The Baker’s Wife

 The Baker’s Wife
Classic Stage Company
November 15, 2025

Photo courtesy of Classic Stage Company

The Classic Stage Company production of The Baker’s Wife is lush, romantic, and heartwarming.  This Joseph Stein / Stephen Schwartz musical was originally scheduled to open on Broadway in 1976, but, due to numerous production challenges, never did.  Joseph Stein’s book is fresh and vivid.  Stephen Schwatrtz’s music and lyrics are emotionally stirring.  The collaboration between director Gordon Greenberg and choreographer Stephanie Klemons gives this gem of a musical the life it deserves.  The staging is brilliant, and the stellar cast is superb. 

The people of a small village in France gather to welcome the new baker, Aimable (played by Scott Bakula), and his much younger wife, Geneviève (played by Ariana DeBose).  Since the previous baker’s passing, they have all missed the enticing aroma of fresh baked bread pervading the air in the early morning.  Aimable exceeds everyone’s expectations with his breads, croissants, and sweet pastries.  When Dominigue (played by Kevin William Paul) stops into the bakery to pick up the Marquis’ order, he is smitten by Geneviève.  He tries to charm her, but she makes it clear that she is married and not interested.  This does not discourage Dominique.  He continues to pursue her, until she finally gives in and runs off with him.  Aimable is heartbroken and unable to bake any longer.  The people of the village unite to find Geneviève and bring her back.    

Ariana DuBose
Photo courtesy of Classic Stage Company

Ariana DuBose and Scott Bakula are amazing together as Aimable and Geneviève.  Their bond is strong from their first entrance, and their mutual affection is palpable.  As the audience gets to know them, the flaw in their relationship that allows Geneviève to succumb to Dominique’s masculine charms becomes evident.  Geneviève comes to a solemn realization after leaving her husband.  Ms. DuBose plays this moment with sincerity in the song “Where is the Warmth?”  Scott Bakula genuinely portrays Aimable’s broken heart when Geneviève leaves him.  He goes into deep denial, causing a lethargic depression.  The scene where he is reunited with Geneviève is skillfully written, exposing the intense despair and betrayal felt by Aimable.  Mr. Bakula plays this flawlessly, masking his feelings, then igniting an emotional outburst, then finally addressing his wife with direct honesty.  

Ariana DuBose, Scott Bakula, & the Cast
Photo courtesy of Classic Stage Company

The passion of the full story is explored through the people of this small village and how they open their hearts to the new baker and his young wife.  Judy Kuhn is endearing as Denise.  Her husband, Claude (played by Robert Cuccioli), continually takes her for granted.  The love for his wife is rekindled when Geneviève returns to Aimable.  It is a heartwarming moment.  Alma Cuervo is feisty as Therese, who comes to her senses and leaves her emotionally abusive husband, Barnaby (played by Manu Narayan).  This adds sadness to the otherwise happy ending, yet completes the story with a simple layer of reality.  All the people of the village transform through their experience with the baker’s loss and reunification with his wife.  Mr. Narayan and Mr. Cuccioli develop a comically antagonistic rapport as Barnaby and Claude that resolves itself when they partner to search for Geneviève.  There are also outstanding performances by Arnie Burton, Kevin Del Aguila, Nathan Lee Graham, Sally Murphy and Kevin William Paul.

Judy Kuhn
Photo courtesy of Classic Stage Company

The scenic design, by Jason Sherwood, is ingenious.  It surrounds the Classic Stage Company three-quarter space, fully enveloping the audience in the atmosphere of this small French village.  It is a quaint and warm setting, and beautifully executed. 

The Classic Stage Company production of The Baker’s Wife has been extended through December 21.  Ariana DuBose’s moving rendition of “Meadowlark” in the first act is not to be missed.  Get a ticket right away!  

