The Panic Defense

The Panic Defense
30^th Street Theater
November 8, 2026 

Photo courtesy of The Panic Defense

The Panic Defense is a “new documentary-style play about fear bias, and justice.”  It dramatizes the justification attorneys use when defending their clients accused of murdering LGBT+ individuals.  It turns the perpetrator into a victim, allowing them to get off on self-defense.  Playwright/Director Sam Affoumado skillfully blends brutal fact with detailed fiction to create a jarring and powerful piece of theatre. 

The play opens with two prosecutors (played by Careem Joy & Regina Gibson) speaking directly to the audience as if they are in the jury pool, waiting to be interviewed.  The strategy of the panic defense is clearly explained, and the warning is given about its intention.  Next, the audience meets Travis (played by Jud Meyers), a southern gentleman, who adores soaking in his clawfoot bathtub, Benny (played by Juan C. Ortiz), a high school student who struggles with his studies and his sexual identity, Maxine (played by Fola Walker), a trans who dreams of opening her own beauty salon, and Mike (played by Sean Gordon), a truck driver who is recently allowed to spend time with his teen-age son after a nasty divorce.  They tell their stories directly to the audience.  They are four caring, sympathetic individuals, with simple hopes and dreams for their future. 

Jud Meyers & Robert Maisonett
Photo courtesy of The Panic Defense

Travis tells about Romeo (played by Robert Maisonett), a dishwasher who works in his restaurant.  Romeo recently became Travis’ “roommate.”  His macho Latino persona is fueled by his friends who come to Travis’ place for a party, which turns tragic.  Benny starts wearing make-up and shares his longing to be a “professional” secretary, like he sees in the office at the community center.  He is made fun of by the other boys at school, but Tommy (played by Keith R. Beck) violently reacts to Benny’s mannerisms and attitude.  Maxine’s mother warns her not to go out before dark, so she won’t be easily seen.  When she is approached by James (played by Careem Joy) and another catcaller (played by Robert Maisonett), her mother’s fear becomes a dangerous reality.  When Mike goes to the neighborhood dive bar and has a few too many beers with Jeff (played by Keith R. Beck), things get heated and out of hand. 

Robert Maisonett, Fola Walker, & Careem Joy
Photo courtesy of The Panic Defense

The structure of this play is highly effective.  Playwright/Director Sam Affoumado successfully creates a Brechtian style that does not emotionally manipulate the audience, but gives them the opportunity to bring themselves to the events presented and draw their own conclusion.  They are presented with information about the four main characters.  They witness the events that lead to their brutal murders, then listen to attorneys turn the truth into believable lies of self-defense.  The facts are crisp and clear, and the audience thinks for themselves, much like a jury during a trial.  

Sean Gordon & Keith R. Beck
Photo courtesy of The Panic Defense

All the performances are superb.  Each actor dives deeply into the full story of their character, delivering astounding and truthful performances.  Jud Myers has a strong and suave presence as Travis.  Juan C. Ortiz is endearing as Benny.  Fola Walker portrays Maxine as charming and amiable.  Sean Gordon is sympathetic and down to earth as Mike.  Careem Joy, Regina Gibson, Robert Maisonett, and Keith R. Beck play numerous roles.  Each character they create is distinctive, pushing the events to the brink. 

The Panic Defense is playing at 30^th Street Theater (259 West 30^th Street, NYC 10001) through November 22.  It is a potent piece of theatre that must be seen.  You will be thinking and talking about it for days afterwards. 

Domenick Danza

A Part of the Noise

 A Part of the Noise
Theatre for the New City
October 17, 2026 

Photo courtesy of A Part of The Noise

A Part of the Noise captures the beat generation of 1959, as it tells a slice of the life of abstract painter, Franz Kline.  Playwright Carl Kline approaches the story with insight and sensitivity.  Director Joe John Battista unites this cast of skilled actors in their exploration of this revolutionary period.  They vividly portray artists facing the challenges of the time. 

Abstract painter, Franz Kline (played by Ryan Tramont), is getting ready for a solo show at the prestigious Janis Gallery.  He is inspired to add color to his popular black and white paintings.  Gallery owner, Sidney Janis (played by Mike Meth) is against the addition of the colorful pieces to the upcoming show.  Franz meets with Art Critic Artie Mendelbaum (played by Alex Elmaleh) to be interviewed about his latest work.  Franz requests they meet at the Cedar Bar to expose Artie to the heart of the arts community.  As the poetry and drinking commence, Franz is haunted by memories of his wife, Elizabeth (played by Zoë Anastassiou), who has been institutionalized.  This shifts Franz to an introspective mood, but does not hamper his friends from coming up with a plan to sneak the new colorful pieces in his solo show. 

