Mother Russia

Comedy March 3, 2026 Leave a comment

When I went to Russia as a child, my parents and I brought Skippy, Hanes, and Levis to a friend’s niece in Moscow.  All the best restaurants only took American dollars, which were unavailable to local residents, and we were constantly shadowed “for our safety.”  When I returned as an adult, all of my guides had their own Ikea-furnished apartments.  One of our destinations was a sprawling indoor mall in the center of Moscow and international fast-food chains were as plentiful as the family owned dumpling joints.  Between those two eras, the Soviet Union had been dissolved and the promise of social democracy hung in the air.  

It is within that unsettled period of 1992 that Lauren Yee has set her new comedy, Mother Russia.  Erstwhile aspiring KGB agent Dmitri is operating a tiny general store in St. Petersburg while surveying former pop star Katya as a side gig.  His childhood friend Evgeny tries to shake him down for protection money.  The pathetic attempt at menace leads to an alternative job offer. A devoted fan of Katya, Evgeny will follow her when she is off mic and will take a shift monitoring her. The fourth character is an explosion of innovation.  David Turner portrays Mother Russia herself, an embodiment of Russian history, ideology and culture.  Dressed in bright tomato red from babushka to pointy shoe (costumes by Sophia Choi), she can see back to the “not so bad” Ivan the Terrible and forward to Pussy Riot and Navalny.  Within the whirl of broad and situational humor, she is the snide ballast, overseeing all that transpires.

Wildly praised prior to the pandemic — particularly for Cambodian Rock Band which inventively explored the terror of the Khmer Rouge using a father/daughter story with music — Lauren Yee is currently a playwright in residence at the SignatureTheatre.  Her pen and tongue are still sharp, though she seems in a more fun-loving mood this time around.  Lines are written in colloquial English but with Russian construction.  Teddy Bergman’s playful direction enriches the slender script.  The prolific and visionary scenic design team of dots plays up the conflicting worlds of artifice and factuality that run throughout its pages.  The central portion of the set has a detailed commercialized frame and a defaced rolling metal door that is often used for emphasis.  Fancifully painted curtains complete the look of a city bus and Evgeny’s family home.  This two-pronged motif is continued with Jon Knust cunning props.  Sound designer Mikhail Fiksel makes terrific use of a wide range of music

The part of Mother Russia is made riveting by Turner’s droll and pricelessly-timed thick-accented delivery.  He is not alone in mining the dialogue for every precious laugh.  Dmitri could easily be two dimensional, but Steven Boyer gives him heart and amiableness.  Adam Chanler-Berat elevates and varies Evgeny’s many feeble attempts at swagger.  The two play good-naturedly with one another, especially in a scene co-starring a Filet-O-Fish sandwich.  Rebecca Naomi Jones does the most she can as Katya, a surprisingly flat role given that the singer/revolutionary is the catalyst for the climactic scene. Ironically, we get a clearer image of Dmitri’s never-seen girlfriend, Masha. 

Genuinely unfunny is the current design of the black box space of The Romulus Linney Courtyard Theatre.  The narrow ceiling-high stadium seating is oppressive, leading many audience members to use their programs for air circulation.  Those in the back rows crouch like tennis fans in an impractical effort to take in the intimate scenes while those nearer the front must crane their neck to follow David Turner’s antics.  If the red house lights are intended to make us feel as disoriented as a typical Russian in the 1990s, then they work.

The ingredients for blistering social commentary are present.  But Mother Russia subverts a more serious conversation about economic and societal challenges in favor of punchy lines in absurdist packaging.  Given the current state of our own culture, one could do worse than spend 90 minutes laughing at and with these talented artists.  The New York Premiere continues through March 15 at the SignatureTheatre in Pershing Square, 480 West 42nd Street.  Tickets begin at $74.  Visit https://signaturetheatre.org/show/mother-russia/ for more information.

