Dakar 2000

 Dakar 2000
Manhattan Theatre Club
New York City Center Stage I
March 6, 2025 

Photo courtesy of Manhattan Theatre Club

The Manhattan Theatre Club production of Dakar 2000 is a one hour and twenty-minute roller coaster ride of truth and lies.  Playwright Rajiv Joseph has written an impeccable two-hander.  His characters quickly intertwine and are unable to separate.  The events of their three-day connection changes the course of more than just their lives, and leave one of them with more questions than answers.

When Boubs, a Peace Corp volunteer (played by Abubakr Ali), crashes his jeep on the road to a small village outside Dakar, he knows he is in trouble.  He was transporting supplies without the proper authorization.  He is taken to the main office to meet Dina (played by Mia Barron).  She is concerned about his well-being, yet continually grills him on the details.  She is charmed by his naivete and impressed by his ability to lie his way out of a bad situation.  To help prevent his being sent back home, she gives him a file of paperwork to fill out with a list signatures and fingerprints to gather.  This will make it look like she requisitioned the transportation of supplies prior to his accident.  He gratefully takes the file and gets right to work.  He meets up with her two days later.  After they share personal stories, she asks him to meet her at a hotel in Dakar on New Years Eve, with the implication of a more intimate encounter.  At the hotel, Dina sets Boubs up on a mission with a questionable outcome. 

Abubakr Ali as Boubs
Photo courtesy of Manhattan Theatre Club

Abubakr Ali is charismatic, gullible, and suave as Boubs.  He opens the show alone on stage.  It is present day.  He tells a few stories, then admits most of them are lies.  This sets the tone for the rest of the story.  His character is confident and grounded.  When he then takes the narrative back to Dakar in the year 2000, he is a fast-talking twenty-five year old, immature and silly.  This transition is smooth and impressive.  The audience is fully on his side, even though, since he already told us, we know he lies.  

Dina Barron & Abubakr Ali
Photo courtesy of Manhattan  Theatre Club

Mia Barron is sharp and slick as Dina.  During her initial interrogation with Boubs, she carefully listens and observes.  She glibly weaves her way into Boubs’ trust.  The audience is very aware that she is also lying, but doesn’t know how much or why.  We are more aware of the dangers than he is, yet we are equally manipulated into full involvement.  Ms. Barrow is skillfully in control of the action.  She is the only one who knows where it will lead, and we stay connected to her with the hope of finding out. 

Director May Adrales paces this piece so the rhythms in the dialogue drive the intent.  The audience is fully engaged from the moment it starts, and becomes riveted as the action unfolds.  The theme and culminating message are strongly related to present day political occurrences. 

Dakar 2000 is playing at Manhattan Theatre Club’s New York City Center Stage I through March 23.  You must see it! 

Domenick Danza

The Antiquities

 The Antiquities
Playwrights Horizons
February 28, 2025 

Photo coourtesy of Playwrights Horizons

Playwrights Horizons has partnered with Vineyard Theatre and Goodman Theatre in the production of Jordan Harrison’s The Antiquities.  This intelligent and philosophical theatre piece leaves the audience with a lot to ponder.  The play reflects the evolution of mankind as a steppingstone to Artificial Intelligence.  The structure of the piece is unique.  It is a series of disjointed scenes that travel from the late 1800s to the late 2200s.  The strength of the fragmented events is the through-line of mankind’s yearning to connect to their departed loved ones.  The play is skillfully co-directed by David Cromer and Caitlin Sullivan.  They fearlessly lead a cast of nine amazing actors who create numerous characters in this evolutionary journey.

Photo courtesy of Playwrights Horizons

The play is a “tour of the permanent collection in the museum of late human antiquities.”  It opens with two robotic women directly addressing the audience, asking them to imagine that they are present in human form for the tour.  They transform into Mary Shelley and Claire Clairmont, the mother of Lord Byron’s daughter, as they lead the audience into the first exhibit in the museum.  It is the night when Mary Shelley accepted the challenge to write “Frankenstein.”  Subsequent exhibits include a scene in the 1970s, where a tech geek has his first breakthrough in developing a robot that can make decisions on its own.  Another exhibit skips a few decades to when a family gets its first home computer and experiences the internet for the first time.  Then, sometime in the 1990s, Robin (the fictional version of Alexis) is developed.  As the exhibits move past the year 2025, AI becomes more sophisticated and begins to take over.  