Ryan Tramont & Skye Themeda Goss
Photo courtesy of A Part of the Noise

Ryan Tramont portrays Franz Kline as a giving man with a powerful focus on his growth as an artist.  He creates strong and distinctive relationships with each of the characters in the story, which builds a warm and supportive artistic community.  His relationship with his girlfriend, Annie (played by Skye Themeda Goss) is passionate and tumultuous.  Ms. Goss catches fire when Franz pushes her away or condescends to her.  Mr. Tremont responds with cool tenderness and distant understanding.  These moments give keen insight into the core of their relationship.  

Zoë Anastassiou creates a complex character in Franz’s wife, Elizabeth.  At first, she is a haunting presence.  In Franz’s memory scenes, they are tender and caring, until something sparks her imbalance and sets her on a frenzied paranoid outburst.  As she heals during her institutional stay, the audience sees her gain strength and rediscover her independence.  Ms. Anastassiou does a beautiful job in this role.  Toward the end of the play, she delivers a touching and heart-felt eulogy, which sums up the emotional state of all the characters. 

Photo courtesy of A Part of the Noise

Alex Elmaleh is suave and controlled as Art Critic, Artie Mendelbaum.  He starts off the interview with an objective distance, and is soon won over my Franz’ charm.  Of course, the free flow of alcohol helps to melt his mood, but it is the atmosphere of camaraderie at Cedar Bar that has the most profound effect.  John, the owner and bartender (played by Tony Del Bono), Grace Hartigan (played by Alexandra Laliberte), David Amram (played by Michael John Gross), and Joan Mitchell (played by Zoë Anastassiou) all share their stories.  They each create genuine moments where they expose their souls.  There are also strong performances by Mike Meth, Olivia J. Talian, and Classic Guitarist Claudio Pacioco.

A Part of the Noise is playing at Theater for the New City through October 25.  It is a heartwarming tribute to an artist and the movement he was a part of.  Get a ticket today!  

Domenick Danza

Too Fat for China

 Too Fat for China
The RAT NYC
October 13, 2026 

Photo courtesy of Too Fat for China

Too Fat for China is a solo comedy show about the agony of adoption, written and performed by Phoebe Potts.  After touring around the country and winning United Solo’s “Best Storytelling Show” and BroadwayWorld’s “Best Solo Show” (2025), Ms. Potts is settling in for a limited run at The RAT NYC in Dumbo, Brooklyn.  The show is a funny and candid telling of the journey she and her husband embarked on to adopt a child.  Ms. Potts opens her heart in this sixty-minute show.  The audience responds with admiration for her honesty, self-awareness, and determination. 

Phoebe Potts starts the show telling stories of growing up in Brooklyn in a Jewish family.  Inside her head is a newsroom of reporters, observing and gathering information for her to process.  Her first big question is: Why did she gain so much weight after her mother pushed the importance of being thin?  When she is married, she finds out she is unable to have a baby.  After numerous unsuccessful fertility treatments, she and her husband decide to adopt.  When looking at international adoption opportunities, Ms. Potts reads the small print and finds out that China has a BMI requirement.  Yes, she is “too fat for China.”  That option is out.  This opens her eyes to the fact that adoption is a business that serves an advantaged clientele.   She becomes aware how her white privilege allows her to be a “customer” for this business.  This gives her pause, but she continues to participate, until she finally finds what her heart desires. 

Photo courtesy of Too Fat for China

Every challenge and obstacle Ms. Potts faces along the way makes her self-assess.  With the help of the newsroom of reporters in her head, she reviews the facts, her desires, and her responses.  There is humor and sincerity in these moments, allowing the audience to get to know her.  She continues her search for a baby, while expanding in self-awareness and submerging in vulnerability.  As she gets closer to achieving her goal, she builds stories to tell her little one about their shared backgrounds and how they found one another to become a family. 

Phoebe Potts took one year to write this story before touring it around the country.  She said she was driven by a need for absolution for her participation in the process.  She wanted it to be funny and beautiful so the story would get the attention it deserves.  She strove to make “a direct hit to the bloodstream by telling people” about herself.  Ms. Potts wonderfully succeeds with every one of these objectives.  Every time she pauses to review the elements that seem off about the adoption process, she continues in spite of herself.  The audience asks themselves the same questions she does in these moments.  They viscerally understand and continue on the journey with her. 

Too Fat for China is playing at The RAT NYC (68 Jay St., storefront suite, Brooklyn, NY 11201) on Tuesdays at 6:30 through November 24.  You will truly enjoy embarking on this journey.  Go see it!  