Domenick Danza

The Tragedy of Hamlet, Prince of Denmark

 The Tragedy of Hamlet, Prince of Denmark
City Gate Productions
Stone Circle Theatre
November 13, 2025

Photo courtesy of City Gate Productions

City Gate Productions’ The Tragedy of Hamlet, Prince of Denmark is a concise and beautiful rendition of Shakespeare’s classic tale.  Cut down to two and a half hours (with intermission), it sharpens the focus on Hamlet’s journey through madness and indecision.  The cast builds strong relationships, creating truthful moments of camaraderie and betrayal.  There is a constant presence of death, surrounded by the grief and despair it produces.  Director Jim Haines creates a vibrant dramatic tension that keeps the play moving at a tight pace. 

Hamlet (played by Gage) is saddened by the death of his father, King Hamlet, which is magnified by the outrage he feels over the marriage of his mother, Queen Gertrude (played by Senam Erfani), to his father’s brother, Claudius (played by Gilberto Ron).  After Horatio (played by Margaret Leisenheimer) tells Hamlet she saw the ghost of his deceased father (played by Mike Sause), Hamlet seeks him out the following night.  The ghost of the King tells Hamlet that he was murdered by Claudius.  Hamlet must take revenge.   

Gage as Hamlet
Photo courtesy of City Gate Productions

Gage is grounded and melancholy as Hamlet.  The levels of the character’s madness are played through humor, sudden rage, and intense introspection.  These choices create a truthfulness in the grief Hamlet is experiencing due to the death of his father.  Gage creates genuine bonds with Ophelia (played by Naomi Yuchi Townsend), Rosencrantz (played by Francoise Traxler), and Guildenstern (played by Josh Saffram Sedecca).  The vitality of these relationships deepens Hamlet’s grief after Ophelia’s suicide and heightens his determination after the betrayal by Rosencrantz and Guildenstern.  Gage skillfully portrays these moments, utilizing that increased sense of loss to propel the action forward. 

Naomi Yuchi Townsend is fiery and independent as Ophelia.  She creates moments of defiance between herself and her father, Polonius (played by Bill McAndrews), and builds a sensitive and touching bond with her brother Laertes (played by Matt Tijmstra).  The scene between Ms. Townsend and Senam Erfani’s Gertrude is heartbreaking.  Ms. Erfani shows a different side of Gertrude when facing Ophelia’s loss of reality over the murder of her father. 

Gilberto Ron, Sanam Erani, & Gage
Photo courtesy of City Gate Productions

Gilberto Ron makes bold choices for Claudius in the scene where he kneels in prayer.  It is his strongest scene, which Gage successfully rises up to when Hamlet enters and attempts to murder him.  Both characters grapple with inner conflict, giving this scene a focused tension.

The humor is high in the gravedigger’s scene, and Friedrich Steinem and Semaj Seniah play it for all they can.  When Hamlet and Horatio enter, the tone shifts to the reminiscence of fond memories, then dives into despair as Ophelia’s funeral procession approaches.  The despair quickly revs up to anger and retaliation.  It is effectively directed and full of emotion. 

The City Gate Productions presentation of The Tragedy of Hamlet, Prince of Denmark is playing at Stone Circle Theatre (aka Ridgewood Presbyterian Church, 59-14 70^th Ave., Ridgewood, Queens) through November 23.  It is easily accessible through public transportation and well worth the trip. 

Domenick Danza

Queen of Versailles

 Queen of Versailles
St. James Theatre
October 29, 2025

Photo courtesy of Queen of Versailles

The Queen of Versailles is a strikingly dark tale of wanting more and never getting enough.  Based on the documentary film of the same title, it tells the story of Jackie and David Siegel.  The music, by Stephen Schwartz, captures the essence of the characters and environment.  His lyrics illuminate that fine line between need and greed, which grows wider as the story progresses.  Lindsey Ferrentino’s book tells the callous story of these characters, where they came from and what drives them.  Director Michael Arden focuses this cast on deliberately displaying their truths, no matter how self-centered they might be, making this musical a bleak and truthful telling of the state of our present society.  