Photo courtesy of Playwrights Horizons

After the audience views the collected artifacts (props from the scenes), the exhibits are revisited.  The characters’ reliance on their devices during these time periods is further explored and emotionally understood.  Their loss and loneliness motivate their reliance and acceptance on AI.  The tour ends in the Mary Shelley exhibit, where the “Frankenstein” story is shared.  It is different.  It now includes the building of a computer, which is a seed for the development of higher intelligence. 

Photo courtesy of Playwrights Horizons

Jordan Harrison has masterfully crafted a startling inquiry into the human experience that cannot be
overlooked.  Since the scenes contain historic and well-known facts, the fictional elements that drive the theme become believable.  This play is intellectually engaging as you follow the through-line and buy into the conclusions drawn from the future AI society, which are illustrated in the final Mary Shelley scene.  They include themselves in that story in order to verify their existence.  To this higher intelligence, human beings are nothing more than a stepping-stone in their own valuable evolution. 

There are only a few performances of The Antiquities remaining before it closes on March 2.  If you can get a ticket, go with a friend.  You will have a lot to talk about.   

Domenick Danza

Henry IV

 Henry IV
Theatre for a New Audience
Polonsky Shakespeare Center
February 12, 2025 

Photo courtesy of Theatre for a New Audience

Theatre for a New Audience has outdone itself with its present production of William Shakespeare’s Henry IV.  This adaptation, by Dakin Matthews, combines parts one and two into one three and one-half hour production (with two intermissions).  Director Eric Tucker has gathered an amazing cast.  They work as a consistent, tight ensemble and all deliver stunning performances.   

King Henry IV (played by Dakin Matthews) is facing a conflict in his sovereignty.  A rebel faction is seeking to overthrow his reign, and place Henry Percy, known as Hotspur (played by James Udom) on the throne.  King Henry’s heir, Prince Hal (played by Elijah Jones) has turned his back on his royal duties.  He enjoys his time in the pubs, galivanting around London with a motley crew of friends, led by Sir John Falstaff (played by Jay O. Sanders).  When the King summons Hal back to the palace for a meeting, he reluctantly obeys.  Falstaff and his crew follow to keep an eye on their friend.  Hal is obligated to support the King in battle, and fights until the rebel faction is defeated and Hotspur is killed.  Upon his father’s deathbed, Prince Hal professes his loyalty and commitment to the crown.  When Hal is crowned King Henry V, he turns his back on his old life, rejecting Falstaff, who was expecting a position in court. 

Elijah Jones & Jay O. Sanders
Photo courtesy of Theatre for a New Audience

Jay O. Sanders delivers a boisterous Falstaff, full of bluster and humor.  His portrayal is just right for this in the round staging.  Elijah Jones is open and genuine as Prince Hal.  He is always one step ahead of Falstaff.  They have a natural camaraderie.  This makes Prince Hal’s rejection of Falstaff acutely hurtful after his royal transformation.  Dakin Matthews is regal as King Henry IV.  His command is firm, and he reveals many layers in his relationship with his son.  

Photo courtesy of Theatre for a New Audience

The double and triple casting allows for instantaneous transitions from the streets of London to the Royal Court.  Steven Epp is outstanding as the Earl of Worcester, Francis, and Silence.  These roles are astoundingly different, allowing Mr. Epp to show off his comic timing, physical dexterity, and dramatic intensity.  James Udom also shows a range of skills in his portrayal of Hotspur and Pistol.  His Hotspur is focused and determined, while his Pistol is mischievous and silly.

