Category Archives: Off-Broadway

Titus Andronicus

Drama, Off-Broadway, Shakespeare March 30, 2026 Leave a comment

Titus Andronicus was Shakespeare’s first “stab” at tragedy.  Unlike his soon-to-arrive Romeo and Juliet, it has no characters to fully invest in and bears many of the hallmarks of a brilliant and driven playwright who has not yet grasped the subtle art of developing a tragic hero.  The excitement is derived from the adrenaline of brutality, a device not apparent in the rest of his Folio. In fact scholars now think that Act 1 (maybe more) was written contemporaneously with George Peele.

The title character is a brave General in the Roman Army recently returned victorious over the Goths.  In front of his captives including the Goth’s Queen Tamora and her paramour, the Moor Aaron, he orders the Queen’s eldest son to be butchered as a religious sacrifice to honor those lost in battle.  This act of cruelty immediately earns the military leader two calculating enemies and sets off a cycle of chaotic and bloody revenge.

I have recently taken up needle felting.  It’s wonderfully cathartic to stab something beautiful into being.  I imagine Red Bull Theater’s Artistic Director Jesse Berger must have felt a similar tug towards reshaping Titus Andronicus after absorbing current events.  As director, he has used the flatness of the characters to craft an experience akin to a live video game illustrating the purposeless of vengeance and violence.

The period has been updated to a time of business attire, smooth jazz and neon chandeliers.  The escalating blood lust is reflected in all the creative elements from the bright red accessories of Emily Rebholz’s costumes to the torture instrument design of the bows by Anya Kutner.  Sounds orchestrated by Adam Wernick that could be wind or whispers whisk around the pillar-trees by award winning set designer Beowulf Boritt.  These solid white elements are given eery tone with lighting by Jiyoun Chang.

Adam Langdon, Amy Jo Jackson, Jesse Aaronson in Titus Andronicus; photo by Carol Rosegg

Literally frothing at the mouth as Titus Andronicus is the Shakespeare-fluent and magnetically edgy Patrick Page.  But this has always been an ensemble work and Berger’s entire cast deserves a chef’s kiss for their commitment to his giddy vision.  Many moments are positively hilarious, a word rarely applied to this play.  When Matthew Amendt’s Saturninus accepts the Emperor’s crown with a goody-goody-gumdrops of delight you know this is not your great-great-great-great-grandfather’s production.  Likewise the purring of Francesca Faridany’s Tamora who’s slide into death is perfection. Also of note are the smirking Jesse Aaronson and Adam Langdon who skin-crawlingly out “Bro” each other as Tamora’s sadistic sons Chiron and Demetrius.  McKinley Belcher III portrays Aaron in a more classic style as befits his more traditional path to villainy.  Many actors play multiple parts.  A character map and “about” pages are provided to help you keep track of the relationships along with 430 year old spoilers and trigger warnings.  A more complete content advisory is posted on the Red Bull Theater website.

Popular in its day, Titus Andronicus still appeals today in the lurid vein of tabloids and clips on Musk’s X.  Berger’s interpretation smartly puts what could be melodrama through Martin McDonagh’s black comedy grinder to serve up something rip roaringly entertaining.  Performances continue through April 19 at The Pershing Square Signature Center’s Alice Griffin Jewel Box Theatre (480 West 42nd Street).  Running time is a little over 2 hours including a 15 minute intermission.  There is more legroom though less rake at the entry aisle F.  Aisles are used for entrances, so there are multiple reasons for wanting to keep your arms and legs to yourself.  Tickets start at a welcome $49.  Visit https://www.redbulltheater.com/titus-andronicus-off-broadway to make a purchase or to get more information.

Monte Cristo: A New Musical

Musical, Off-Broadway March 23, 2026 Leave a comment

In The Count of Monte Cristo, an 1846 book by Alexandre Dumas, revenge is a chef’s tasting menu of dishes best served cold.  In Monte Cristo, a new musical by Peter Kellogg and Stephen Weiner, the story is more of a warming dinner served family style with an emphasis on dessert.  2026 would seem the perfect time to become reacquainted with this clever complex tale about the abuse of power, the influence of the rich, and the self-destruction that can accompany vengeance.  With its false facial hair, a backdrop that flaps in the A/C, and a clownish bi-curious detour, this interpretation bears more of a resemblance to Bugs Bunny’s take on the Barber of Seville: pleasing, diverting and just a little silly.

After a short prologue, the piece flashes back to 1815.  A projection announces that Napoleon has been defeated and he is “not happy”.  As in the classic tale, three men, each with his own selfish motive, conspire to get the well-meaning but naive Edmund out of the way.  Fernand wishes to marry Edmund’s fiancé, Mercedes.  Danglars feels he is entitled to Edmund’s impending promotion to captain.  After the pair hatch a plan to make it appear that Edmund is a traitor, their forged letter falls into the hands of the prosecutor, Villefort. He too has a reason to act dishonorably on what he knows to be false information.  The book and lyrics by Peter Kellogg skillfully handle the brooding years between Edmund’s arrest and the rest of the action, with a tone that often swings between gravity and levity.