Kristin Chenoweth as Jackie Siegel
Photo courtesy of Queen of Versailles

Jackie (played by Kristin Chenoweth) is building the largest home in America.  It is designed to replicate the Palace of Versailles, and she will be Queen.  Her husband, David (played by F. Murray Abraham) made his billions by selling time shares in Florida.  When they meet, Jackie is a single mother.  She vows to give her daughter everything she could imagine.  After marrying David, Jackie is able to do that.  As her daughter, Victoria (played by Nina White), grows up, she is satisfied with having less.  This does not stop Jackie, who is unaware of anyone but herself.  When the stock market crashes, they lose everything.  David puts Versailles up for sale, even though it is still under construction.  Jackie refuses to accept this, and ends up sacrificing more than she expected in order to get it back.

Photo courtesy of Queen of Versailles

Kristin Chenoweth does a remarkable job in the role of Jackie.  The character has no redeeming qualities, yet Ms. Chenoweth gets the audience on her side.  She draws them into Jackie’s dreams of wealth and power, and makes them believe she deserves it all.  She and F. Murray Abraham are excellent together.  Their marriage is a mutually beneficial partnership.  They are in it for the long haul.  The relationship is clear and resilient, yet not based on love or passion.

Nina White is riveting as Victoria.  She grapples with the family’s wealth and pretension, while longing for her mother’s love and acceptance.  She has two of the strongest songs in the score (“Pretty Wins” and “Book of Random”) and delivers them both with a dark and unapologetic understanding of reality.  Her performance is evenly matched by Tatum Grace Hopkins, who plays her cousin, Jonquil.  There is animosity between them when they first meet.  Jonquil is dazzled by the family’s wealth.  When tragedy strikes, the two of them bond.  It is a genuine and touching moment.

Melody Butiu plays Sofia, the nanny.  The complexity of this character is found in her need to work for this family and her desire to return to the Philippines to be with her children.  Ms.  Butiu beautifully layers her performance to give sudden and honest glimpses into her loss and need. 

Pablo David Laucerica & Kristin Chenoweth
Photo courtesy of Queen of Versailles

There are excellent performances by Stephen DeRosa, Greg Hildreth, Isabel Keating, and a very strong ensemble.  The most potent scenes take place in the Palace of Versailles with Louie XIV (played by Pablo David Laucerica), Marie Antoinette (played by Cassondra James), and their full court.  The parallels of the characters and events are perfectly drawn.  It is a stark warning about our present political and economic situation.  The message is vital, yet extremely uncomfortable to sit though.

The Queen of Versailles is playing at the St. James Theatre.  It is a stunning musical with a bleak theme told through a shamefully honest perspective.

Domenick Danza

Orlando: A Rhapsody

Orlando: A Rhapsody
Paradise Factory Theater
November 6, 2025

Photo courtesy of Orlando: A Rhapsody

Orlando: A Rhapsody is a unique and profound exploration of the work and philosophy of Virginia Wolf.  The piece pulls from several of her texts and is written and performed by Vinora Epp and Steven Epp.  This father/daughter team create genuine moments, while discussing and debating various points of view.  It is truly mesmerizing, transporting the audience to a higher realm of thought.  As a director, Vinora Epp has a mastery of the material and a clear purpose for the play.  Its journey is lush, personal, emotionally engaging, and intellectually stimulating. 

While the audience files in and gets comfortable, an older male (Steven Epp) is sitting on a stack of books, reading a Virginia Wolf novel.  A young woman (Vinora Epp) calls for the performance to begin.  She introduces herself and the man reading, who is her father.  She tells of her childhood memories and the spaces she inhabited.  She grew up in the theater, watching her father perform Hamlet.  They prepare to tell Virginia Wolf’s Orlando.  They decide that Vinora will play the younger Orlando, and Steven will portray an older version of the character.  They dive into Virginia Wolf’s texts.  Vinora embodies the character of Orlando, while Steven brings the text of Virginia Wolf’s The Waves to life.  This meshes Orlando’s youthful fervor with a perspective on aging and the passing of time.  This dichotomy continues throughout the piece, as they discuss Orlando’s gender and Virginia Wolf’s viewpoint on fiction.   