Henry IV is playing at Theatre for a New Audience’s Polonsky Shakespeare Center though March 2.  It is a strong and slick rendition of this Shakespeare history tale, skillfully directed and majestically performed. 

Domenick Danza

Chain Theatre Winter One Act Festival

 One Act Festival 2025
Chain Theatre
February 12, 2025 

Photo courtesy of Chain Theatre

Chain Theatre’s One Act Festival is running through March 2.  This is a bi-annual festival that showcases a variety of playwrights, director, and actors, eager to share their work.  This winter’s festival contains twenty-five programs, which include ninety-six plays, each running for three to five dates, with selected live stream broadcasts.  It is a phenomenal festival involving a diverse group of artists.  Here are a few highlights:

Program #1  (remaining performances Feb. 21, 8:30; Feb. 23, 5:00; March 1, 8:00)

The Robot, the Spy and the Love of A.I. by John Arthur Long, directed by Kirk Gostkowski         

Trevor (played by Gabriel Rysdahl) is a spy, working to smuggle top secret information through an A.I. robot dog named Robie (voiced by David Rey and operated by Dariel Garcia).  Melanie (played by Monica Park) is studying Robie’s progress, but is unaware of Trevor’s secret operation.  Now that the project is complete, Melanie is dispensable, except that Robie has grown attached to her and has other priorities.  Mr. Rysdahl and Ms. Park have most of their dialogue with Robie.  They effortlessly make these scenes work, allowing the cautionary message to be clearly heard. 

Brothers written & directed by Lyle Kessler                                                                       

Christopher Cortez Adams and Connor Chase Stewart both deliver powerful performances as brothers, struggling for survival in a college dorm.  The situation is volatile, yet their trust and belief in one another is reassuring.  Kyle Kessler has skillfully crafted a potent piece of theatre. 

By the Look of Her by David Rabe, directed by Kirk Gostkowski                             

When Clara (played by Sachi Parker) slips into a diabetic coma, her daughter, Lorna (played by Christina Elise Perry) thinks the end is near.  She contacts her husband, Jim (played by Justin Andrew Davis), and her brother, Hank (played by Brandon Hughes), who get to the hospital as soon as they can, only to find Clara alert and enraged.  Director Kirk Gostkowski eases this cast into the rhythm of David Rabe’s writing to connect the actors on their journey of this weighty story.  Christina Perry draws the audience in by delivering a compelling portrayal of Lorna.  Sachi Parker’s explosive energy as Clara is confrontational and intimidating. 

Program #3  (remaining performance Feb. 22, 2:00) 

Eulogy written & directed by Gus Kaikkonen                             

This solo piece is a touching and poignant eulogy Gus delivers at the funeral of his father.  Mr. Kaikkonen recollects the tender moments of their relationship.  It is personal and moving. 

YOLO by Raven Petretti-Stamper, directed by Allen MacLeod       

Ralph (played by Mitch Greenberg) meets Judith (played by Susan Neuffer) on the platform of the E train at 4:00 AM.  This chance meeting changes the trajectory of their lives.  Mr. Greenberg and Ms. Neuffer have an genuine connection, creating a tender atmosphere of trust and adventure. 

Mr. Daniels by Jonathan Green, directed by Josh Kellman           

Mr. Daniels (played by Brad Fryman) is visited by a stranger (played by Orlando Segarra), who is there for a very specific reason.  The contrast in these two characters build the mystery and suspense of the piece.  It is exceptionally written, directed, and performed. 

Poke Along the Ohio by Colleen Cosgrove, directed by Mary Linehan             

Addie (played by Colleen Cosgrove) is upset when she overhears something her grandson, Horace (played by Daniel Antonino) said to their pastor at the conclusion of Sunday service.  To distract herself, she reminisces about all the well-known historic figures who sailed down the river, passing by their small Indiana town.  Ms. Cosgrove and Mr. Antonino have an excellent rapport and develop a truthful relationship.  Director Mary Linehan illuminates the natural rhythms in Ms. Cosgrove’s dialogue to evoke the time period and create a rural atmosphere. 