You can also sign up for Ms. Potts’ monthly newsletter, The Complainer, through her website, phoebepotts.com. 

Domenick Danza

Burning Leaves

Burning Leaves
TOSOS Theatre Company
Gural Theatre (A.R.T. New York Theatres)
October 2, 2026 

Photo courtesy of TOSOS

The TOSOS Theatre Company production of Tom Rowan's        Burning Leave is sensitive and stunning.  Mr. Rowan develops multi-layered characters through witty and natural dialogue.  His characters are vulnerable, sympathetic, and full of heart.  Director Graydon Gund maintains a continual flow from scene to scene, allowing the audience to connect to the action as it innately rises.  The cast builds genuine relationships as their characters face monumental challenges, revealing their secrets and truths. 

Sophie Tananbaum, Becky Rusch, Brady Dalton Richards, & Campbell Idol
Photo courtesy of TOSOS

Matt Leland (played by Brady Dalton Richards) nervously faces his first class as the new Drama Teacher in a high school in Pittsville, Illinois.  He recently relocated from New York City, leaving behind a budding career as an actor.  He rents a room in the house of the school guidance counselor, Jane Potter (played by Annemarie Rosano).  The students respond well to Mr. Leland’s enthusiastic approach, especially Jesse Wade (played by Campbell Idol).  Jane is thrilled about Jesse’s interest in Drama.  He started withdrawing after his mother passed away from cancer, triggering him to attempt suicide the previous school year.  After a theatre trip to Chicago, Jesse writes openly about his attraction and feelings for Mr. Leland in his drama journal.  Mr. Leland confronts Jesse about what he read in the journal.  This opens more doors to deeper feelings than either of them intended.

Brady Dalton Richards & Campbell Idol
Photo courtesy of TOSOS

Brady Dalton Richards is charming and vulnerable as Matt Leland.  His quirky nervousness and unease are endearing.  He holds back on the reasons why he left NYC, which leads the audience to suspect there was a traumatic break-up of some kind.  It is riveting when he finally tells the story to Jesse in the second act.  Playwright Tom Rowan exceeds all expectations with this monologue, and Mr. Richards delivers it flawlessly.

The relationships Brady Dalton Richards develops with Campbell Idol (Jesse Wade) and Annmarie Rosano (Jane Potter) are touching and genuine.  This is what keeps the audience fully engaged in the story.  Mr. Idol portrays Jesse as awkward and full of pain.  The character gradually transforms through self-awareness and acceptance.  The audience cares about him and is fully on his side.  Ms. Rosano is warm and giving as Jane Potter.  Even when she takes a hard stance with Matt on his actions, she is ethical and caring. 

Jonathan Stewart, Annemarie Rosano,
& Brady Dalton Richards
Photo courtesy of TOSOS

Sophie Tananbaum plays Halli Potter, Jane’s teenage daughter and a student of Matt Leland.  She is eager and open.  Her character matures through Matt’s mentoring and her mutual confiding with Jesse.  Becky Rusch plays Alicia Hogan, another high school drama student.  She is the product of her small-town influence, and highly self-centered.  This character adds conflict and raises the stake in the main action.  Also enriching the conflict is Jonathan Stewart, who plays Jesse’s father, Carl Wade.  These two characters bring a strong sense of location to the story though their narrow mindedness and opposition. 

Burning Leaves is playing at the Gural Theatre (A.R.T. New York Theatres, 502 W. 53 St.).  It is a simple and impressive production, skillfully written and directed, and beautifully performed. 

Domenick Danza

Kramer/Fauci

 Kramer/Fauci
OHenry Productions
St. Ann’s Warehouse
September 29, 2026

Photo courtesy of St. Ann's Warehouse & OHenry Productions

The St. Ann’s Warehouse presentation of  Kramer/Fauci, produced by OHenry Productions, is captivating and compelling.  The text is drawn from the transcript of a C-SPAN call-in program that aired on November 30, 1993, the eve of World AIDS Day.  Dr. Anthony Fauci and ACT-UP co-founder Larry Kramer were guests of journalist Steven Scully.  They discussed President Clinton’s forming of a task force to look at the obstacles facing AIDS research.  Dr. Fauci (played by Will Brill) objectively reported on the status of research and funding, while Larry Kramer (played by Thomas Jay Ryan) passionately advocated for emergency action. 

