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

Sally Spectre the Musical

 Sally Spectre the Musical
News of Spite Productions
30^th Street Theater
October 22, 2025

Photo courtesy of Sally Spectre the Musical

Sally Spectre the Musical is pure Halloween fun.  This show is an intriguing combination of macabre, dark, and silly humor.  Taking inspiration from Tim Burton, playwright / composer / lyricist David P. Johnson, created a story that haunts its audience and leaves them with a valuable message.  He and his co-director, Arden Teresa Lewis, have branded this musical with a consistent and sharp style that keeps the audience fully engaged.  The opening number eerily introduces the premise and sets the tone and pace for the show.  The cast boldly takes this well-crafted material and delivers strong and haunting performances.  Every ghoulish detail is brought together for a satisfying conclusion.  

Sally Spectre (played by Helen Floersh) has been dead for fifty years, but does not know it.  The hatchet that killed her when she was a child remains embedded in her head.  She is protected by Bartholomew, a toy soldier (played by Mykeal North).  He knows that “when the fool speaks reason,” the time is approaching for Sally to move on.  When Nero (played by Patrick Beckstead) starts talking sensibly, Bartholomew knows that time is fast approaching.  The Wraith (played by Bobby Bogner) arrives during the night to play Chinese checkers with Sally, causing Bartholomew to worry.  The Wraith calls upon his assistants, Gustave (played by Richard J. Piatt) and Mabel (played by Marie Scott) to get Bartholomew, Sally, and Winky (played by Patick Beckstead) on the same page.  The secret lies in the mirror that Sally is afraid to look into.

Helen Floersh, Mykeal North, & Patrick Beckstead
Photo by Garry Kluger, courtesy of Sally Spectre the Musical

 Helen Floersh beautifully captures the youth and waif-like innocence that is perfect for Sally Spectre.  As her protector, Bartholomew, Mykael North is stoic and sturdy.  This is complemented by the characterizations of Patrick Beckstead, who plays one character with four personalities.  He transforms physically and vocally for each of these distinct roles. 

Bobby Bognar is ominous as The Wraith.  His witty sense of humor balances the darkness of his mysterious presence.  Richard J. Piatt and Marie Scott are constantly bickering as Gustave and Mabel, delivering hearty laughs despite their spine-chilling appearances.

Mykeal North, Marie Scott, Helen Floersh,
Patrick Beckstead, & Richard J. Piatt
Photo by Garry Kluger, courtesy of Sally Spectre the Musical

Sally Spectre the Musical was a winner of the Hurricane Season Playwrights Festival in 2008.  It went on to a workshop production at Theatre West in 2009.  In 2012 it was a finalist for the Richard Rogers Award.  This level of focused development is apparent in the quality of this production.  It is tight and consistent.  The production design by Marco Rivera spares no expense.  

Sally Spectre the Musical is playing at 30^th Street Theater through November 1.  If you are in the mood for some spook-filled Halloween fun, this is the show to see. 

Domenick Danza

Italian American Reconciliation

 Italian American Reconciliation
The Flea Theater
October 18, 2025

Photo courtesy of Italian American Reconciliation

John Patrick Shanley’s rarely produced Italian American Reconciliation is beautifully brought to life at The Flea Theater.  Director Austin Pendleton has gathered an amazing cast to inject passion and perspective into Mr. Shanley’s writing.  The setting and time period ring with authenticity.  The cast captures the rhythms and timing in the dialogue.  It all flows naturally, building the tension and humor in each moment through the characters’ conflicting desires.

Aldo (played by Robert Farrior) tells the story of his best friend, Huey (played by Wade McCollum).  Huey is dating Teresa (played by Mia Gentile).  He is very much in love with her, but feels he needs to break up with her and get back with his ex-wife, Janice (played by Linda Manning).  He feels that when they divorced, she took a part of him, and he needs to get it back.  Huey has a plan and needs Aldo’s help.  Aldo agrees, but has a plan of his own to keep Janice and Huey apart, which he feels is best for both of them. 

Wade McCollum & Robert Farrior
Photo courtesy of Italian American Reconciliation

Robert Farrior opens the show as Aldo, directly addressing the audience.  The tone, pace, and humor of the play are immediately established.  He invites the audience in for the story he wants to tell, and informs them that it has a lesson.  He brings the lesson to a specific conclusion, after experiencing torment throughout the journey.  Mr. Farrior skillfully portrays this inner conflict, while maintaining the humor in Aldo’s perspective.  He brings vibrant life to all his scenes. 

Wade McCollum skillfully portrays the various levels of Huey’s character.  He is meek and broken with a lust for life that is trapped within.  Mr. McCollum finds moments to reveal this inner zeal and strength, keeping the audience connected to his plan to reconcile with his ex-wife.  Linda Manning’s Janice is dark and brooding with an explosive temper.  She reveals different sides of herself in scenes with Huey and Aldo, creating a full and complex character. 

Mia Gentile, Mary Testa, & Robert Farrior
Photo courtesy of Italian American Reconciliation

Mia Gentile plays Teresa with a strong sense of self-awareness, while also needing love and companionship.  These elements come into conflict when the decision she makes to break it off with Huey is turned around when he breaks up with her first.  Luckily, she has Aunt May to talk to.  Mary Testa plays this role to the fullest.  She offers advice and comfort, not only to Teresa, but also to Aldo.  Ms. Testa portrays this character with warmth and wisdom, while also maintaining an edge of skepticism, which magnifies the humor.

This play addresses the messiness of love and the need we all have for it.  It is structured and communicated in a way that is unique to John Patrick Shanley.  It is a beautifully passionate adventure. 

Italian American Reconciliation is playing at The Flea Theater through October 26. 

Domenick Danza