|Tom Attea, playwright and lyricist, has had nine musicals and two plays produced Off Broadway. A recent work, Living in a Musical (TNC, 2010) was reviewed by The Village Voice (Leslie Minora), who pronounced it "... as appealing and enjoyable as the vintage glass bottles of Coca-Cola in its lead character's fridge," adding, "Naturally wholesome but nonetheless hilarious, Living in a Musical is plain and simply charming." Since then, he has had two new musicals produced at Theater for the New City, The Capitalist Ventriloquist (2011) and Digital Dilemmas (2012). His latest play, Benedictus, is about a pope who resigns and was written two years before the actual event. His latest musical, Samantha and the Glass Ceiling, is about a talented fashion designer struggling to succeed in a NY lingerie company where men hold all the top positions.
He was a member of the Playwrights Unit at The Actors Studio for eleven years. During that time, he and composer Arthur Abrams enjoyed a ten-year collaboration and apprenticeship with Charles Friedman, the original director of the stage classics Pins and Needles, Sing out the News, the musical version of Street Scene, Carmen Jones and other shows. Just before the collaboration began, Friedman had been collaborating with Oscar Hammerstein, who had died. The trio collaborated on the revue, Brief Chronicles of the Time, which premiered at The Actors Studio in 1982.
Subsequently, he developed a long relationship with Theater for the New City, which has produced seven of his musicals and one play. Life Knocks, a play produced at TNC, was reviewed by Kessa De Santis, Punchin International: "Great humor and ebullience ... good, genuine laughs ... Attea's talent as a playwright is evident." He first came to TNC at Abrams' urging to contribute skits for a revue he would name It's an Emergency, Don't Hurry, about the world's lethargy in responding to urgent issues. Attea went on to write a musical a year with Abrams, all of which were directed by Marcante. Attea says of the theater's artistic director, "Crystal Field deserves credit for being a steady champion of us and of all people who write for the theater and hope to make a distinguished contribution. She has been kind enough to be a steady champion of mine. In fact, I don't know another person in the Off-Broadway venue who is as supportive of emerging talent, and I don't know, in this competitive and political world, if I could have found another artistic director or theater as inviting and supportive as the one she administers." He is the recipient of a grant from The Jerome Foundation/TNC as an emerging playwright.