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.
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.
The Unforgettable Line 
Bobbie Clearly
We are seated in the Milton Community Center witnessing the making of a documentary. Ten years ago, this small Nebraska town was rocked when the title character of Bobbie Clearly shot and killed Casey Welsh when she was 16 and he 14. For nearly 2 1/2 hours, we will hear from Bobbie and ten others about what led up to that horrific event and beyond it to present day. It will be as hard to see the next turn in their stories as it is to navigate the tall fields of corn where Casey’s body was found.
Avoiding the pitfalls of some of the seasons other issues-oriented productions, Bobbie Clearly focuses on the violent act’s human impact rather than on the shooting itself. Playwright Alex Lubischer has generously peppered his moving script with moments of humor, taking care to treat his characters with affection even when poking fun. Though primarily delivered in interview format (to an unseen host), the relationships sparkle. There are times when two people are telling separate segments using identical phrases, shining a light on the importance of context. Lubischer also captures a common progression of high school friendships, following four of Bobbie’s classmates from their summer jobs corn detasseling through their awkward fundraisers in Casey’s memory. Further, there is a profound exploration of the link between religion and forgiveness. Most importantly in this delicate time, Lubischer is careful not to take a stand on guns by making Casey’s father, Stanley, take delight in hunting as a distraction from his grief.
The entire cast is terrific, beginning with Ethan Dubin who — though used sparingly — manages to be both sweet and disturbing as Bobbie. Many will recognize the magnificent Constance Shulman from her equally wonderful ensemble work in television including Orange is the New Black. With her tiny wiry frame and high-pitched croak, she makes an unusual police officer, which is perfect given the unconventional bond she develops with Bobbie from the time he was the Sunday school bully to the day he makes his best attempt at repairing the huge hole he has ripped in his community. Her intensity is balanced by the performance of JD Taylor as Bobbie’s misguided and slightly goofy Big Brother Derek Nelson. As BF(F?)s and mismatched bookends Megan and Meghan, Talene Monahon and Sasha Diamond play off each other with great timing. And Tyler Lea taps into both vulnerability and inner strength as Casey’s younger brother, Eddie, the only witness to the murder.
The piece is performed in 3/4 round with what are essentially service doors to the space serving as entrances and exits. As directed by Will Davis, the energy flows consistently even through the silences. He may also be responsible for the brilliant choreography of two critical dance numbers, which call for very special talent. Kudos to Asta Bennie Hostetter for finding such great costumes-on-a-budget for those numbers as well as the more everyday items that fill in character details. Providing unsettling atmosphere are the smothering walls of dried corn that almost exclusively comprise the minimal set by Arnulfo Maldonado.
At $25 a ticket, Bobbie Clearly is superb bang for the theatrical experience buck. The play is presented as part of Roundabout Underground at The Black Box Theatre and is sure to keep developing its strengths. If you are looking for a who dunnit or even a why, look elsewhere. However, this slow-burn storytelling and honest examination of what is ultimately unknowable will leave you with your thoughts turning. For tickets, on sale through May 6, 2018, and information visit https://www.roundabouttheatre.org/Shows-Events/Bobbie-Clearly.aspx.