ANTI-WAR POETRY

THROUGH THE AGES

A selection of timeless poems against war

Performed by Michael Fischetti

Poems selected by Michael Fischetti and Laszlo Hege

Produced by Laszlo Hege

Sound Editor: German Rodriguez

featured poets include:

Archilocos, Ancient Greece; Seneca, Ancient Rome;
General Su Wu, Ancient China;
Robinson Jeffers, Steven Spender, Peter Gizzi,
Wislawa Szymborska, Zbigniew Herbert,
Randall Jarrel, Wilfred Owen, Miklos Radnoti,
Primo Levi, Philip Levine, Edwin Muir,
Eduardo Rozsa-Flores, Anna Ahmatova,
Charles Reznicoff, Ingeborg Bachmann and more.

For more information,

contact: info@mozgofilms.com

Fischetti in “A View from the Bridge”     

“At the center of the production that opened in 

the Studio Arena Theatre Friday is Michael 

Fischetti’s Eddie Carbone. We saw Fischetti 

before and called him brilliant, and see no 

reason not to say the same of his performance 

here. It’s rare treat on the Studio Arena stage 

to see an actor create a character as complete, 

as full of life as Fischetti has. He's so far 

into the character of Eddie Carbone it will take 

spelunkers to get him back out once it’s over. 

Fischetti’s Carbone is good, sometimes not, 

charming, loving, unforgiving, wrong, stubborn, 

a stranger to his strongest feelings, complex, 

doomed and deeply, deeply moving.” (Buffalo News)

“Fischetti has great range. In O’Neill’s language 

of the streets poetry seeps through. Erie satirizes 

himself, lies to himself about imagined successes, 

and seeks solid ground under his feet in vain. 

Fischetti's ability as an actor is towering. The 

evening was a breath-taking, thrilling experience.”

(Arbeiterzeitung, Vienna, Austria) in Hughie

Fischetti in "Glengarry Glen Ross"

"Heading the cast is Michael Fischetti, who somehow 

surpasses the incredible work he did in Cap Rep's 

"View from the Bridge".  He plays Richard Roma, 

the most aggressive and amoral of the real estate 

wheeler-dealers. He manages a monologue in Act I 

of surpassing difficulty, but Fischetti is so 

accomplished, it seems like cake. Watching him in 

this scene is akin to watching Gielgud in a 

monologue from "Hamlet." Through the rest of the 

play, Fischetti maintains the blistering pace he 

sets himself, actually frightening the audience when 

the character loses control.

(The Record, Albany NY)