Rebecca Naomi Jones and Adam Chanler -Berat in Mother Russia; photo by HanJie Chow

Chinese Republicans

Off-Broadway, Play February 27, 2026 Leave a comment

In Chinese Republicans, four women of Chinese heritage and spanning three generations are gathered for an Affinity Luncheon near their New York City office.  As co-workers at a stressful international investment banking firm, they look forward to these supportive gatherings, not to mention the turnip cakes.  Their stated purpose this time is to welcome their newest member — the pretty and giddy 24 year old Katie — and celebrate her recent promotion.  Managing Director Ellen has been acting as Katie’s mentor, giving her encouragement and hints about how best to reach the next rung of the ladder.  Corporate consultant Phyllis, who once held Ellen’s current job, plays healthy skeptic to Ellen’s cheerleader.  The most conservative of the group, she punctuates many of her observations with a pointed “Thanks, Obama.”  Also in attendance is Chinese citizen Iris.  She is in the US on a Work Visa and hoping her contributions to the firm will allow her to stay.  But from what we can see, her main responsibility is to get the lunch ordered correctly.

Over the course of numerous encounters and flashbacks, we watch the foursome jockey for position, sometimes in support of one another and more often in competition.  All four are trying to cope with pressures both cultural and corporate; sometimes responding in anger and other times tactically. Their varying viewpoints on what it means to be Chinese add an intriguing element to their sparring.

Jodi Long, Jennifer Ikeda, Anna Zavelson, and Jully Lee in Chinese Republicans; Photo by Joan Marcus

Quite a bit of obvious shorthand is used to backfill the women’s histories with the intention of clarifying their current motivations.  Such narrow definition of character leaves Jennifer Ikeda (Ellen), Jully Lee (Iris), Jodi Long (Phyllis), and Anna Zavelson (Katie) without the ability to shine at full wattage. Some right leaning political views are mixed in with the abbreviated development (whoosh hate crime, whoosh abortion, whoosh “me too”) and the placement of the action in 2019 avoids the most thorny topics.  Often director Chay Yew relies on elevated voices and manic gestures to take the place of more involving connection.

Playwright Alex Lin has generated enormous enthusiastic buzz, most recently for her Lear-inspired Laowang.  In Chinese Republicans, what she sacrifices in keener character arcs, she makes up for in startling imagery.  She demonstrates a flair for switching tones from heart attack-inducing conflict to door-slamming farce.  Based on Lin’s obvious talent and genuine interest in her subject matter, there is a deeper, more distinctive, and less strident script just beyond our reach. While it certainly never gets boring, as the piece approaches its final 15 minutes the plot losses focus.  

The play’s atmosphere is nicely detailed.  Costume designer Anita Yavich provides a wardrobe made for code switching, mixing business attire with Asian-inspired accessories.  The sound design by Fabian Obispo incorporates original music and big city hubbub. Impressive sets by Wilson Chin include an attractive modern restaurant and the imposing wall of the investment firm.  To prepare for the varying degrees of fluency in Mandarin, Cantonese, and English, the company enlisted dialogue coach Ka-Ling Cheung.

With a great deal to say and an unconventional blending of styles, Chinese Republicans is both a thrilling and a frustrating ride. The World Premiere production, part of Roundabout’s 2025-26 season, continues through April 5.  Performances are at the Harold and Miriam Steinberg Center for Theatre, Laura Pels Theatre, 111 West 46th Street.  Running time is 95 minutes without an intermission.  Seat prices range from very reasonable $69 – $102. The venue has superior sight lines and a small cafe on the lower level.  Visit https://www.roundabouttheatre.org/get-tickets/2025-2026-season/chinese-republicans?url=/get-tickets/2025-2026-season/chinese-republicans for more information and to purchase tickets.

Not Nobody

Comedy, Off-Broadway February 16, 2026 Leave a comment

Retired professor McAlester Daily does not want to be labeled.  Given the nature of a spectrum, he posits, aren’t we all on it?  True, he insists on clarity: of the questions being asked of him and of the lines he is to stay within.  He also emphatically requests sufficient time to formulate and fully explain his answers. His unusually deep self-knowledge and above all his informed understanding of “the system” make for worrisome challenges when he becomes caught up in the investigation of a policeman’s murder.  This is the provocative set-up of Not Nobody, a blisteringly funny play by Brian Dykstra.  

Also starring, Dykstra brings to his character a genuine respect for the individual and concerns about the state of law and ethics in America.  That sincerity of purpose informs a properly studied performance of a man bouncing between fluster, fear and fervor.  McAlester is all too aware of how he and his disarming honesty are being perceived and judged by those around him. Consequently, he comes across as heartwarming as he is frustrating.  The supporting parts ranging from detectives to broadcasters are flatter but given pep and shading by Sheffield Chastain, Kathiamarice Lopez, and Kate Siahaan-Rigg who each take on multiple roles.  There is red meat aplenty, but who doesn’t enjoy a good burger every once in a while?  