Thomas Jay Ryan & Will Brill
Photo courtesy of St. Ann's Warehouse & OHenry Productions

Will Brill and Thomas Jay Ryan genuinely embody the well-known figures of Dr. Anthony Fauci 
and Larry Kramer.  These two men are diametrically different, yet highly knowledgeable in their individual fields.  They direct their information to the viewers of the 1993 broadcast, as well as push each other on the validity of their perspective.  The debate was factual and persuasive.  At no time did either of these men lose respect for one another, even when they sternly disagreed.  Nothing was decided in this sixty-minute broadcast, but the facts and viewpoints were clearly communicated for the audience to comprehend and draw their own conclusion. 

Thomas Jay Ryan, Jennifer Seastone, Will Brill, & Greig Sargeant
Photo courtesy of St. Ann's Warehouse & OHenry Productions

In retrospect (to 1993), it is clear how this fact-based discourse not only educated the public but pushed the progress, however slowly.  The urgency that Larry Kramer repeatedly called for in AIDS research (constantly referring to it as a plague, not an epidemic) was never fully realized.  It is astonishing to see the mutual respect these men held for one another, no matter how opposed they sometimes were.  This is truly lacking in our present social landscape.  Their reliance on fact-based data and scientific research was strongly maintained throughout the debate.  As political as the progression of AIDS research was during that time, there was rarely a suppression of facts, even though it was severely clouded by bigotry and fear.

There are also impressive performances by Greig Sargeant, who plays the moderator for the broadcast, and Jennifer Seastone, who portrays numerous call-in viewers. 

Kramer/Fauci is a unique theatrical experience, conceived and directed by Daniel Fish.  The production is intellectually stimulating and viscerally engaging.  It is playing at St. Ann’s Warehouse through October 24.  Get a ticket! 

Domenick Danza

An American Daughter

 An American Daughter
La Femme Theatre Productions
The Pershing Square Signature Center
September 2, 2026 

Photo courtesy of La Femme Theatre Productions

The La Femme Theatre Productions presentation of Wendy Wasserstein’s 1996 play An American Daughter contains an unpublished version of the second act.  This allows it to ring with remarkable relevance, leaving the audience with a lot to ponder.  Director Sarna Lapine brings this work to a new light with a star-studded cast who succinctly portrays the social and political landscape of the time and builds the conflict with truthful earnestness.  Set against our present political situation, the comparisons are astonishing.  

Lyssa Dent Hughes (played by Jean Lichty) is the president’s nominee for Surgeon General of the United States.  She is the daughter of Alan Hughes, a Republican Senator from Indiana (played by Dakin Matthews) and a descendant of Ulysses S. Grant.  While Lyssa is being interviewed by Timber Tucker (played by Chris Ghaffari) for national television, Morrow McCarthy, a close friend of her family (played by Ryan Spahn), casually mentions that Lyssa once ignored a summons for jury duty.  Her husband, Walter (played by Robert Sean Leonard) makes light of the incident in an attempt to move the interview along.  When the interview is aired on national television, Lyssa loses the support of the American public, particularly women.  She now faces the most monumental challenge of her career, while trying to keep her family and dignity intact. 

Montego Glover & Jean Lichty
Photo courtesy of La Femme Theatre Productions

The main storyline of a small, unintentional error becoming a huge controversy drives the action, yet it is the relationships in this play that offer the most value.  The support Lyssa receives from her family and friends is heartwarming, and sometimes questionable.  Their honesty is clear, bold, and at times brutal.  The most endearing bond is between Lyssa and her long-time friend Judith (played by Montego Glover).  Ms. Lichty and Ms. Glover portray a formidable connection from the beginning of the play.  Their friendship proves to be the most resilient as the action progresses.  They both suffer heart-breaking loss, and come out knowing they can count on one another. 

Jean Lichty & Robert Sean Leonard
Photo courtesy of La Femme Theatre Productions

Robert Sean Leonard delivers an intelligent and charismatic portrayal of Lyssa’s husband, Walter.  He is flexible and giving in their relationship, but his infidelity causes doubt for Lyssa when she needs to feel secure and grounded.  There is an ease between these two characters that crumbles as the truth is revealed.  Mr. Leonard and Ms. Lichty play each layer of their relationship with sincerity and fervor. 

Dakin Matthews & Mary Beth Peil
Photo courtesy of La Femme Productions

Dakin Matthews has a powerful presence as Republican Senator Alan Hughes.  He is pushy, arrogant, and wildly charming.  He can spin a story to create interest, then shut it down with a few sharp words.  Mary Beth Peil delivers an amazing performance as his wife, Charlotte “Chubby” Hughes.  She knows how to present herself as expected.  Just when you think that is all there is to her, she reveals her wisdom and gumption.

There are also excellent performances by Carmen Zilles, Ryan Spahn, Chris Ghaffari, and Will Devary. 