Vinora Epp & Steven Epp
Photo by Arin Sang-Urai, courtesy of Orlando: A Rhapsody

At one point Vinora states, “The story is the thing needed,” which prompts Steven to recall his childhood theatrics that motivated him to a life in the theatre.  It is in this section of the performance where these two extraordinary artists engage in dialogue about the relationship between fiction, gender, and theatre.  According to Ms. Epp, this was the driving subtext of the piece and her inspiration for its development.  This final section brings that subtext into direct conversation.  Their points of view are from different generations, offering a point of entry for every member of the audience.  As a perspective you relate to is voiced, you open to contemplating a point of view you did not consider before.  Through this discourse, the visceral journey of the play crystallizes.  You become part of the revelation of a larger frame of thought. 

Vinora Epp & Steven Epp
Photo by Arin Sang-Urai, courtesy of Orlando :A Rhapsody

Vinora Epp and Steven Epp are an amazing duo.  They invite you into their thought process.  You feel welcome and challenged by their insight and wisdom.  It is an incomparable and enthralling experience. 

Orlando: A Rhapsody is playing at Paradise Factory Theater (64 E. 4^th St, NYC) through November 22.  Get a ticket right away.  

Domenick Danza

The Seat of Our Pants

 The Seat of Our Pants
The Public Theater
November 2, 2025

Photo courtesy of The Public Theater

The Seat of Our Pants is a musical adaptation of Thornton Wilder’s The Skin of Our Teeth.  Ethan Lipton adapted the book and wrote the music and lyrics.  He maintains Thornton Wilder’s philosophical perspective, while extending the commentary on the theatrical form and pulling the references into the present day.  His music sets a peaceful, contemplative tone.  Some of his lyrics are taken directly from Mr. Wilder’s play.  His original lyrics take a deep emotional plunge into the heart of the characters.  Director Leigh Silverman beautifully sculpts this piece, allowing the colorful humor to smoothly blend into the darker, more pensive moments.  The cast skillfully makes these classic Wilder characters their own, heightening the impact of the events and intensify the timeless message. 

Act I - George & Mrs. Antrobus feed the Refugees
Photo courtesy of The Public Theater

The story centers around the Antrobus family: George (played by Shuler Hensley), Mrs. Antrobus (played by Ruthie Ann Miles), their son, Henry (played by Damon Daunno), their daughter, Gladys (played by Amina Faye), and their housekeeper, Sabina (played by Micaela Diamond).  They survive the Ice Age in Act I, a biblical flood in Act II, and the Great War in Act III.  George Antrobus is constantly finding new ways to improve life.  He invents wonders such as the alphabet, numbers, and the wheel.  Sabina is a constant distraction to George, and a burden to Mrs. Antrobus, whose main focuses is keeping her family together.  Henry is troubled, full of anger and always fighting.  Gladys is eager to grow up.  Nothing stops them.  They continually move on, rebuilding life as they know it.   

Shuler Hensley & Micaela Diamond
Photo courtesy of The Public Theater

Ruthie Ann Miles is in constant control as Mrs. Antrobus.  Her song in Act I, “Stuff It All Down Inside,” clearly states the way she faces every challenge.  Shuller Hensley is gruff and grounded as George Antrobus.  He remains steadfast under all circumstances.  His moment of doubt in Act III is genuine.  He and Ms. Miles make a sincere connection in this scene, shifting the energy to a stunning conclusion.  Micaela Diamond is subdued as Sabina.  This works very well in the first act, then generates strong impact in the second.  She takes the lead in Act III, pushing the family to move on.  She closes the show with composed and candid direct address.  