Sheffield Chastain, Brian Dykstra and Kate Saihaan-Rigg in Not Nobody; photo by Carol Rosegg


Director Margarett Perry has chosen to lean into the broader strokes of the script rather than refining them. This has the effect of further emphasizing McAlester’s exceptional world view and meticulous attention to detail.  While all of the actors skillfully handle the quick changes, there is an imprecision to the technical cues that would likely drive McAlester around the bend. Jen Leno lighting, which is designed to switch seamlessly between harshly lit offices and the more subtle glow of city streets, is diminished by off-target spots. Set designer Tyler M. Perry’s black and white cityscape with its swirl of letters and scribbles is distracting to anyone attempting to decipher it.  The askew poles and tumble of chairs — perhaps metaphors for seeing events from different angles — work better in support of the action.  Daniel Lawson’s costumes, primarily an array of “uniforms” of the trades, also help to move things along with identifiable shorthand.

As with Polishing Shakespeare — the best-selling show in the 21-year history of 59E59 Theater B — Dykstra’s Not Nobody finesses language and mines current events to create a work that holds laughter and pain comfortably side by side. It is a welcome addition to the winter season for those who like their comedies on the smartypants side.  Performances continue through March 1 in Theater B at 59E59 Theaters, 59 East 59th Street.  Running time is about an hour and a half without an intermission.  There is no late seating or re-entry.  Tickets are $44 for non members including all fees.  There are no bad seats in the house, just slightly treacherous steps up the middle aisle.  Visit https://www.59e59.org/shows/show-detail/not-nobody/ for tickets and further information.

The First Line of Dante’s Inferno

Off Off Broadway, Play February 9, 2026 Leave a comment

The presiding character in The First Line of Dante’s Inferno has no lines, but dominates and literally overhangs the dialogue.  It is the dark outlying woods represented by Lauren Helpern’s evocative set, with Jianzhi-esque  trees and a blackened canopy that flutters in the HVAC of La MaMa’s Downstairs Theatre.  This is where Ann (Kellie Overbey) has come, seeking her missing sister Carol.  As she shouts out to any creatures nearby, it becomes clear this is not her customary environment. Her tiny basecamp — a one room squatter’s cabin made of stolen plywood and containing a camping stove, a sleeping bag, a copy of Inferno, and some moonshine — has been under observation by a young ranger, Craig (Evan Sibley).  He has also been on Carol’s trail, though he is less optimistic about her being found.  With stunning speed, the two make an arrangement that will allow Ann to continue her search.  But the longer the duo stays within the forestland, the more feral they become, shedding social norms in favor of unfiltered instinct.  

Kellie Overbey, Evan Sibley and Greg Stuhr in The First Line of Dante’s Inferno; Photo credit Marina Levitskaya

Similar to the title’s narrative poem, Kirk Lynn’s emotionally gripping script is constructed in the style of Story Theater, with characters describing their actions.  First and third person are used interchangeably as if they too are fictionalized versions of themselves.  The shifting perspective often reveals more about the storytellers than the story.  The blending of facts, memories and psychological response is repeatedly illustrated by the telling phrase “As I remember…”  as if at heart they question whether their statements are 100% true.

Under Christian Parker’s direction, Overbey and Sibley truly play off each other, generating surprising wattage from an unlikely pairing.  Ann’s and Craig’s elevated honesty and rawness is refreshing and often funny.  So, too, is Craig’s older partner, Bill (Greg Stuhr) whose years of job experience have not necessarily made him wiser and certainly not a better shot.  He is more like an annoying big brother than a senior officer.

Carrying nearly as much weight as the scenic design is Bart Fasbender’s stirring soundscape of animal noises, vocalizations, and rustlings.  By contrast, lighting designer Zach Blane’s recreation of the shifting shadows and foliage sometimes pulls focus from the actors. Kanika Asavari Vaish designed the props, which include a suitably bright red copy of Inferno, that is used as a sort of divination tool. 

For 90 minutes, The First Line of Dante’s Inferno immerses the audience in its own musky world with a unique set of rules.  It is the debut production of Shadowed Forest, a multi-generational company that successfully elicited response from the broad swath of theater-goers who shared the space on a frigid Sunday.  Tickets are impressively priced at $30 for Adults, $25 for Students/Seniors and $10 for La MaMa Members and are available for advance purchase at https://lamama.org/the-first-line-of-dantes-inferno/.  Additionally, the first ten tickets for every performance are $10 each (limit 2 per person) and available first come, first served.  Performances of this World Premiere continue through February 22 at La MaMa’s Downstairs Theatre at 66 East 4th Street.  Recognized and rewarded for its support of experimental theater, this house offers comfortable seating, terrific sightlines, and even a few welcoming beverages for purchase.  

