Student and Alumni Spotlights

  • NYFA Representing at Cannes Short Film Corner

    cannes 2015This year, we have a number of filmmakers representing the New York Film Academy at the Cannes Film Festival. These students and alumni have the incredible opportunity of networking and screening their short films at the Cannes Short Film Corner, which offers industry meets, workshops and conferences that deal with strategic issues.

    Our filmmakers benefit from all the advantages of being a Festival de Cannes accredited attendee, from being able to access the Marché du Film exhibitors or those in the Village International. With the festival officially underway, we’ve been hearing from a number of NYFA filmmakers!

    Below is a list of some of these students and their films. We want to wish them all the best of luck in showcasing their films at Cannes!

    francesco mazza

    Francesco Mazza at Cannes

    Francesco Mazza, Frankie

    Richard Selvi, Datin’ Marvin

    Diego Londono, Medley

    Denis Kulikov, Nadezhda

    Ilya Rozhkov, Sabre Dance

    Aditya Patwardhan, Red House by the Crossroads

    Luis Christian Dilorenzi, Sináptica

    Shantal Freedman, Ticketed

    Raquel Bordin, Tip Toe

    Ricardo Lopez-Franco, Binary Stars

    Gabe Chavez, More than Words

    Victor Olea, The Miracle Archives


  • NYFA Grad Produces ‘5boys’ with All-Female Cast


    The New York Film Academy is proud to announce the New York City premiere of 5boys, an award-winning play by the Slovenian playwright Simona Semenič. Produced by NYFA Acting alumna Sandra Herlog, directed by NYFA Instructor Rico Rosetti and featuring an all-female, all-Swedish cast of former NYFA students!

    The female cast portrays the young male characters of Blaž, Vid, Krištof, Jurij and Denis, who initially meet up to play in an empty lot. The innocent games they create — superheroes, house, cowboys & Indians — slowly, and inadvertently, expose a deep-rooted legacy to the violence, misogyny, bigotry and homophobia in our modern world. Blending humor, physical action and an unflinching honesty, 5boys invites its audience to view the world as seen through the eyes of 10-11 year old boys.

    5boys cast

    Photos by Luis Alarcon – Edit by Ellinor Denkert – Poster by Ellinor Denkert and Sandra Herlog – Graphic Design by Linnea Larsdotter

    “Last summer while visiting a friend in Norway I came upon 5boys,” recalls Herlog. “Sometimes there’s those special pieces of art that linger, they effect you and they won’t let go, and that’s what 5boys did to me. It’s a brilliant and raw piece—daring, violent, comedic, honest—and it’s written for an all female cast, which is not exactly the most common thing. Realizing it’s never been up here in NYC there was no doubt about it, I had to make it happen. So I got in touch with the author, got the rights, and started the journey of putting things together.”

    While the performance is being held for 7 days, Herlog hopes for a second run and perhaps even a tour.

    Herlog appreciates her time at NYFA, and admits it was crucial in terms of producing this play. “The networking and the connections I made during my time as a student is what made 5boys become a reality. Rico Rosetti (director, mentor and the one helping me out with exactly everything) was my former teacher. The cast are alumni and current students. The photographer is a TA. The whole crew and everyone building sets is a former student or TA. Yes, 95% of the whole 5boys production is generated through NYFA, and all my questions and concerns have been solved through the contacts I’ve made there. I’m extremely grateful to have found these incredible people.”

    5boys runs May 12-17th at the Access Theater in New York City. Tickets are free of charge and available at

    May 13, 2015 • Acting, Musical Theatre, Student and Alumni Spotlights • Views: 555

  • Screenwriting Student’s ‘May is for Mayhem’ Finalist at LA Comedy Festival

    andrew messersmithGiven the month, it seems appropriate to announce that screenwriting student Andrew Messersmith’s screenplay May is for Mayhem was selected as a finalist in this year’s LA Comedy Fest. Andrew has been developing the screenplay under the tutelage of NYFA instructors as well as student feedback. One of his teachers, Gil McDonald had this to say about Andrew and his development of May is for Mayhem.

    For a first time feature writer combining elements of Neo Nazis, Martians, Yeti’s, and 1980’s Arnold Schwarzenegger inspired characters and one-liners, I feared he would become overwhelmed. But Andrew was fearless and used the challenge to fuel his creativity.

