Just Desserts, A Musical Bake-Off

 Just Desserts
A Musical Bake-Off
AMT Theater
February 4, 2026 

Photo courtesy of Just Desserts, A Musical Bake-Off

Just Desserts, A Musical Bake-Off is a fresh new Off-Broadway musical with a poignant message.  The score, by Brad Ross, is lighthearted and fun.  The lyrics, by Barbara Campbell, dive deep into the backgrounds and motivations of the characters.  Director Tom Wallace magnifies the humor in Ms. Campbell's book, keeping the audience engaged and entertained.  Each cast member creates an identifiable character the audience roots for, even when they are suspected of foul play. 

The Jefferson County Fair Bake-Off is down to five finalists.  Mildred (played by Klea Blackhurst) is a four-time Bake-Off champion.  She is confident she will be taking the prize home again this year.  Emma (played by Tori Jade Lopez) was runner up last year.  She is young and has a bright future ahead of her, having just graduated from business school.  She is driven, focused, and dedicated.  Brandy (played by Lauren Nicole Sherwood) is no stranger to contests, having competed in beauty pageants her whole life.  This is, however, her first baking challenge, and she admits that she doesn’t like to cook.  Lou (played by JP Sarro) is a new resident of Jefferson County.  He is from Brooklyn and wants to open his own Italina restaurant.  Jean (played by Gina Lamparella) is a school nurse and doesn’t think she deserves to be in the finals.  She and Lou share an attraction that Brandy is continually egging on.  Zack (played by Michael Hunsaker) is the MC for the event, as well as the local weatherman.  He keeps the competition focused and moving, even though there are other places he’d rather be.  Each contestant has a lot at stake.  Some are willing to go further than others to take home to prize. 

Lauren Nicole Sherwood, Tori Jade Lopez, Klea Blackhurst, JP Sarro, & Gina Lamparella
Photo courtesy of Just Desserts, A Musical Bake-Off

Michael Hunsaker opens the show as Zack, the MC.  He is bold and energetic, setting the pace and humor that continues throughout the show.  Klea Blackhurst takes center stage, literally, as Mildred.  The character is a successful businesswoman who is very well known in the county.  She has a cold heart and is suspected of underhanded behavior.  When she reveals her personal story in Act II, she wins over her fellow contestants and every member of the audience. 

Lauren Nicole Sherwood grabs the audience’s attention from her first entrance as Brandy.  The character is openhearted and enthusiastic.  Ms. Sherwood portrays this with joy and vigor.  Tori Jade Lopez creates a multi-layered character with Emma.  She is sweet, cunning, naïve, and ambitious.  Ms. Lopez reveals these traits in the way she reacts and relates to the other characters, creating truthful moments that build a complete and genuine character. 

Gina Lamparella plays Jean as shy and unassuming.  The strength in her performance is in the subtlety of her portrayal.  She is underplayed and boldy resonant.  JP Sarro is gruff and gentle as Lou.  He and Ms. Lamparello have a tender connection, adding a sentimental layer to the over-the-top storyline. 

Be prepared to purchase sweets at the conclusion of the performance. The producers have invited some of the finest bakers to sell their creations in the lobby after the show.  For the matinee I attended, Rachel Cheng, a student from the Culinary Arts Program at John Dewey High School in Brooklyn, sold two of her original recipe cookies.  The Lemon-Glazed Earl Grey Cookies are as enticing as they sound.  The Neapolitan Cookies are a delectable mixture of flavors.  She was supported in her successful venture by her fellow students from the Business Academy at John Dewey.  

Just Desserts, A Musical Bake-Off is playing at AMT Theater (354 W. 45 St.) through February 22.  It is a heartwarming and delightful production.  Go see it!

Domenick Danza

The Ladder

 The Ladder
IRT Theatre
January 31, 2026 

Photo courteys of The Ladder

Isaac Bryne’s play, The Ladder, tells the mythical tale of Theseus slaying the Minotaur.  Director Haley Rice beautifully builds the mystery and suspense in this well-crafted play.  The characters are often searching in the dark, causing the audience to lean in and listen, until the light reveals the object of their search and the desperation of the adventure.  The cast skillfully balances the heightened action with grounded emotion, engaging the audience in their individual journeys. 