The Opening

Musical, Off-Broadway January 20, 2026 Leave a comment

The lead character of the new musical The Opening is Newton Anderson, a nerdy, sweet 17 year old. When he’s not compulsively playing chess, he’s daydreaming about his classmate Jenny or doing the homework of Jim, his best friend since 2nd grade.  His school class is the type that has a “Hot Josh” and a “Medium Josh.”  Entering a professional chess tournament presents the high schooler with an opportunity to increase his “cool” factor, a goal that feels within reach after he’s crowned as runner up.  Newton’s desire for social status and prize money begins to crowd out his genuine respect for the game.  That’s when Jim’s puerile observation concerning the shape of the bishop spawns a wild plan to beat the long reigning world champion, Carson Marlsen.  Suddenly, Newton finds his black and white world turning an unfamiliar and alarming grey. 

The events depicted in The Opening are based on a very real — though unproven — scandal between American Grandmaster Hans Niemann and Norwegian Grandmaster Magnus Carlsen that rocked the chess world in 2022 and led to new security measures at live tournaments.  True fans will recognize the names of actual players mixed in with fictionalized counterparts.  Inspired by a meme of the controversy, book writer Brooke Di Spirito and her composer collaborator Mateo Chavez Lewis initially pitched their musical concept as a joke to their writers group.  But the reactions from their creative circle were so buoyant, they moved ahead to complete what is billed as “The Second Most Famous Musical About Chess” with punny lyrics by the pair. In the script’s current form, Di Spirito takes two plot turns that defy logic, but it still provides an enjoyable journey.

A vivacious ensemble of thirteen — many making their Off-Broadway debut — is anchored by a fresh-faced, amiable Ryan Jacobs as Newton.  Dominating the stage like a brunette Thor is Harrison O’Callaghan as the man who suffers from too much excellence, Carson Marlsen.  O’Callaghan also performs the brilliant “My Queen” at Newton’s prom as crooner Marx Clarkson. Rylee Carpenter radiates such stage presence that she attracts attention in the underdeveloped role of love interest Jenny and also just participating in the ensemble.  Jake Faragalli makes the fro-yo obsessed Jim endearing even when he’s leading his friend astray.  Ed Horan and Mitchell Bruce help steer the audience through the layered chess lingo as Commentators Johnny and John.  

Ryan Jacobs (Newton) and Jake Faragalli (Jim) in The Opening;
photo by Dan Shein

According to the Chess Federation, $31,561 was raised on Kickstarter to produce the show and place ads in Playbill.  Given the obvious budget constraints and the compact size of the stage, director Nick Flatto has still gone all out to bring on the splash one hopes to see at a musical.  The rapid paced dialogue, physical humor, and R-Rated double entendres (including the clever pseudonym of a mysterious new challenger on the chess scene) get a boost from Ms. Di Spirito’s choreography which ranges from Gene-Kellylike toppling of furniture to Balanchine-adjacent entrechat.  The sound design by Brian Wedeking is inspired.  A live pit band — keyboard, guitar, drums and bass — performs directly in front of audience left.  (I was not unhappy to have foam earplugs with me.)  Lyrics contain many mentions of chess moves including, naturally, traditional openings.  Although the anthem to “Sixty-Four Squares” is reprized at least three times too often, several of the songs are catchy.  Three days later, the bouncy “If I Cheated” is still on a loop in my head. 

While the humor is juvenile and the storyline ultimately tumbles into the absurd, there is a great time to be had at The Opening.  And though this spirited work is not primarily a morality play, it does have meaningful things to say about the impact cheating can have on the cheater and on the people and things they hold dear.  The production is having its Off-Broadway Premiere through February 8 at The Players Theater, where it won the Self-Producing Residency Award.  The venue is located at 115 MacDougal Street, between 3rd Street and Minetta Lane in Greenwich Village.  It is not wheelchair accessible and restrooms are one flight down.  Running time is approximately 100 minutes without an intermission.  Tickets are $53 to $75 and can be purchased at https://theopeningoffbway.mypixieset.com/.  