    There was a no-holds-barred approach to the meticulous execution of his script. I couldn’t be more proud of the way it turned out. It is no wonder to me that his work is garnering attention from festivals. I believe this is the start to something very special for Andrew.

    I’m always inspired to see students reach their full potential. When I see real potential in students, I often seek out three positive traits: Passion, Persistence, and Punctuality. Andrew has them all. The best thing I could say about him is that he’s a consummate professional, and I wish him the very best of luck with his burgeoning career. ~ Gil McDonald

    The feeling of was mutual for Andrew. He credits his finished product on the environment and advice from the faculty and students at the New York Film Academy. Here is what Andrew had to say about his experience in NYFA’s Screenwriting Program.


    May is for Mayhem. It all started as a joke; which is kind of fitting given the nature of my first feature script. I had to write a full treatment as a final project for my Feature Screenplay class.  Months of developing different ideas had gone by, but none of them were anywhere near being close to what I wanted. I thought, “Hell with it. If I’m going to write something it might as well be me being myself on the page.” So, three hours before it was due I sat down and knocked out 8 pages of pure me. When I presented it in class everyone laughed. Well, everyone except for the instructor. That’s how I knew it was something worth developing. I love making people angry with humor — I get a twisted kick out of it.

    The next year I had Feature Screenplay II and my new instructor, Andrew Shearer, was a big supporter of May is for Mayhem. I have always loved action movies and today they…well they could be better. There are a few exceptions, of course. But let’s be honest, the standards nowadays are pretty low. This lack of great action films is what partially inspired me to become a filmmaker. I want to make films about great characters that get wrapped up in all this chaos. You know, a lot like how life likes to randomly dump a colossal mountain of hate on you at the worst possible moment.  But the biggest thing missing in action films today are strong characters. That’s what I really focused on with this script: character. Mr. Mayhem isn’t just some invincible commando who gets the chick in the end. He’s a major screw up who must overcome his massive failure before getting the chick in the end. And there are aliens. Lots of aliens.

    Anyways…writing action is tough because it’s really easy to get wrapped up in all the action and deviate from the characters and their personal conflicts. Andrew Shearer really helped me keep my focus on the character. I should also note that, since this is also a comedy, I discovered that it’s really difficult to keep the comedy tied in with the characters and the plot; as opposed to just making random jokes that are funny but ultimately have nothing to do with the story.  My fellow classmates were a great help when it came to testing and sculpting the style of humor. So a big shout out to Gabi Zogall, Chris Dias, Ryan Lopez, Luca Brinciotti, Art Vargas, and Massiel Corderita.

    Feature Screenplay II ends right when you finish the first half of the script. Feature Screenplay III is meant to help you finish it. The only thing is, Screenplay III is an elective. I encourage anyone who is writing a feature screenplay to take this class like I did. Not just because it forces you to keep writing, but also because it’s a great opportunity to continue getting some feedback and guidance from a good instructor and experienced screenwriter. I had Gil McDonald for Feature Screenplay III, and I couldn’t be more thankful for his help. In addition to finishing my script, I got a lot of great tips on how to stay focused. Gil is all about having a system and being organized. “Look at your treatment and your beat-sheet. You made them for a reason.” That’s what he used to say and he couldn’t be more right. You think you have it all in your head but really you do need to have all of your notes next to you when you write. Gil helped me stay organized and his support for my script really pushed me to finish it.

    Back in Screenplay II, Andrew Shearer had strongly encouraged me to send a final draft to the LA Comedy Festival. They have a screenwriting competition that gets screenplays a lot of attention.  The fact that he encouraged me to do this gave me a lot of confidence in my script. Soon enough, I sent it off when it was done. A few months had gone by and I was getting a lot of rejection letters from other festivals I had submitted one of my films to. I was beginning to think that my script would probably suffer the same fate. One late night I was staring at my white board. It had a list of all the festivals I had entered and every name had a big “X” and the word “DECLINED” written in red next to it. It was not a great night. Right before going to bed I decided to give my gmail one last quick look and there it was: an email from the LA Comedy Festival. I thought, “alright let’s get this over with.” But the first thing I saw was “Congratulations.” I had a little freak out and couldn’t believe it. I read that email probably ten times before I accepted it. My script, May is for Mayhem, was a finalist at the LA Comedy Festival screenwriting competition! The first thing I did was email Andrew and Gil to share the good news.