When Theseus (played by James Jelkin) escapes the labyrinth after killing the Minotaur (played by Ken Orman), he has tall tales to tell.  He weaves a tale of bravery for Pirithous (played by Justin Senense), capturing his heart and loyalty.  He lures Ariadne (played by Lucy Turner) to a secluded island, only to desert her so as not to reveal how he broke his promise to her in the labyrinth.  King Ageus, Theseus’ father (played by Ken Orman), kills himself when he thinks his son is dead.  It is Persephone (played by Rebekah Rawhouser) who draws the true story out of Theseus by holding Pirithous hostage.  Even then Theseus holds back the full truth of his lustful rise to power. 

James Jelkin creates an egotistical Theseus with a blend of strength and humor.  It is the humor that makes this god-like figure a truthful and identifiable character.  Justin Senense is seductive and adversarial as Pirithous, capturing Theseus’ attention and affection.  Mr. Jelkin and Mr. Senense cleverly play at this masculine tug of war, developing a relationship based on need and convenience. 

Lucy Turner is beguiling as Ariadne.  There is a power in her self-assurance.  Theseus easily falls into her trap, only to betray her when he no longer needs her.  Ms. Turner dominates her scenes, even when she is fully defeated and confronted by Baccus (played by Justin Senense).  Mr. Senense brings an impish quality to the role of Baccus. 

Ken Orman plays a mighty King Ageus and a frightening Minotaur.  He has a majestic and commanding presence.   Rebekah Rawhouser is evil and manipulative as Medea, and fearsome and erotic as Persephone.  She is a true dynamo. 

Playwright Issac Byrne focuses on the story that each of these mythical characters holds within them.  These stories are explored as each character is introduced, giving the play a non-linear structure.  Mr. Byrne successfully delivers an ending that pulls all the loose ends together, and Ms. Rice affectively delivers it with amazing style.

The Ladder is playing at IRT Theatre (154 Christopher St., 3^rd floor) through Feb. 15. 

Domenick Danza

The Disappear

 The Disappear
Audible Theater at Minetta Lane Theatre
January 21, 2026

Photo courtesy of The Disappear

Playwright/Director Erica Schmidt creates truthful and humorous characters in The Disappear.  The relationships are compelling and realistic, allowing her theme to be viscerally understood.  Love, fame, and creativity can easily disappear in a moment, unless effort and value are put into their viability.  When they’re gone, they can be rebuilt or recreated.  If that is not possible, a simple fabrication can keep things in perspective. 

Filmmaker Benjamin Braxton (played by Hamish Linklater) finds his muse in young upcoming actress Julie Wells (played by Madeline Brewer).  His wife, Mira (played by Miriam Silverman) is tolerant of Ben’s indiscretions.  She is fully dedicated to their twenty-year marriage.  Ben’s producer, Michael Bloom (played by Dylan Baker) refuses to cast Julie Wells, and drops the project.  When Ben starts a new project to feature Julie, she insists he hire Raf Night (played by Kelvin Harrison Jr.) to star with her.  Raf is big box office, so Michael Bloom agrees to back it.  When Raf insists Mira, who is his favorite novelist, writes the screenplay, the creative process gets extremely complicated. 

Hamish Linklater & Miriam Silverman
Photo courtesy of The Disappear

Hamish Linklater plays the role of the neurotic, self-possessed, egotistical movie director to perfection.  His timing and mood swings are both humorous and genuine.  Miriam Silverman balances his quirky character by being grounded and sincere.  They are wonderful together.  The dynamic of their relationship is clear from the very first scene.  The complications they face cause them to poke at and spar with one another.  Again, this is both comic and genuine, until it hits the point of no return.  They admit the truth, make a spontaneous decision, then face an imperative transformation. 

Anna Mirodin, Madleine Brewer, & Hamish Linklater
Photo courtesy of The Disappear

Madeline Brewer is charming as Julie Wells.  At first, she comes across as naive and flirtatious.  As the action rises, her controlling and manipulative side is revealed.  Ms. Brewer portrays this dichotomy beautifully.  Kelvin Harrison Jr. has a strong presence as Raf Night.  He seduces Mira, getting her to agree to write the screenplay with Ben.  Mr. Harrison and Ms. Silverman have strong chemistry, adding a layer of intrigue to the plot.  Raf opens up to her about his background, giving Mr. Harrison a chance to dive into the complexities of his character.

