The Unforgettable Line

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.

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.

Meet the Cartozians

Drama, Off-Broadway November 19, 2025 Leave a comment

What establishes our identity? Skin color? Language? Scientific evidence? In a country comprised primarily of immigrants, how do we balance our cultural heritage with our recognition as Americans? In Meet the Cartozians, Talene Monahon, “a playwright of actor descent,” explores these weighty and often murky issues with keen insight and a knowing sense of humor using an Armenian family as her instruments. With its complex history and even more complicated geography, Armenia provides a wellspring of arguments about nationality, culture, and sense of self. And if the play’s title brings to mind the most famous Armenian American of all, that, too, is very intentional.

In Act 1 we meet Tatos Cartozian, a character based on the man who was at the center of an Oregon court case in 1924. As was true for the real Tatos, Monahon’s variation has been classified as a non-white Asian and on those grounds had his citizenship revoked. It does not help his argument that his company makes Persian “oriental” rugs and employs “Islamics”. To say more would detract from the delights of experiencing the reasoning of the family — Tatos’s mother Markrid, son Vahan, and daughter Hazel — along with their lawyer Wallace McCamant as he guides them in their preparation. Monahon’s ear for dialogue and director David Cromer’s meticulous direction of each exchange should be freshly savored.

Act 2 takes place 100 years later in the Glendale, California home of Leslie Malconian. Several other Armenian Americans have been asked to gather with her to discuss and celebrate their ancestral heritage. Their conversation will be featured in a special holiday episode of a wildly popular reality television show. Despite the passage of time as well as that of many congressional bills, the subject of whiteness is no less thorny. But it has taken on a very different hue.

The same six actors — Raffi Barsoumian, Will Brill, Andrea Martin, Nael Nacer, Susan Pourfar, and Tamara Sevunts — play parts in both acts. Martin delivers her characters’ retorts with the wry “who me?” inflection we’ve come to expect from the seasoned comedian. Fellow Tony winner Will Brill gets even bigger laughs with his quiet earnestness. But a work this dialogue-heavy only succeeds because of the talent of the entire ensemble. The 2 ½ hour piece sails along at a satisfying clip.

Will Brill, Andrea Martin, Nael Nacer in MEET THE CARTOZIANS ; Photo by Julieta Cervantes.

The artistry behind the scenes is equally accomplished, particularly Enver Chakartash Act 2 costumes in relation to their Act 1 counterparts. Scenic designer Tatiana Kahvegian creates the illusion of expansive depth in both living room settings. Stacey Derosier’s lighting shifts from the muted tones of low watt bulbs and filtered sunlight to the intensive glare of actual spotlights.

Those who, like me, consider our country to be less of a melting pot and more of a stew — with distinct ingredients that complement each other — will find the brainy banter of Meet the Cartozians a sparking and engrossing entertainment. The story also serves as eye-opening education as we witness a renewed struggle against those who wish to “preserve America’s white, Christian identity”. It’s an auspicious opening for the 47th Season for celebrated 2nd Stage. Performances continue through December 7 in the Irene Diamond at the Pershing Square Signature Center, 408 West 42nd near 10th Avenue. The house is comfortable and well raked, but noticeably breezy. Tickets begin at $86 and can be purchased at https://2st.com/shows/meet-the-cartozians#info.

Robert Icke’s Oedipus

Broadway, Drama, West End November 14, 2025 Leave a comment

Restrict your liquids and buckle up for the ride. Robert Icke’s multiple Olivier Award Winning Oedipus has landed on Broadway. The writer/director phenom transforms the 2500 year old Greek myth to tell the story of Oedipus, a warm and ambitious politician on an election night that should be full of celebration. Though he is an immigrant whose marriage to the widow of former ruler, Laius, has prompted gossip, his messages of acceptance and affordability have resonated with the voting public. A landslide victory is all but assured. Yet his promises to release his birth certificate and to investigate Laius’s death have stirred concerns among those closest to him. Oedipus’s own uneasiness begins to rise when a futurist cult member, Teiresias, is admitted to campaign headquarters and utters a series of dire warnings. To ensure the now-set ominous mood remains unbroken, the two-hour political thrill ride has a strict no late seating, no re-admittance policy.

Mark Strong and Lesley Manville in *Oedipus*; photo by Julieta Cervantes.

On stage for the majority of the running time, Mark Strong manifests a charismatic Oedipus, whose worthy purposefulness has a pronounced shadow side. His chemistry with the radiant Lesley Manville as Jocasta makes their critical relationship positively pop off the stage. Jordan Scowen, James Wilbraham and particularly Olivia Reis are terrific as their flawed offspring Eteocles, Polyneices, and Antigone. (No Ismene exists in this edition.) Joining the production for the US run is the steady John Carroll Lynch as Creon, Oedipus’s affable campaign manager and brother-in-law. Bhasker Patel brings stateliness to the faithful Corin. Though his appearance is short, Samuel Brewer makes an affectively disturbing Teiresias. While it is truth that Merope is supposed to be stressed and guilt-ridden, the usually stellar Anne Reid could use a bit of an energy boost to reach the cheap seats.

As an extension of the election night conceit, the lease is up on Oedipus’s campaign quarters. This allows for the poetic disassembly of Hildegard Bechtler’s industrial modern set, starting with draining the color out of the space. To illustrate the initially relaxed state of the characters, costume designer Wojciech Dziedzic has primarily adorned the family members in athleisurewear, with the formal attire set out for the approaching victory. Tal Yarden’s videos add realism and reminders. The ticking clock and mood music incorporated in Tom Gibbons’ sound design is aural gilding of the tension lily.

For those unfamiliar with Studio 54 (254 West 54^th Street), there are a few features to keep in mind. The acoustics are particularly good throughout the space. Though they get you closest to the action, there is almost no rake in the first dozen rows of the orchestra. The front mezzanine, with the previous chair back only reaching to ones knees is a strategic alternative. But the steepness of the stairs left some white knuckling the handrail.

Apologies to Liam Neeson, but it really takes a particular set of skills to tell a story with an ending so infamous it has its own complex and still keep an audience on the edge of their seats. By tethering the tragedy of Oedipus so beautifully to today, Icke infuses what could be a cold classroom flashback with deep humanity and chilling emotion. Tickets are being sold for performances through February 8, 2026. Visit Oedipustheplay.com for details and to purchase tickets.