    I didn’t really get a chance to attend the festival. I was booked on some shoots practically everyday but I manage to go to the kick-off party and keep the awards night open. To be honest, I’m not a party guy. But I needed to grab my All-Access Passes and they were serving free drinks. I got a few sips before I managed to drop my hard lemonade at the event and break the bottle all over the floor, effectively embarrassing myself in front of many industry professionals. That was around the time I grabbed my complimentary All-Access Passes and snuck out before someone asked me my name. The awards night was happening at the same time as the Pacquiao-Mayweather fight. I really wanted to watch the fight but I also didn’t want to miss out on possibly winning and not being there. Sadly, my fate that night was much like Manny Pacquio’s: I didn’t win. But it was announced at the festival that normally there were three screenplay finalists, this season there were EIGHT. Apparently there was also much debate over who should’ve won. Sufficed to say I was up against some pretty tough competition. Nonetheless, it was an honor to be selected as a finalist.  Especially since May is for Mayhem was the first feature screenplay I have ever written, and I submitted the first draft.

    Though I did not win I am very grateful for how far I came with this screenplay. I am also very thankful for Andrew Shearer, Gil McDonald and my fellow classmates for all their help and support.  This script wouldn’t be what it is without those guys. Right now I’m still reworking Mayhem and exploring the option of getting it made into a graphic novel. With any luck, it might build a fan base from that and hopefully from there it might one day get picked up and made into a movie. That would be incredible! I’d like to encourage anyone who is aspiring to become a screenwriter or filmmaker to keep your ideas alive; no matter how long it takes! If you’re passionate about an idea, then don’t stop building it. In the end, nothing else will make you happier and being a regretful, sad person sucks. I accomplished a lot with this script in a short amount of time and I’d like to keep that going.  After all, where would the world be without.. MAYHEM?!

    May 12, 2015 • Screenwriting, Student and Alumni Spotlights • Views: 776

  • Why Motion Capture is an Essential Part of Animation VFX

    The New York Film Academy Animation Department caught up with two former 3D Animation students, Chad Waldschmidt and Scott Cullen. Waldschmidt is a 3D animator living and working in New York City. Over the last eight years, he’s worked on commercials, cinematics, video games, short films, concepts, and online advertisements. His game credits include Just Cause 3, NBA Live ’14, Ben10: Omniverse, Skylanders: Giants, Dance Central, Rock Band: Green Day, Rock Band: The Beatles, and Rock Band 2Scott Cullen currently works as a professional Previs and Layout Artist in Los Angeles. He’s worked with well known companies like NBC Universal, DisneyToon Studios, Imaginary Forces, and more. He’s also worked on numerous films such as Life of Pi, R.I.P.D., and Captain America: The Winter Soldier.

    We asked the two alumni one simple question: Do you think having motion capture in the NYFA Animation program is essential, and has it helped you in your professional career as an animator?


    Chad: I’ve been working with motion capture since practically the first day I started working in the industry. I’m sitting at work using it right now. If you have your animation basics down, you should be able to pickup motion capture relatively quickly. It’s a different way of working for sure though. And most animators I know usually have a love or hate relationship with it. But the fact is, it’s been an invaluable thing for me to know, personally. I’ve been doing this for a long enough time now, and have been involved with enough projects and studios, to safely say that having a strong knowledge in motion capture is a huge benefit for any animator to have. It’s so widely used now—from films to previs to video games—that I of course think it’s a great thing for students to have a decent understanding of what it is and how to work with it.

    And it’s not going away anytime soon. As the technology gets cheaper and better, it’s just going to keep becoming more and more common. It’s an important medium for animators, and it’s used all over the place. It opens a lot more doors for you. And I think these days you’re going to need as much of an advantage as you can get, coming out of school, as more and more people get into this industry.

    NYFA throws everything at you in a short amount of time, so you can see how the whole 3D pipeline works. Motion capture is very much a part of today’s 3D pipeline, and anyone studying animation should be at least familiar with it.

    Here’s a quick trailer of the game I’ve been working on for a little while now, it’s been a pretty fun project!

    Scott: I’d say it’s definitely beneficial to have in the program. The virtual camera setup is starting to get used more widely now. Disney’s upcoming Jungle Book remake was all done with mocap and a virtual camera setup and there were tons of Motion Builder positions that they were scrambling to fill. Like Chad said, it’s a good skill to have and adds a lot of versatility which is important nowadays especially when coming right out of school and trying to land that first gig.