Juxtapose: A Theatrical Shadow Box

Off-Broadway, Theater Event January 14, 2026 Leave a comment

At the intersection of visual art, movement, music, and the written word lives the collaborative company Happenstance Theater.  Under the Artistic Co-Direction of Mark Jaster and Sabrina Selma Mandell, the current troupe has been together for over a dozen years, creating, staging and then touring with what they term Poetic Theatre.  It’s the type of operation that includes the crew roles of Visionary Tornado (Mandell) and Minister of Thoughtfulness (Sarah Olmsted Thomas). 

Just opening in Theater B at 59E59 Theaters, their piece Juxtapose: A Theatrical Shadow Box  is inspired by Joseph Cornell with the whiff of a storyline influenced by the films of Jean-Pierre Jeunet and Jacques Tati.  The result is one of charming engagement, more about sensory experience than narrative.  Upon entry to the house, one is confronted by a large white wooden frame against a black backdrop with a collection of props on either side.  (Examples of Cornell’s work are on view near the theater door for those unfamiliar with his famous boxes comprised of found objects and ephemera.) This central structure takes on various interpretations throughout the performance, but primarily signifies the walls and halls of a lodging house at a time of widespread environmental and political upheaval.

Just like Cornell’s artwork, each scene is intricately assembled with items — a ladder, a ball, a rope — that take on meaning because of their relationship to other elements in the tableau.  The rhythm is gentle and likely unfamiliar, with dialogue playing a secondary role to other sounds as well as expansive silence.  Shape, color and space are as important as words and phrases like “odd bird,” “through the roof” and “out of the blue” take on unexpected form.   

Sabrina Selma Mandell and Alex Vernon with Gwen Grastorf in silhouette; photo by Leah Huete

The script’s structure is closer to a short story collection than a traditional stage play. Yet it is possible to discern the caring feelings that flows among the characters.  Mark Jaster’s dandy Collector has an apartment filled with natural wonders that fascinate even the uninitiated.  Upstairs is Olmsted Thomas’s Étoile, a ballerina with an anxiety disorder whom the others seek to console.  Her unusual neighbor Blue, portrayed by puppeteer Alex Vernon, uses pantomime and physical adroitness to provide joyful distraction to his found family.  Their daily rhythm is interrupted when Gwen Grastorf as Spilleth literally crashes into their lives.  Every interaction is overseen by their nimble concierge, Rosabelle, played with a commanding air by the multi-hatted Mandell.  (She also designed the costumes.)

Direction is handled by Jaster and Mandell, but this is a team sport and every player enhances the energy of the others.  They are also supported by skilled outsiders who add ingredients to the complex brew.  Madeline Oslejsek’s sound design mixes otherworldly noises with crackling radio announcements and controls the listed musical cues so that they appear to emanate from Rosabelle’s old victrola.  And lighting design by Daniel Weisglass and Kris Thompson augments the choreography and sleight of hand.

There is something remarkably expansive about witnessing Juxtapose and the evolving art form of Happenstance.  Though there is a haunting sense of jeopardy from the moment the house lights dim, the feeling that dominates is one of pulling together.  It is being performed at 59E59 Theaters, 59 east 59th Street.  Running time is 75 minutes without an intermission. Tickets are $44 for all remaining shows through January 25.  Visit https://www.59e59.org/shows/show-detail/juxtapose-a-theatrical-shadow-box/ for details and purchases.

Predictor

Off-Broadway, Play December 15, 2025 Leave a comment

Too few productions hit that magical sweet spot of addressing a pressing issue while remaining entertaining and even funny.  This is what makes Predictor such a refreshing addition to the winter Off-Broadway lineup.  Jennifer Blackmer has written an inspired bio-comedy about Meg Crane, the inventor of the home pregnancy test whose name has been all but erased by the male-led corporation that swindled her out of her patent.  Choosing her words and micro aggressions with loving exactitude, Blackmer combines fact with recognizable cultural references circa 1967 to fill out Crane’s little-known history.  It is no surprise that the 2024 winner of the  American Theatre Critics Association/Harold and Mimi Steinberg Foundation Citation for Best New American Play (for I Carry Your Heart With Me) would tell this story with artfully applied fury and humor.