Sierra Boggess and Adam Jacobs in Monte Cristo; Photo by Shawn Salley

Songwriter Stephen Weiner has put together a lilting but largely forgettable score.  (My plus-one described it as “groundbreaking for 1955.”)  Though opening with the promising “Dangerous Times” there are no big showstoppers.  Fortunately, casting director Andrea Zee  has secured a top flight ensemble who give their all.  At the helm of this ship is the smooth-voiced Adam Jacobs as Edmund.  He approaches act one with smiling good nature and becomes visibly hardened in the second half.  As the innkeeper’s wife, Carconte, Karen Ziemba, is a standout both lyrically and comically.  Kate Fitzgerald has her fun with the vapid Eugénie.  But disappointingly the former Broadway Phantom Norm Lewis’s talent is squandered as Villefort, participating only in a reprise of “One Small Thing” and then saddled with the fiddly solo “A Great and Noble Man.”  The rest of the cast includes Sierra Boggess as Mercedes, James Judy as Danglars, Jadon Lopez as Albert, Stephanie Jae Park as Princess Haydee, Eliseo Roman as Morrell, Danny Rutigliano who gets the most amusing numbers as innkeeper Caderousse and prisoner Abbe, and Daniel Yearwood as Fernand, the most interesting of the three betrayers.  Those in smaller roles take on multiple parts.

Sense of place is particular well illustrated by Siena Zoë Allen & Amanda Roberge’s costumes which not only denote class, but change from country print to Parisian elegance.  The scenic design by Anne Mundell has three main areas that are repurposed with projections designed by Shawn Duan and roll on set pieces.  Director Peter Flynn uses the spaces and his talent to maximize the pace of storytelling.  Joanna Lynne Staub’s sound includes the slight echo required for the dungeon scenes.  

While not likely destined to be the next Les Miz, Monte Cristo is a satisfactory crowd pleaser.  With its appealing story, easy to assemble set and well utilized cast, I could see it making a terrific touring production.  For now, you can find The York Theatre’s presentation at the Theatre at St. Jean’s, 150 E 76th Street between 3rd and Lexington Avenues.  The venue is down a short steep flight of stairs, but there is an elevator entrance on the 75th street side of the church. Current running time is 2 hours and 20 minutes including intermission.  The limited engagement through April 5 is quickly selling out. Tickets range from $29 to $85 and can be purchased at https://www.yorktheatre.org/monte-cristo-2025.  

Spare Parts

Off-Broadway, Play March 16, 2026 Leave a comment

In Spare Parts, a well-meaning Columbia University Assistant Professor and a dedicated graduate student are studying the aging process; experimenting with possibilities for slowing or reversing it.  As with many such studies, they have received a government grant and had success with lower organisms.  But a potential billionaire investor is ready to skip all the usual precautions and move straight on to a human subject: HIM.  He’s 64 with high blood pressure and simply doesn’t have the patience or the NEED to wait.  Along with his younger and more emotionally intelligent assistant, he has summoned the academics in hopes that his money will move them along.

The concept is sadly timely, with Peter Thiel, Jeff Bezos, and Sam Altman among those eagerly backing anti-aging ventures.  Playwright David J. Glass is a medical professional and has drawn on his first-hand experience at both a biotech company and Playwrights Horizons to forge a unique narrative path.  The result is a wild blend of life questions.  While the probing of ethics is enticing — especially during our period of deception — it is the exploration of the purely human realm that gives this play heart.  There are a few places in the script where the storytelling is a touch inelegant, but for the most part it’s impressively paced given that this is a 95 minute play and not a three-part mini.  

While the content vibrates with originality and intrigue, the direction by Michael Herwitz erodes the impact.  Actors are sometimes stretched out across the long, shallow space, diminishing the electricity between characters.  Worse is in the unimaginative and downright confusing set by designer Scott Penner.  Various locations slosh around on top of one another without so much as a color shift in Zack Lobel’s serviceable lighting to differentiate the location.  My I-Give-Up moment with the staging occurred when the the walls became doors thanks to PVC strips that flap upstage.  The thumping original synth music by Ryan Gamblin overwhelms his futuristic soundscape.

Matt Walker, Jonny-James Kajoba, Michael Genet and Rob McClure in Spare Parts; Photo by Russ Rowland

Fortunately the cast more than holds up their end of selling the story.  While the draw is frequent award nominee Rob McClure, his talent outweighs the needs of Professor Coffey.  Similar to their characters’ dynamics, he is outshone by Matt Walker in a delicious layer cake of a performance as assistant Jeffrey Jordan.  Perhaps it is Walker’s actual Ph.D. in genetics from Columbia University that makes him appear so comfortable while embodying such an awkward personage.  As billionaire Zeit Smith, Michael Genet understands how to portray a character with troubling intentions without stepping over the line into melodrama.  Most admirable is Jonny-James Kajoba’s turn as Ivan Shelley, Zeit’s faithful protégé.  (How I wish I’d seen his Lady Bracknell!)

Spare Parts is certainly not easy to peg, which makes it exciting even for frequent theater attendees.  Whatever discomposure is brought on by the indecent proposal is more than offset by the satisfaction of an unexpected journey.  The limited engagement of this comedy/drama/mystery/horror show has been extended through April 30 in Theatre Three in Theatre Row, 410 West 42nd Street.  Prices range from $39 “cheap seats” to $129 for the premium section.  There is little rake in the first four rows followed by sufficient rise, along with better than average leg room throughout the house.  Visit https://www.sparepartsplay.com/ for more information.

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 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.

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.