    May 11, 2015 • 3D Animation, Student and Alumni Spotlights • Views: 807

  • From Doctor in Saudi Arabia to Acting Student in Los Angeles

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    Often creative individuals are afraid to take the necessary steps toward becoming a working artist, especially those who have found a comfortable life in another professional industry. One of our newest students put fear aside and decided to pursue his passion for acting. As a doctor in Saudi Arabia, Abdulhakeem Jomah still felt that something was missing in his life. After learning about a friend who had taken up filmmaking at New York Film Academy and another in the producing program, Jomah became more and more interested in our hands-on programs. Ultimately, his decision was to enroll into NYFA’s MFA Acting for Film Program in Los Angeles — stark contrast from being a doctor. We decided to have a brief chat with the new student, as perhaps his story could pave ways for others looking to break into a creative pursuit.

    What ultimately made you decide to go from being a doctor to pursuing acting at the New York Film Academy?

    I’ve always been into acting as more of a hobby — coming from a militarily academic family very much eliminates an academic pursuit of the arts right off the bat.

    I suppose my tipping point was when a group of amateur actors, led by an ambitious director, took a pretty daring chance (considering the highly traditional playing field) in staging an all English, localized adaptation of One Flew Over the Cuckoos Nest. In which I would play the lead, McMurphy.

    It was a hectic eight months of rehearsal at one of the local college auditoriums where we were meant to stage it. And not three weeks before opening night we were shut down by the government.

    We were in shambles for a good while, but a private benefactor took up our cause. He gave us his estate to use for our play.

    And for one night, we did two shows, to two explosive standing ovations. The energy was electric. The aftermath very positive, and the pleads for more thrummed through the following year.

    Seeing that energy, that positivity, the fruits of our near nine month struggle come to fruition, we weren’t paid, we did it because we loved it and it was ALL worth it, and I’d do it again, a million times over.

    That, is what made me realize that this is what I needed to do.

    Have you acted in anything prior to the play: professional or otherwise?

    Aside from the play I mentioned earlier, nothing professional.

    Abdullah Kurashi, the aforementioned production student, and I have done a lot of shorts together back in Saudi. Ranging from Joker impersonation videos for local competitions, to completely random, often psychotic shorts. Only because we loved doing it.

    Is there an actor who inspires you?

    I can mention oldies all day, but there are actors that have a deep, personal methodology that I respect and one day hope to attain that discipline.

    Christian Bale, is at the top of that list. His methodology is absurdly dedicated and there’s nothing I didn’t love him in.

    Jake Gyllenhaal was the star of the first movie I ever called my favorite (Donnie Darko), and has ridiculously come into his own recently with Nightcrawler and Prisoners.

    But most recently, Oscar Isaac has really won me ove with Inside Llewyn Davis, and Ex Machina — he’s just a cool guy.

    What do you hope to achieve with your training at NYFA?

    I’ve no illusions of living the American dream and making millions. I have a genuine, embedded love for the craft. If it were about the money, doctors make tons of it. I’d stick with that and call it a day.

    There are artists in the Middle East that CAN’T go public with their art out of fear or scrutiny, it’s a taboo. And I want to change that. We can only perform after jumping through a million and one hoops, and even then with restriction.

    If nothing else, I’m hoping this move will inspire my fellow artists in the trenches and foxholes to come out and show the world what we have, and perhaps in doing that, shed light and awareness on all other issues that, if addressed and abolished, could better our home.

    And I’d love to say I was at the vanguard of that movement.

    May 7, 2015 • Acting, Student and Alumni Spotlights • Views: 1447

  • MFA Filmmakers Bound for Greatness

    echoes of war

    As we all know, networking is an essential element in becoming a success in the entertainment business. But how do you begin networking when you have no connections or resources to begin with? That’s often where the New York Film Academy comes into play. Many of our students come from locations all around the world and end up establishing and maintaining lifelong relationships, both personally and professionally. Juan (JMR) Luna and Kane Senes met in their MFA Filmmaking program in 2008 and became very close friends. They began supporting each other’s writing and producing each other’s directorial works. Since graduating less than five years ago they have earned immense success. Their latest feature film, Echoes of War, starring Ethan Embry, William Forsythe, James Badge Dale and Maika Monroe will be released May 15, 2015. Their future is limitless.