Predictor featuring Jes Washington, April Ortiz, Lauren Molina (r) and Caitlin Kinnunen (f);
Photo credit Valerie Terranova

Though fans of Mad Men are well acquainted with the corporate culture of companies like Organon Pharmaceuticals, it may be hard for anyone under the age of 40 to picture a world in which a woman’s husband had to accompany her to a physician’s appointment.  Then she would wait several crucial weeks in order to know for certain whether or not she was pregnant.  Blackmer uses the popular television of the times including a Donna Reed-like family portrait and a buzzy game show to convey the impactful images and genuine emotions related to this lack of agency.  The sound design by Daniela Hart, Noel Nichols, and Bailey Trierweiler includes original music that invokes the tunes and tones used in these programs, adding an intergenerationally-familiar period element.  Cat Raynor’s scenic design features medicinal green walls, delightfully dated harvest gold chairs and an upstage glass enclosed “control booth”.   These enhance the storytelling while also providing the small stage space with an expansive feeling.  Colorfully illuminated side panels similar to ones used on TV are incorporated into the lighting design by Zach Blane.  Like parochial school uniforms— another theme from Crane’s life —  costumes by Alicia Austin consist of coordinated plaid dresses for the ladies and suits for the gentlemen who grab sweaters, jackets, and glasses to differentiate their multitude of characters.

Alex Keegan’s deft direction fits each script beat so perfectly she and Blackmer could be creative twins.  The action all takes place inside Meg’s head and has both very real and very dreamy qualities as a result.  The essential Meg Crane character is played by Tony nominee Caitlin Kinnunen, who came to prominence during her run as Emma Nolan in The Prom.  She lends that same flustered-but-right affectation to the graphic artist who finds her muse in an outer building of a pharmaceutical company.  Kinnunen is lifted up by a crack ensemble with seemingly boundless energy as they take on a broad range of supporting roles.  Lauren Molina can add “credible tears on cue” to her many hyphens with her compassionate turn as Crane’s deeply religious mother as well as Mary, a comically earnest executive assistant.  April Ortiz gives depth to the more conservative female roles including Crane’s teacher Sister Bernadette and Crane’s grandmother.  Nick Piacente is flirty and sweet as Bertie, a friendly lab assistant, and Ira, an experienced marketing executive.  Amping up the blowhard factor is Eric Tabach’s Jack, the executive to whom the home pregnancy project is assigned.  Taking on both father figures and Crane’s actual father is a down-to-earth John Leonard Thompson.  A refined Jes Washington portrays Jody, Crane’s encouraging roommate, and Lillian, a troubled secretary from Organon’s pool among others.

Predictor paints a vivid backdrop to our times when Roe is gone, Planned Parenthood is under attack, and the FDA itself is being tested.  But it also provides a portrait of a selfless and remarkable crusader and moments of genuine laughter.  While you may feel Crane’s grit and frustration, ultimately its exhilarating to share time with her and Blackmer’s sharp dialogue.  Predictor runs through January 18th at The AMT Theater, (354 W 45th St) with performances at 7PM Tuesday through Sunday and 2PM matinees on weekends.  Runtime is two hours and fifteen minutes including an intermission.  The house is small, but comfortable with good sightlines even from seats against the far wall.  Tickets ($49-$110) are available for advance purchase at www.predictorplay.com.

Lennox Mutual

Immersive Experience December 4, 2025 Leave a comment

Post pandemic lockdown, I have taken an interest in theater that can be enjoyed from home.  There are many people with mobility, childcare, and transportation issues who deserve to be thoroughly entertained.  So when I was told about an award-winning performance conducted entirely on the telephone, I was excited to learn more.  I booked three calls — the recommended minimum — with Lennox Mutual.  This fictional “life en-surance” company would have a customer service representative reach out at the agreed upon times.  Beyond that description, I did not know what to expect.

Normally, I don’t insert myself into my reviews or reveal details.  It is impossible to write about Lennox Mutual without doing a little of both.  However, I don’t believe these to be spoilers.  Each interaction with the work is dependent upon your personality, your decisions, and to some extent the actor on the other end of the phone.

Photo by Candle House Collective

My confirmation email from Lennox Mutual insisted that I remain open and honest throughout my engagement.  The only way to approach the exchanges with my “scene partners” was as Me.  Me is risk-adverse: When given the choice between a door that has obviously witnessed catastrophe and one that has music playing beyond it, I will avoid the scorch marks.  Me is also a problem solver.  When being told a descriptive, somewhat rambling story, Me listens for clues that could unlock more pieces of the puzzle rather than simply finding joy in the narrative.  

