrie Gooch appreciating the created theatrical dynamics of the show.

Lea McGowan dressed as an elderly lady at the opening of the show…final pièce de résistance, a raw, gripping physical recount of her years of training and real life struggle with body image, pain and new beginnings. Now Leasing harkens back to the days of beatnik clubs and cool, kitsch performance art.
Heather Bagnall
August 2013

Stanley's Comment: The end of a show must be very strong. Many shows have weak endings. We found and achieved our powerful ending with Lea reveling truths and strength. Resulting in a firm theatrical statement by reviewer Heather Bagnall. The audience related with the shows journey, strong ending and message of picking yourself back up and continuing to strive for success. And I know someone who after seeing the show was moved to do just that.


An enchanting new piece designed to entertain, engage and inspire. …a pacy, intelligent and often witty performance …few shows can hold a candle to Now Leasing's combination of energy and power to captivate.
Fringe Review
by Dan Lentell August 2013

You have total ownership of the stage. It's Brassy. It's bold. It's in your face.
This was a show that is hugely accessible … I think it is a fantastic show … Now Leasing is uncomplicated fun and a peek into the life of the artist that does not get lost in grand statement.

Reviewer Dan Lentell talks with the team behind Now Leasing
Fringe Review Interview
with Lea McGowan & Stanley Allan Sherman

Stanley's Comment: One key in developing a show is not only Lea using all her assets, dance, aerial silk, costuming but her perceived deficits turning then into assets. Assets and deficits also became a theme in Lea's show. Lea's friends told her do not sing! We used her voice exploiting its uniqueness and expanding its strength. Finding Lea's rhythm and vocal qualities. Now she is not only singing but doing all kinds effective character voices. I brought in Paul Shipper that knows how to work with dancers voices to enhance the work that we did. Paul is a Grammy award winning musician, singing and early music specialist.

…using physical theatre and cabaret for a strong story-telling session. Changing up the pace is a mesmerizing contemporary dance and aerial silks fusion number, creating a delightful balance of highly physical play and introspective inquiry into an otherwise extrovert-Lea entertaining comedy drama. …twists, turns, and tenderness, in all sorts of unexpected directions.
The List
August 15, 2013
Written by: Gareth K. Vile

Stanley's Comment: The theatrical and emotional rhythm of the piece is an element that is always vital in theater and entertainment. "Comedy drama" really describes the shows experience. Now Leasing also won Best Costume in the LA Fringe Festival. One reason is not only the beautiful costumes created by Lea but how we used the costumes. If it is on stage it must be totally justifiably used.

Now Leasing preview Party flyer with Lea McGown in a classy chicken costume on ballet point.


Dear Stanley,

This is a wonderful journey we are on, and I am happy to share with you. Thank You! I am so grateful for your support and guidance, (guide and dance)- for giving me direction, it's not so much of a deficit as directional disorder I know we make a great team and its fantastic the magic we are creating.
Much Love Lea

Special Thanks to Stanley Allan Sherman for emotional and psychological support as well as superb directional advice. Under the direction of Stanley Allan Sherman, a master of Commedia Dell'Arte and renowned mask craftsman himself, NOW LEASING has developed in clarity and depth, reaching ultimate truths.
Lea McGowan





Pre-show article dnainfo NYC
Mask Arts Company Blog

"Now Leasing direction & development Edinburgh Fringe"

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Duet For Solo Voice
Off Off Broadway play "Duet for Solo Voice" by: David Scott Milton with Jonathan Slaff, Rachel Krah and David Zen Mansley
Directed by: Stanley Allan Sherman

Theater for The New City, New York, NY

The character Chort

Review Excerpts:
Duet for Solo Voice, a so-called "dark comedy" written by David Scott Milton and directed by Stanley Allan Sherman, takes its audience members on the journey of Leonard Pelican, a paranoid hotel clerk
Upon entering the theater space, it seems that the work is already in progress with Leonard muttering at his desk and the hotel seemingly at its usual business. Then, suddenly, an erratic young woman storms on stage, shouting warnings that are actually the pre-show announcement. It is a simple touch that displays the coherence of Sherman's vision and creativity.
Off Off Online
by Kelly Aliano
January 31, 2010

Stanley comment: It is great that Kelly Aliano points out these beginning moments. I always feel the show starts when you step into the theater and everything needs to be done to create the total world from the first moment.