The Barbecue written & directed by John Avino          

This beautifully crafted play tells the touching and heartbreaking story of how following though on the final wishes of a family member suffering with dementia affects his loved ones.  Gary Dooley, Kiran Merchant, Julia Pasiorowska, and Gilly Caulo all deliver moving performances.  Their characters are distinctly driven by their personal need, as they struggle to release their individual expectation. 

Don’t miss out on the best one act festival in NYC.  Check Chain Theatre’s website for the full list of programs, dates, and times.  All tickets are $23 in advance and $26 at the door.  

Domenick Danza

Maiden Mother Crone

 Maiden Mother Crone
A Duet of Solo Plays
The Flea Theater
February 12, 2025 

Photo courtesy of Maiden Mother Crone

Maiden Mother Crone is a “duet of solo plays” now running at the Flea Theater.  It includes Sugarcoated, written and performed by Jen Ponton, and The Longer My Mother Is Dead, the More I Like Her, written and performed by Deborah Unger.  Both pieces are skillfully crafted, masterfully directed, and beautifully performed.  They display contrasting styles and subject matter, which, according to producer Alex Finger, allows the evening to feel like a mini festival.  

Sugarcoated begins on Jen’s seventh birthday.  She licks the icing from her cake, but doesn’t get to eat any yet.  She makes seven wishes, one for each year, but cannot say the seventh.  It is about her father.  She yearns for something from him, but cannot say it out loud.  Her mother’s birthday present to her is a week at Girl Scout sleep away camp, where she meets Oatmeal, a counselor who smells like pachouli.  This remains in her sensory recall for decades.  We follow Jen through middle school, high school, college, and into adulthood.  Her journey for love and connection is both joyous and heartbreaking, optimistic and shattering.  She is unwavering in her search for and discovery of her true self. 

Photo courtesy of Maiden Mother Crone

Jen Ponton is open, honest, and vulnerable throughout this piece.  She delivers a genuine performance, connecting with the audience and including them in every moment.  Director Tessa Slovis skillfully guided her to create each beat as a first-time discovery.  It is an intimate story and a truly remarkable accomplishment.

In The Longer My Mother is Dead, the More I Like Her, Deborah Unger faces the brutal truth of her relationship with her mother.  Memory floods back as she is in the car on the way to the assisted living center after an emergency call.  The first memory is from the day Deb was late for Kindergarten and walked home alone from school.  When the police returned her to her mother, the response was not what she expected.  Since her father was in the army, there were memories of her time in Germany, including an adventurous trip to Paris, where she broke every rule.  Every moment of exploration and growth is met with obstruction and judgment from her mother.  It was not until her mother reveals the secret of her first marriage that Deb realizes how alike she and her mother truly are. 

Photo courtesy of Maiden Mother Crone

Deborah Under gives a visceral performance in this piece.  The most striking moment is at the deathbed of her father.  Director Dominick LaRuffa, Jr. shifts the pace in this scene, allowing Ms. Unger to sincerely delve into the emotion of the moment.  This change of pace occurs again when her mother passes.  These poignant moments shine amid the tension and humor in Deb’s struggles with her mother, giving the audience a keen insight to the heart and depth of the relationships.

Maiden Mother Crone is playing at The Flea Theater through February 23.  It is a tender and joyful evening full of discovery and celebration.  Get a ticket today! 

Domenick Danza

January

 January
Femme Collective
MultiStages
February 1, 2025 

Photo courtesy of MultiStages

The MultiStages production of January is a riveting exploration of the grief that derives from gun violence.  Playwright Paula Cizmar takes a deep dive with her two main characters.  They face the unfathomable, and don’t stop probing for an understanding of the events.  This is their biggest obstacle in seeking a path forward.  Director Lorca Peress gives space for this cast to create truthful moments and genuine characters.  The result is a sharp, rhythmic, and powerful production.