    We had a chat with these two graduates about their film, and how they have successfully navigated the industry thus far.

    Can you tell me what Echoes of War is about?

    Kane: Echoes of War is about a soldier returning from the Civil War to his family in the remote Texan countryside. There he discovers that the neighbors have been stealing from his family while he’s been gone and so he takes matters in to his own hands, sparking another senseless and tragic war. It’s a film about loss, really.

    Where did the idea for Echoes of War come from?

    Kane: My thesis short film at NYFA in 2010 was called A Relative Stranger. Juan was the cinematographer and co-producer. Echoes of War began as a feature adaptation of that short and grew into something else. The short came from my own relationship to my family, coming home every now and then from living in the States and feeling like things have changed while I’ve been gone. Obviously coming home from war is a whole other matter that I have never experienced and would never pretend to understand, but we spoke to as many veterans as we could and tried to ground it in a universal, human story that we can all understand and relate to — no matter our experiences.

    juan luna

    When did you two first start collaborating, and ultimately begin writing the script for Echoes of War?

    Kane: Our directing instructor was Adam Nimoy, who taught me everything I know. Juan directed some of his own stuff but gravitated towards cinematography, so he began shooting most of my projects, starting with my Year One Film and then my thesis. From there, we worked on each other’s films throughout school.

    The script I began writing with my writing and producing partner John Chriss, who produced my thesis. He didn’t go to NYFA but he was basically an honorary student as he worked on a lot of our films. I graduated NYFA at the end of 2010, and we were writing by mid-2011. A year later the script was done and Juan came onboard to help produce.

    Juan: My relationship with Kane can’t just be contained on Echoes of War. We have been friends all throughout, and we support each other constantly. When I was directing my movie Kane was there helping out too — emotionally and giving me notes and helping out with whatever he could.

    Can you tell me a little bit of how this film came together? Raising funds, attaching talent, etc.

    Kane: Juan and I were going door to door in Australia, meeting with film investors I knew there and trying to raise funds. It didn’t go as well as we were hoping, and Juan brought in some producers he knew from LA who graduated from AFI the same year we graduated NYFA. They had a connection to Emily Schweber, a wonderful casting director. A few weeks later, I was flying back to LA and meeting with actors every day for six months. We were fortunate enough to put together a great cast, which Juan was able to use to land the rest of the money we needed, and we shot the movie.

    juan and kane

    JMR Luna and Kane Senes

    Would you say your training and education at NYFA was useful in terms of writing / directing / producing this film?

    Kane: 100%. People often ask whether or not to go to film school. I always say the same thing: for me, I needed to know I could do this and school gave me the confidence by encouraging me to make films and seeing that they worked. They started bad and got better and I could see the pieces coming together. I could see I was improving and that was a direct result of film school: being in that environment, with good teachers and a great class room of participating students.

    Juan: I always felt that film school is what you want to make out of it. I feel being in class with Kane defined our careers. We both realize very early on that we had similar objectives, and the same passion for movies. I believe we always had a healthy competition going on. And it has been very stimulating and we both challenged and encouraged each other. We are better filmmakers because we both grew together. I feel film school gave us that safe environment and working structure to achieve it.

    Are you currently working together on another project?

    Kane: We’re always throwing ideas around but nothing is in place just yet. Maybe Juan thinks I’m one of those crazy directors he doesn’t want to work with again. You should ask him!

    Juan: I am working on different things right now. The Runaround, which will star Emile Hirsch and J.K. Simmons (two former NYFA Guest Speakers) was announced yesterday on The Hollywood Reporter, and it’s my next movie.

    We are currently working on THE SAME film together, as we have to distribute it still. People think that after you shoot the movie, you are done with it. But we are still working daily on it. The moment we are both done, I would love to find something else we could do together. I feel we both have grown a lot in the last three years, and our friendship has changed and evolved. So this movie would surely be very different from the first one and hopefully much better!


    JMR and Kane will be hosting a special “How to Make it in Hollywood” lecture at the New York Film Academy Los Angeles on May 14, 2015.

  • HollyShorts Presents NYFA Night


    Continuing its collaboration with New York Film Academy, HollyShorts dedicated a screening exclusively to the films of NYFA students and alumni.