There is quite a bit of humor in this display of paranoia, all well directed and staged by Stanley Allan Sherman…
Performing Arts INSIDER,
By Richmond Shepard
Feb 5, 2010

Stanley comment: There is humor in almost everything; it is always a joy to find it. Humor is a powerful tool.

Rachel Krah holding a towel, David Zen Mansely wrapped in a sheet and Jonathan Slaff standing on a chair
Rachel Krah, David Zen Mansely the sounds of the hotel and their one hysterical on stage appearance and Jonathan Slaff standing on the chair.

The director, Stanley Allan Sherman, has turned the hotel into more of a presence
, with offstage actors providing the sound effects of an energetic couple in Room 204, and one unexpected appearance.
NY Times
Feb 8 2010

Stanley comment: Actors Rachel Krah and David Zen Mansley were key in creating the hotel, tapping into their creativity and multiple talents of character voices and music. Actor Jonathan Slaff straight dramatics creates the perfect balance with the presence of the hotel, fully exploiting the script.

The video of the play Duet For Solo Voice, Jonathan Slaff with Rachel Krah and David Zen Mansely as the voices and sounds of the hotel and room 204.

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Director Consultant: Stanley Allan Sherman

Gautham clowning in China
Gautham in China backstage with the Peking Opera

"There were a couple of people missing so they asked me to go on for the very first time slot. I agreed. I got ready early and went backstage. They introduced me and I went out. I lost it. There were 400-500 people out there! My biggest audience by far. It was about 70% children. The stages are outdoors so there are lots of distractions but these guys were watching my every move. I took an extra minute or two with my entrance because I was responding to how huge the audience was. I started my routine. I took my time. It was amazing! I had a blast out there. It was like flying. Later in the day I was having lunch with another performer. We were talking about clown stuff. He had watched the first few minutes of my show and gave me a great compliment. He said he was impressed with how I took my time. I was able to go out there and just "be" without having to do a bunch of stuff. He said he has been performing for 30 years and he still has a hard time with that. "

Sometimes I feel bad because I'm not doing the exact same show that we worked on together. I've had to change so much so these audiences will appreciate it. Then I realize that although I've changed things in the physical show, I'm still applying the principles we practiced. I'm taking my time, finding the moments, letting myself discover, finding the joy. In short, I'm really grateful for the work we did together. It's opened up so much for me. Thank you!!"

October 13 2007

Stanley comment: Taking your time, playing everything that happens is a must. To ignore something that happens is like lying to your audience. Always tell total truth to your audience. Especially children, they are the toughest audience. Working with Gautham, we started with his bits that all had background music. We cut all of it out. Now Gatham was free to truly play. When nothing is happening, everything is happening.

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John Paulsen's Lonely Banquet
Show Doctor Director: Stanley Allan Sherman
John brought me in to work with him on his show for the run at "Here Art Center" in NYC.

John Paulson painting a picture of a flower"Stanley challenged me to pursue the territory within myself unvisited, to take my work to the place of the uncommon. He demanded that I not be satisfied with just entertaining people, but to give them theatre. Stanley should have walked into the theatre wearing a demolition helmet because that is the level to which he demands, demolish your safety zone, demolish your safety net. Break it and show me your unique self, your unique vision for our ailing world. Working with Stanley was like the difference between seeing a vacation postcard to actually soaring through the Grand Canyon. Don't show me the postcard, he demands, take me there, take me to the Grand Canyon. I want to feel it through you, and I want you to experience it too. Scared of the edge? Great. Me too. Let's go! And Where did we find commonality? A single moment of collapse, of chaos on-stage when for one brief moment the audience was literally on the edge of their seats because nobody actually knew what was going to happen. How exciting!" John Paulsen

Stanley comment: John from Seattle brought me in as a director show doctor for his show run at Here Arts Center in NYC. It was fun finding the truth in all the major and little moments of Johns shows. Every little moment is also a major moment. We both grew finding total truth. We all know the moments that do not work that we hope no one will notice. One goal is elevating every moment and discovering what is real and true.