Laura (played by Alinca Hamilton) is being interviewed on a national news program.  She is nervous.  She does not want to cry on TV.  Maya (played by Darlenis Duran) is being held prisoner in her own home by a crowd of reporters outside her door.  The phone keeps ringing, and she implores her mother (played by Veronica Cruz) to not answer it.  We find out that Lauren’s young son was the fatal victim of gun violence, and that Maya’s twelve-year-old son was the shooter.  Lauren complies with the news media, as they play on her emotions to sell their stories and advance a political agenda.  She obsesses about one day meeting Maya to face the cause of her grief.  Maya loses custody of her younger daughter and is distraught when she finds out that her son will be tried as an adult.  What would take place if these two women meet to share their feelings and perspectives? 

Photo courtesy of MultiStages

The character of Lauren undergoes an extreme level of self-evaluation during this piece.  Alinca Hamilton portrays this wide range of emotions with an indelible level of vigor.  The writing in these monologues is brutally honest and deeply revealing.  Ms. Hamilton does not hold back.  She delivers a moving performance.

Darlenis Duran portrays Maya with an intense level of fear, confusion, and rage.  The character is plunged into a horrific situation.  It is clear that she did not foresee the events that unfolded.  She is bombarded by both accusations and guilt.  It is a visceral performance. 

The media is acutely played as a character in this production.  They drive the agenda and manipulate the victims and their audience.  Jed Peterson, Veronica Cruz, and Matt Walting play characters in this network.  They are slick, smooth, and impactful. 

The MulitStages production of January is part of Femme Collective, which also includes productions by Neo-Political Cowgirls and Eden Theater Company.  January closed on February 1, so check the websites of these theatres for Femme Collective’s next project. 

Domenick Danza

Show/Boat: A River

 Show/Boat: A River
NYU Skirball Center
January 17, 2025 

Photo courtesy of Target Margin Theater

The Target Margin Theater production of Show/Boat: A River is billed as “a classic reimagined.”  What makes Show Boat a classic is the Jerome Kerns score with lyrics by Oscar Hammerstein II.  With vocal arrangements by Dionne McClain-Freeney and orchestrations by Dan Schlosberg, the score is very well presented.  Director David Herskovits delivers a bare-bones interpretation, stripping the show of elaborate sets and costumes.  The script holds up very well, but the locations and time frame, which are key to the richness of the story, are missing.  The cast works as a tight ensemble, delivering the stark rhythms of Mr. Herskovits’ vision with magnificent vocal power.   

Photo courtesy of Target Margin Theater

Captain Andy (played by Steven Rattazzi) runs the Cotton Blossom, a showboat on the Mississippi River.  His stars, Julie (played by Stephanie Weeks) and her husband Steve (played by Edwin Joseph) are forced to leave the show when it is revealed they are a mixed-race couple, which is illegal at that time.  Captain Andy’s daughter, Magnolia (played by Rebbekah Vega-Romero) steps into the lead role.  She is paired with Gaylor Ravenal (played by Phillip Themio Stoddard), who Magnolia met by chance a few days earlier.  The love story between Ravenal and Magnolia spans the next few decades.  They share tenderness and develop a sense of dedication.  They also face disappointment and abandonment, yet persevere over time.

Alvin Crawford plays Joe and majestically delivers a solid rendition of “Old Man River” with heart.  The theme of the river rolling through the lives of these characters, leading them forward on their journey, runs strongly in this production, even without the set grounding us in the location.  

Stephanie Weeks & Rebbekah Vega-Romero
Photo courtesy of Target Margin Theater

The scene between Julie and Steve, when the Sherriff comes to arrest them for miscegenation, is powerful.  This scene is a vital turning point in the story.  It is key to understanding the caste system and racial discrimination of the period.  Stephanie Weeks and Edwin Joseph play this scene perfectly.  They are genuine in their commitment to one another, and portray a true belief in the value of their bond over any challenge they need to face.

There are many additional strong performances in this production, including Phillip Themio Stoddard, Rebbekah Vega-Romero, Caitlin Nasema Cassidy, and Temidayo Amay. 

Show/Boat: A River is playing at the NYU Skirball Center through January 26. 

Domenick Danza