My first contact — who by coincidence or plan also conducted my final session — did a wonderful job of guiding me through the sprawling maze of story even while maintaining her AI inflection. The in-between rep seemed to do his level best to goad me into filing a complaint.  Consequently, by the end of that second sitting I felt deflated, frustrated and not at all sure I was spending my time wisely.  

Lennox Mutual was created by Evan Neiden, Olivia Behr, and Joel Meyers, and directed by Neiden along with Jacob Leaf.  It’s hard to imagine what the script looks like, but the audition process must have been a bear.  There are elements of improvisation, puzzle making, psychodrama, guided meditation, and interactive gaming, plus pure gut instinct.  Each call lasts between 20 and 25 minutes and comes from an unknown number.  You will need to be somewhere you can be alone and in dim lighting when you answer.  You should also be prepared to sing, respond to unusual questions, and complete potentially disturbing scenarios.  You will receive multiple reminders about your appointments and a safe word you can use if the conversation gets too intense.  Recordings of any kind are prohibited.

In the 1990s, I took a vacation with a friend who believed that the journey was the destination.  We would leave the hotel with my carefully crafted itinerary for the day complete with lunch reservation and well-researched potty breaks.  She would turn a corner and say, “that bus looks cool; let’s get on and see where it goes.”  If you are like her, you should definitely visit https://www.candlehousecollective.com/tickets/lennoxmutual and explore Lennox Mutual’s ticketing options.  Around the same time as that trip, I had a co-worker who loved playing Myst and The 7th Guest for hours on end.  If you are like him, you should consider the Lennox Mutual Eternity Plan with unlimited calls. Even if you are a risk-adverse completionist like Me (I had him tell me the plots once he’d completed the games), keep an eye on the Candle House Collective.  They are evolving a new theatrical art form.  These things take time.  

Archduke

Comedy, Drama, Off-Broadway December 1, 2025 Leave a comment

Of all the action leading up to World War I, the chapter most remembered by students of that era is the assassination of Archduke Franz Ferdinand, heir to the throne of the vast Austro-Hungary empire.  In Archduke, playwright Rajiv Joseph focuses less on explaining the political situation and more on the young, inept members of the assassination team.  Less interested in portraying history than in tinkering with it, Joseph compresses the time frame and leverages the lore surrounding the trio, particularly the role a sandwich played in the mythologizing of the bungled plot.

Set in the days leading up to the murder, there exists in Archduke a backbone of facts, from an overview of essential geography to pairs of uniting black gloves, a nod to the Black Hand nationalist group that aided in the real boys’ training.  Joseph recruits the Serbian Nationalist army officer and likely organizer of the plot, Dragutin Dimitrijević — better known by his nickname Apis — as a main character.  Religion is both a comfort and a tool for manipulation, with dreams, beliefs, and conscience playing roles equal to struggle for state independence.  In concentrating his story on the indoctrination of vulnerable teens, Joseph brings modern depth and understanding to a long-ago event.

Under the direction of Blanka Zizka, the artistic production at Philadelphia’s Wilma Theater in the spring was steeped in Eastern European influence. Serious themes of violence and conflict were mixed with theater of the absurd and old fashioned clowning.  Two middle aged women took on the roles of Gavrilo (Suli Holum) and Nedeljko (Sara Gliko) skillfully infusing their characters with adolescent discomfort.  The third less showy would-be assassin, Trifko, was played with comparable gravitas by Barrymore Award winner Brandon J. Pierce.  Steven Rishard with his Baldwinesque delivery portrayed Apis as a blustering moody fatherly figure.  For the lone female, Apis’s housekeeper  Sladjana, Zizka employed Black company member Melanye Finister, who gave the character a true touch of the Black Arts.

There was heavy emphasis on 3-D imagery designed by Jorge Cousineau to augment Thom Weaver’s traditional lighting that illuminated the vast dark space.  Intense projections reminiscent of the black light shows of the Czech Republic were among the most memorable features. So mesmerizing were the effects and so memorable were Zizka’s choices that the visual impact upstaged whatever was on the page.

I had the opportunity to revisit Archduke as Roundabout’s Off-Broadway fall offering.  Their rendition is directed by Darko Tresnjak who was born in Zemun where much of the action takes place.  As his set designer, he chose to work with frequent collaborator Alexander Dodge who emphasized topographical and language boundaries to set the scene.  More like acrobatics, the fight scenes with movement by Rocío Mendez have dance-like athleticism.  Gavrilo’s haunting visions are given aural presence in Jane Shaw’s sound design, but the images are left to our imagination.  