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Bride of Beowulf
Beowulf and Queen looking a each otherDirection Development by: Stanley Allan Sherman
Created by: Andrew Brum, Mary Clark and Stanley Allan Sherman.
Based on Beowulf, incorporated clowning, puppetry, movement, opera, acting and story telling.

New York Time 'Bride of Beowulf''

Young Audiences reviews:"The students were very enthusiastic. One of the best programs I've seen!" Young Audiences Program Observer

"An outstanding creative approach to presenting a difficult topic."
S.M. Williamson, PTA Rep. Point o' View Elementary

"Grendel was the monster that killed everybody. He had a green hand. I liked the story because it was funny and it told a little history of Denmark."
Angelo 5th grader, PS 87

Stanley comment: This two person children's show toured for at least 4 year with Young Audiences. Working with Andrew and Mary a major goal was getting them to use all their hidden talents. We used everything to bring the poetry of Beowulf out with mime, opera, puppetry to deliver a fun experience. The fight scene we built the monster arms out of bubble wrap so during the fight they could be twisted and everyone would hear the monster breaking up. When Mary and Andrew stopped touring the show they sold it to a theater company in the Midwest.

Contact Stanley Allan Sherman 212-255-2882

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'Life After Vaudeville' created and directed the show

'The Golem of Gavah' directed the Equity Stage Readings
written by: Gil Marks and Stanley Allan Sherman. The synopsis is below.

'Shadows' directed the Equity Stage Readings of the play
written by: Stanley Allan Sherman. The synopsis is below

"Talmudic Vaudeville" Created and drected with RJ Lewis
By: RJ Lewis & Stanley Allan Sherman
. The synopsis is below

Contact Stanley Allan Sherman 212-255-2882

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Plays available for production

"The Golem of Gavah" By: Gil Marks and Stanley Allan Sherman
"Shadows" By: Stanley Allan Sherman
"Talmudic Vaudeville" By: RJ Lewis & Stanley Allan Sherm

These plays are available for productions. If you are interested in producing any of these plays for any kind of production email me or give me a call.

"The Golem of Gavah"
by:Gil Marks and Stanley Allan Sherman

A golem, originally meaning an unformed substance and later a stupid person, came to represent an artificial man created by kabbalistic methods. In various popular legends of the Middle Ages, the golem evolved into a functioning creature - sometimes benevolent and sometimes a monster of destruction. The best-known golem is attributed to the late sixteenth century Rabbi Judah Loew of Prague, which served as the basis for Gustav Meyrink's 1915 book, The Golem. The Golem of Gavah is a tragicomedy and morality tale that uses this ancient symbol as a metaphor for hypocrisy. Although set in a Jewish milieu, the story is accessible and relevant to everyone.

Gavah (from the Hebrew word for vanity) is a mythical town whose very devout inhabitants obsess over rituals, while neglecting their underlying meanings. When the town's latest rabbi arrives, the people immediately take a disliking to the young scholar because he fails to live up to their image of a rabbi. However, since they have already gone through three rabbis in less than three years, they decide to give their new spiritual leader a six-month probationary period. During that time, the increasingly frustrated young scholar discovers a book that reveals how to make a golem. The creature turns out to be handsome and charismatic and immediately captivates the residents of Gavah, who install him as their spiritual leader. Ignoring signs that their new rabbi is not all that they imagined, the golem sets into motion a series of events that culminate in tragedy for Gavah and its residents. Mixing drama, humor and music, The Golem of Gavah explores, among many contemporary issues, the dangers of becoming enamored by superficialities.