Amina Faye, Ruthie Ann Miles, & Damon Daunno
Photo courtesy of The Public Theater

Amina Faye’s Gladys matures over the course of the three acts.  This growth is subtle, clear, and highly effective.  Damon Daunno is powerful as Henry.  His anger explodes in moments of rage.  The confrontation scene with his father in Act III is fierce.  He and Mr. Hensley do not hold back.  Their resolution takes place on a different level, commenting as actors portraying their roles.  His physical position in the finale makes a compelling statement. 

Act II - Atlantic City
Photo courtesy of The Public Theater

Andy Grotelueschen opens each act and speaks as the playwright in a “stage fight” section in Act II.  He is charming, warm, and welcoming, setting the tone for what lies ahead.  There are also impressive performances by Michael Lepore as the Telegram Boy, Ally Bonino as the Fortune Teller, and an amazing ensemble who keeps the pace tight and clean. 

The Seat of Our Pants is playing at The Public Theater through November 30.  If you are an admirer of Thornton Wilder’s original play, you will appreciate this musical adaptation.  It is a phenomenal production that will touch your soul and give you hope.  

Domenick Danza

Archduke

 Archduke
Roundabout at Laura Pels
Harold and Miriam Steinberg Center for Theatre
November 1, 2025

Photo courtesy of Roundabout Theatre Company

In his new play, Archduke, Rajiv Joseph takes a microscopic look at a crucial moment in world history.  The action is intellectually engaging and emotionally riveting.  His characters are all driven by strong, definitive urgency.  Their choice seems simple, yet they are constantly circling with questions.  Director Darko Tresnjak allows the rhythm in Mr. Joseph’s writing to soar, revealing the conflict and building the tension.  The characters continually poke at one another, giving each cast member equal opportunity to establish themselves while illuminating the laughs.  

The year is 1914.  Dragutin “Apis” Dimitrijevic, better known as The Captain (played by Patrick Page), is recruiting young men for a deadly mission.  He needs six men who desire meaning in their lives.  He only finds three: Gavrilo (played by Jake Berne), Nedeljko (played by Jason Sanchez), and Trifko (played by Adrien Rolet).  They are sent to him by a doctor who has diagnosed them with consumption.  They are lungers and have very little time left to live.  They are easily manipulated into The Captain’s murderous plan, including taking cyanide when the deed is done.  They are to board a train to Sarajevo, then kill the Archduke Franz Ferdianand and his wife, Duchess of Hohenberg.  That is, if they do not stop off for a sandwich along the way. 

Jake Berne, Adrien Rolet, & Jason Sanchez
Rehearsal photo courtesy of Roundabout Theatre Company

Jake Berne portrays Gavrilo’s meekness and intellectual curiosity the moment he enters at the top of the show.  In a short time, Jason Sanchez arrives as Nedeljko, who is brawnier and rougher.  They test and challenge one another, both knowing what is at stake if they falter.  They are equally matched, and it is through this persistent confrontation that the audience understands them.  They develop a palpable bond that is put to yet another test when Trifko shows up.  Adrien Rolet is militant and demanding in this role.  He is questioned to his breaking point by Gavrilo and Nedeljko.  These three actors are captivating.  They make bold choices that reveal their characters’ grit and gusto, which thrusts the action forward. 

Patrick Page takes command as The Captain in scene two.  He manipulates the three young men, playing on their weakness.  He fabricates a story about who caused their consumption, then identifies this as the enemy.  He tells tall tales of his bravery in the fight against that enemy.  Mr. Page works every tactic as the three recruits question every detail of his plan, compete for his attention, and defend their integrity. 