Carmen Zilles, Ryan Spahn, Robert Sean Leonard,
Mary Beth Peil, & Jean Lichty
Photo courtesy of La Femme Productions

An American Daughter is playing at The Pershing Square Signature Center through September 20.  The play presents multiple political points of view, each represented by a different character, and puts them in direct conflict.  This is a strength of Ms. Wasserstein writing, and this production highlights it beautifully.  It is an enthralling production.  

Domenick Danza

The Real Ivanov

The Real Ivanov
Initiative Productions
Classic Stage Company’s Lynn F. Angelson Theater
August 20, 2026 

Photo courtesy of Initiative Productions
& The Real Ivanov

The Real Ivanov is Laura Strausfeld’s adaptation of Anton Chekhov’s four act play, Ivanov.  The play runs one hundred minutes and skillfully captures the despair of the main character.  The cast, under the direction of Ms. Strausfeld, delivers truthful and grounded performances of these distinctly drawn characters.  The conflict and instability that drive their choices are clear and urgent.  It is a well-conceived production that packs a powerful final moment. 

Ivanov (played by Sam Underwood) is deeply despondent.  His wife, Anna (played by Ivory Aquino), is sick with tuberculosis.  Her doctor, Lvov (played by Elijah Guo), has informed him that she has only a few weeks to live and his anxious behavior is making it worse for her.  Lvov advises Ivanov to take Anna to a more calming environment, but since he is in debt to Lebedev (played by Spencer Aste), he cannot afford to accommodate her needs.  Ivanov spends time visiting Lebedev, his wife, Zinaida (played by Sarah Long), and their daughter, Sasha (played by Amelia Mason).  During these visits, Ivanov and Sasha grow close.  When Anna discovers their relationship, her physical condition deteriorates.  After her death, Ivanov becomes engaged to Sasha, but his depression keeps him from going through with the marriage. 

Ivory Aquino & Sam Underwood
Photo courtesy of Initiative Productions & The Real Ivanov

Sam Underwood fully embodies Ivanov’s sense of melancholy.  The audience feels it from the opening moment, then watches it deepen in every encounter he has with other characters.  He is distant in his relationship with his wife, Anna.  Ivory Aquino uses this distance to portray Anna as sturdy, committed, and determined.  The scene where she confronts Ivanov on his betrayal is honest and brutal.  It drains her of any life force she has left.  Sam Adegoke portrays Borkin with an abounding zest for life that magnifies Ivanov’s depression.  Jordan Lage fills the role of Count Shabyelski with a cynicism that drives him forward, which contrasts with Ivanov’s inability to make a decision.  Lebedev states that Ivanov’s engagement to Sasha has brought confusion to his home.  Spencer Aste’s portrayal of Lebedev skillfully illustrates this effect.  Mr. Underwood uses all of these encounters to fully explore the depth of Ivanov’s depression.  

Sam Underwood & Amelia Mason
Photo courtesy of Initiative Productions & The Real Ivanov

Amelia Mason delivers a tragically stubborn performance as Sasha.  The character tells her father the doubt she has about her upcoming marriage to Ivanov, yet she refuses to listen to Ivanov when he confesses the severity of his depression.  Sasha does not let go of the ideal of her conviction.  It is a stunning performance.  She and Mr. Underwood have amazing chemistry.

Kimberlee Walker is charming as Babakina.  Much to her delight, she is wooed by Count Shabyelski.  She and Jordan Lage are wonderfully playful in these roles.  

Elijah Guo is both sensible and sensitive as Dr. Lvov, who unsuccessfully hides his love for Anna.  He and Ms. Aquino share a tender connection, while the sparks fly between him and Mr. Underwood. 

Photo courtesy of Initiative Productions & The Real Ivanov

This adaptation retains the setting of the late 19^th century Russia.  Ms. Strausfeld wanted to preserve every precise line of Chekhov’s writing.  She carefully used translation tools, while deliberately cutting the repetitions.  She is aware that audiences listen to theatre differently today than they did when Chekhov wrote this play in 1887.  Her goal was to trim the play down to a concise one hundred minutes.  She succeeds beautifully, allowing the action to rise as the characters push against consuming obstacles amid personal, social, and economic turmoil.

The final scene of the play is brilliantly staged.  Ms. Strausfeld set it in a long, narrow hallway, which runs diagonally across the playing area (with audience seating on all four sides).  Not only is this drastically juxtaposed to the open spaces of the previous scenes, but it creates a severe obstacle for the characters to connect and communicate, which pushes Ivanov to his fatal decision. 

The Real Ivano is playing at Classic Stage Company’s Lynn F. Angelson Theater through September 19.  It is a stimulating and visceral production.  

Domenick Danza