By: Stanley Allan Sherman

As a baby girl Sara is sexually molested by her father; at seven, by her grandfather; at thirteen, by her stepfather. Sara as a victim of child sexual abuse has haunting visions, shadows that at times cloud and control her life. Sometimes she is frozen and cannot move. She uses noncommittal sex as a replacement for love, closeness, and as a religious Jewish young woman, uses the laws of separation to hide, protect herself and keep a physical distance from any man she might truly love. Sara meets such a person; a man who recycles scrap metal who is convinced he has met "the woman of his dreams". What he does not know is her past and why she acts the way that she does, and where all of her pent-up pain is from. He is confronted with Sara's ambiguous actions. He must make hard choices or is he too allowing the shadows that are surrounding Sara's life to obscure his judgment. "SHADOWS" explores issues of healing and struggling against the aftereffects of sexual molestation, going beyond ones haunting shadows and finding ones light.

Healing cannot be shown without showing the pain. "SHADOWS" shows this pain combining sensuality and horror at the same time. "SHADOWS" is balanced with spirituality and flashes of wit and humor.

Various studies show that four to six out of every ten women are sexually molested as children. Statistics also show from two to four out of every ten men are sexually molested as children.

"Talmudic Vaudeville"
By: RJ Lewis & Stanley Allan Sherman

Talmudic Vaudeville is made up of stories from the Talmud presented in a vaudeville style. One can use two men or two women or break up the piece and use several actors both men and women. Some of the stories are Rabbi Akiba & the snake (about the snake that almost killed Rabbi's Akiba's daughter); Torah, Torah who's got the Torah; Ten Commandment Rap; The Advice that Failed (about King Solomon and the angel of death); The Carpenter and his apprentice; Talking Bones (about two grave diggers and Rabbi Nachman; Wealth (about the Rabbi's talking about what is wealth); Wings of a Dove (about a Roman Soldier and a Jew caught wearing Teffillin); Hillel (about Rabbi Hillel preparing for Shabbos while a man is trying to make him angry and the famous learning the Torah while standing on one foot).

Humor and drama are used throughout on many different levels. From simple slapstick to running gags about Jews having horns. About 90% of the stories are from the Talmud and can be broken down into many different formats. They can be presented with many different sizes of casts. Directors have chosen to do some of the stories and not all of them to suit their situation.

Contact Stanley Allan Sherman 212-255-2882

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Acting - Stanley Allan Sherman

Jonathan Togo and Stanley Allan Sherman, directed by: Daniel Bollag

The above video with actor Jonathan Togo was shot originally for the film Idenitcal. Film director Daniel Bollag cast me in the above film as the Priest. It is a nice change.

One reason I am an excellent mask maker is because I am a performer, director and actor. I know what it is like performing in the mask, as I have been performing with and without masks since 1972. I have had several solo shows, "Aero Show" was critics choice in the LA Times and received a stack of rave reviews. In the 90's I moved more into acting, performing as a member of the original cast of the Off Broadway's hit "Grandma Sylvia's Funeral" and for some reason I keep on being cast as a Rabbi a lot, appearing in comedy bits on "Late Night with Conan O'Brien" 41 times and "David Letterman".

Interested in talking or casting me in your film, television or theatre production. Contact Stanley Allan Sherman - Mask Arts Company 212-255-2882

Stanley Allan Sherman head shot

Photos by Mark Schafer

My other photograph for acting work

One of the short films I did "The Nose Job Jew"
Winner of Best Comedy in the Montreal Jewish Film Festival.

To place an order, questions, other information or to be put on the e-mail list for newsletters and announcements

contact Stanley Allan Sherman - Mask Arts Company
212-255-2882: 203 West 14th St Studio 5F, New York NY 10011-7138
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Copyright © 1976-2017 Stanley Allan Sherman. All rights reserved.