Patrick Page, Jason Sanchez, Adrien Rolet and Jake Berne in Archduke; photo by Joan Marcus

Tresnjak’s Gavrilo and Nedeljko are Jake Berne and Jason Sanchez, young men making their Off-Broadway debuts.  The third assassin in training is portrayed by Londoner Adrien Rolet in his first professional role.  There is a delightful freshness to all three performances.  As for the calculating Apis, Patrick Page, whose voice has become synonymous with chilly seduction, gives him a lowkey “I’ve got this” vibe.  Another Broadway vet, Kristine Nielsen, gnaws on Sladjana’s lines, coming across like a bewitched herbalist.

That two respected companies in two terrific theater cities — Philly’s Wilma and New York’s Roundabout — chose to include Archduke in their 2025 season is significant.  In a way, the script shares characteristics with the history that inspired its writing.  It isn’t the strongest of Joseph’s work which makes it ripe for differing emphasis and interpretation.  With all the talk of masculine toxicity taking up space in our national conversation, it’s important to be reminded that free will can overcome even the most enticing manipulation.

Archduke continues at the Laura Pels Theatre, 111 West 46th Street, through December 21.  Running time is about 2 hours with one intermission.  Tickets start at $69 and can be purchased at https://www.roundabouttheatre.org/get-tickets/2025-2026-season/archduke.

Friends! The Unauthorized Musical Parody

Comedy, Musical, Off-Broadway November 24, 2025 Leave a comment

My friends will confirm:  I am not a Carrie, Miranda, Charlotte or Samantha.  I am a Monica.  If that doesn’t conjure up a distinct image, Friends! The Unauthorized Musical Parody is not for you.  If I have to explain that the plot revolves around six 20-somethings living a suspiciously upscale lifestyle in 1990s Manhattan, you are unlikely to be in on the jokes.  From the Smelly Cat cocktail onward, this two-hour jovial send-up is for fans who indulged in repeated TV viewings (thank you streaming).  The current open-ended Off-Broadway run began in 2021 and has spawned productions across the country and overseas.

The current core cast members — Francesco DiFlora, Anthony Gjelaj, Corinne Holland, Piper Loebach, Sam Massey, and Briana Sky Riley — remind us how gifted actors give their all for love of the craft in its myriad forms.  They have wonderfully clear voices and terrific timing beyond what is required for a light-as-a-feather production like this one.  DiFlora in particular must be eating his Wheaties (or whatever kids do these days) taking on a host of supporting roles along with the much beloved Chandler Bing.  And Holland’s Phoebe gets that hopeful opening guitar strum just right every time.  Andie Angel played the suitably thankless role of Gunther at the performance I attended.

The book by Bob and Tobly McSmith isn’t particularly clever, instead leaning into token tributes to every trope and tag line of Friends’ 10 year run.  Their lyrics set to Asaf Gleizner’s music are sharper, with the winking “495 Grove Street – How Can We Afford This Place?,” an ode to Pivoting, and a salute to salaries — set to a tune quite similar to one sung by a very different group of buddies — providing highlights.  The pre-recorded back-up chorus (sound design by John Hartman and Brad Sievers) adds depth in the shallow house.

Director Ryan Barto keeps things moving on the singular set with flipping panels that switch between Central Perk — New York City’s only coffee shop — and Monica’s spotless apartment complete with purple front door. There is not much in the way of character development.  The assumption is you know these people as well as you know your actual friends.  But the wigs by Conor Donnelly do more than the usual share of heavy lifting when it comes to helpful visual reminders.  

Friends! The Unauthorized Musical Parody is to the performing arts as Cheez Doodles are to Époisses de Bourgogne.  It offers suitable bang for the buck and goes down well with a Janice Double Wine.  The show is playing at the Jerry Orbach Theater, 210 West 50th Street, 3rd Floor.  The seats are softer than a sofa found in an alleyway, but the staff is as warm and gracious as the one at the newly reopened Waldorf.  Running time is approximately 2 hours with one intermission.  Content is PG-13 and will be funniest to those fluent in Friends culture.  Tickets are currently on sale through January 1 at https://www.friendsoffbroadway.com/ which often has BOGO offers.