The Full Cast
Rehearsal photo courtesy of Roundabout Theatre Company

Kristine Nielson is mysterious and witty as Sladjana, The Captain’s cook.  She feeds the young men to get them on The Captain’s side, then disciplines them for their juvenile behavior.  As Mr. Page uses masculine force to show power, Ms. Neilson is like a cat, silently making her way into the minds of the recruits.  She is sly and has an agenda of her own.  She uses her signature comic timing to effectively embody this role.

The strong message of the play is to take action that gives your life meaning.  Since the recruits are all dying of consumption, they easily fall for that ruse.  It is not until they are on the train to Sarajevo to assassinate the Archduke, and inevitably start World War I, that they ask themselves another question that gives them pause.  Mr. Joseph examines this historic moment by simply asking an alternative question. 

Archduke is playing at Roundabout Theatre Company’s Laura Pels Theatre through December 21.  It is a brilliant production.  It will make you think, but more importantly, it will make you question. 

Domenick Danza

Bat Boy

 Bat Boy
Annual Gala Presentation
New York City Center
October 31, 2025

Photo courtesy of City Center

The New York City Center Annual Gala Presentation of Bat Boy is electrifying.  Laurence O’Keefe’s score is energetic and bold.  It sets a mysterious tone, while building a distinctive world where unusual events are believable.  His lyrics layer in humor and moments of discovery that propel the action.  The story, by Keythe Farley & Brian Flemming, is unique and full of surprises.  Their writing succinctly establishes bizarre, sympathetic characters that are emotionally engaging.  Director Alex Timbers finds the rhythm and pace that sets it all ablaze.  The cast is stupendous, creating the perfect balance of macabre fantasy and realistic drama. 

When a Bat Boy (played by Taylor Trensch) is found in a cave by three sibling adventurers (played by Andrew Durand, Olivia Puckett, & John-Michael Lyles), Sheriff Reynolds (played by Tom McGowan) seeks the expertise of Dr. Parker, the town veterinarian (played by Christopher Sieber).  Dr. Parker’s wife, Meredith (played by Kerry Butler), tenderly cares for the creature.  She teaches it to speak and read.  She names it Edgar.  When the townspeople grow suspicious and voice their apprehension, Meredith and her daughter, Shelley (played by Gabi Carrubba), jump to Edgar’s defense.  This makes Dr. Parker dangerously jealous.  He takes extreme action to fire up the townspeople’s fear, which quickly gets out of hand.  This brings Shelley and Edgar closer, which forces Meredith to reveal a dark, buried secret.

Kerry Butler & Taylor Trensch
Photo courtesy of City Center

Taylor Trensch is phenomenal as Edgar.  His physicality creates a shocking creature, who then
transforms into an intelligent young man.  His vocal quality adds humor and sophistication to his genially grotesque character.  He exhibits terrifying flashes where his untamed tendencies overpower his learned behavior.  His timing in these moments is impeccable, making them jarring and authentic.  

Kerry Butler portrays Merdith as a staunch conservative.  This is vastly contrasted in the scenes where she opens her heart to Edgar.  They are genuine, warm, and touching.  She and Mr. Trensch develop a trusting and honest connection.  Gabi Carrubba’s Shelley is rebellious and independent.  She discovers a different side of herself after spending time with Edgar.  She becomes thoughtful and emotionally aware, compelling the story to take a deep dive in the second act.  Dr. Parker’s reaction to his family’s allure to Edgar is unsettling.  Christopher Sieber successfully plays this lethal descent into madness for every laugh he can, keeping the audience on the edge of their seats.

Christopher Sieber as Dr. Parker
Photo courtesy of City Center

Alex Newell is stunning and magical in their cameo appearance as The God Pan.  There are also outstanding performances by Marissa Jaret Winokur, Tom Mc Gowan, Andrew Durand, Jacob Ming-Trent, Olivia Puckett, John-Michael Lyles, and an excellent ensemble. 

Bat Boy is playing at City Center through November 9.  This is an excellent production.  It is fun and entertaining, while delivering a pertinent message of acceptance.  Don’t miss it! 

Domenick Danza