    From HollyShorts‘ website: “HollyShorts is an organization devoted to showcasing the best and brightest short films from around the globe, advancing the careers of filmmakers through screenings, networking events, and various panel and forums.”

    For the past eight years, the HollyShorts annual festival and monthly screenings have become a Hollywood staple. Playing to a sold-out house at the TCL Chinese Theater in Hollywood, these eight films were a terrific showcase for our talented filmmakers and performers.

    Maggie Lin’s RED HOUSE received the audience award for best picture!
    Thank you to everyone who participated, and to Theo & Daniel at HollyShorts for hosting such a memorable screening. Congratulations to all the cast and crews!

  • Emirati Graduate Directs First Feature “Abdullah”



    Given the various locations of the New York Film Academy all over the world, often students have the opportunity to explore multiple locations while studying for a certificate or degree. Former AFA Filmmaking student Humaid Alsuwaidi studied his first year in Abu Dhabi and moved to Los Angeles to complete his degree his second year.

    Since his graduation, Alsuwaidi has been hard at work on his first feature film Abdullah, which he directed with fellow NYFA students, including:

    • Jack Elliott: Director of Photography
    • Fatima Al Taei: Main Actress
    • Malik Zenger: Gaffer
    • Shih-Yao Huang: Key Grip
    • Aiham Alsubaihi: 1st AC
    • Effendi Edris: Cam Op
    • Stuart Matthews: Grip

    His film tells the story of an Emirati boy (Abdullah) who develops a fascination with music from an early age, but struggles to hide that over the years from his very conservative family—where many things are “haram- forbidden/prohibited.”

    Alsuwaidi shot the film in the emirates of Ajman, north of UAE, despite all of the difficulties in location and funds. The task of finding the right crew came naturally, as he found NYFA alumni are the best to work with, as they have a high standard of understanding the demands of a film production.

    Humaid’s risk paid off, and he feels very satisfied on the results of his production. He is currently in the middle of post-production.

    We look forward to viewing the finished product!

    April 30, 2015 • Abu Dhabi, Filmmaking, Student and Alumni Spotlights • Views: 1023

  • You’re Never Too Young to Become a Screenwriter

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    Dean of Students Eric Conner with Valley View Elementary students

    Each year, Hollywood seems to get younger and younger. Just ask the ten writers from Valley View Elementary, who witnessed their original screenplays performed live in front of a packed audience.

    As part of the Young Storytellers Foundation, a group of New York Film Academy students and alumni have been mentoring these fifth grade writers, helping them to realize their unique visions and commit their words to the page.

    After eight weeks of zip zap zop, three-act breakdowns, NASA shakeoff, story games, lectures on theme, character, tone & conflict—not to mention a whole lot of writing—our talented young auteurs created ten original screenplays.

    young nyfa students

    Featuring power-absorbing banana bread, transforming robots, sibling rivalries, magic fairies and talking New Jersey lions, these scripts were worthy of a world-class show. And thanks to the tireless work of our NYFA & Young Storyteller actors, the scripts were brought to vivid life.

    Screen Shot 2015-04-30 at 11.25.24 AM

    Congratulations to our budding writers from Valley View. Look for them all to get their first studio deals by age 13!

    If you’re a kid who is interested in learning screenwriting or another creative discipline, be sure to check out the New York Film Academy Summer Camps.

  • NYFA Covers Young Storytellers’ Final ‘Glee’ Big Show

    glee cast

    As part of our on-going collaboration with the wonderful Young Storytellers Foundation, New York Film Academy students and alumni recently got the chance to film “THE FINAL GLEE BIG SHOW.”

    Glee cast members Mark Salling, Dot Marie Jones, Harry Shum Jr., Max Adler, and Alex Newell along with Chrissie Fit (Teen Beach Movie, Pitch Perfect 2) performed four different short screenplays written by a group of inventive middle schoolers.
    glee la
    The connection between Glee and Young Storytellers dates back to the organization’s very beginnings when Glee co-creator Brad Falchuk helped create what is now YSF. Since then, Mr Falchuk has regularly brought the cast of Glee to perform the student’s material as part of YSF’s “Big Show.” With Glee now coming to a close after six seasons, this performance truly marked the end of an era.

    NYFA was honored to be part of the experience, and congratulates the cast and crew of Glee as well as all the Young Storytellers Writers.