The character of Michael Bloom acts as a foil for the conflicts.  Dylan Baker builds a dynamic character in this role, making it an effective catalyst for the action.  Anna Mirodin plays Dolly, Ben and Mira’s teenage daughter.  She observes all the events of the story, even though she is unseen by her parents.  She reflects the turmoil they are feeling and sets up the transformation they all need to experience.

The Disappear is playing at Audible Theatre at Minetta Lane Theatre though February 22.  The characters are well developed, and the performances are equally strong. 

Domenick Danza

Oedipus

Oedipus
Studio 54
December 23, 2025

Photo courtesy of Oedipus

Robert Icke’s version of Sophocles’ Oedipus is riveting.  The story is set in the present, driven by desire for power.  Every word in this adaptation is purposeful.  Every action is intentional.  The cast is focused and connected.  The characters are aggressively ambitious.  The tension builds at a perpetual pace, erupting at moments of heightened frustration.  Every minute of the two hour running time (with no intermission) is intensely absorbing. 

It is election night.  Oedipus (played by Mark Strong) is running for office.  He has a solid lead in the pools and makes a few last-minute promises.  He vows to release his birth certificate, proving his citizenship and calming concerns about his commitment level.  He also promises to start an investigation into the murder of Laius, his wife Jocaste’s first husband, who ruled the country until his murder decades earlier.  Oedipus’s campaign manager, Creon (played by John Carroll Lynch), knows the truth about the events leading to Laius’ death, and is uncomfortable that Oedipus made the decision to investigate without conferring with him first.  When Oedipus’ mother, Merope (played by Anne Reid), hears that Oedipus is planning to turn over his birth certificate, she leaves her husband’s deathbed and travels to see him.  Jocasta (played by Lesley Manville) prepares a surprise dinner for Oedipus at the campaign office.  She secretly invites their three children, Antigone (played by Olivia Reis), Polyneices (played by James Wilbraham), and Eteocles (played by Jordan Scowen), to celebrate Oedipus’ impending victory.  Before they arrive, Oedipus is visited by a blind beggar, Teiresias (played by Samuel Brewer), who shares three predictions, which shifts Oedipus’ demeanor. 

Lesley Manville & Mark Strong
Photo courtesy of Oedipus

Mark Strong and Lesley Manville are brilliant together.  Mr. Strong’s Oedipus is indomitable and
explosive.  Ms. Manville portrays Jocasta as determined and vivacious.  Their passion and attraction are robust.  Their bond is visceral.  Ms. Manville stunningly delivers a long speech, revealing her abusive marriage to Laius and the birth of her first child, at fourteen years of age.  This important backstory is beautifully written.  The details are gruesome and specific, allowing for the scope of the Oedipus myth to be relevant in modern times. 

Olivia Reis, Mark Strong, Lesley Manville, Jordan Scowen, & James Wilbraham
Photo courtesy of Oedipus

Mr. Icke’s adaptation fully acknowledges that every member of the audience knows the outcome of the story.  The opening scene, which is filmed, sets up the premise and the subsequent downfall of the characters.  The tension and suspense build as the audience waits for the reveal.  It does not disappoint.  When the truth is fully comprehended by Oedipus and Jocasta, they are in shock.  It is personal and tragic.  The audience holds their breath to see how they will proceed.  As they start responding, the ending becomes uncertain.

Oedipus is playing at Studio 54 through February 8.  It is a powerful adaptation, brilliantly directed, and masterfully performed. 

Domenick Danza

Richard II

 Richard II
Red Bull Theatre
Astor Place Theatre
December 13, 2025

Photo courtesy of Red Bull Theatre

The Red Bull Theatre production of Richard II is polished, sharp, and passionate.  Craig Baldwin masterfully adapted and directed this William Shakespeare history play, making it modern and accessible.  Scenic design, by Arnulfo Maldonado, is simple, stylistic, and highly effective.  The costumes, by Rodrigo Muńoz, are a unique blend of periods, pulling the events of the play into a timeless setting.  The set and costumes allow Mr. Baldwin to present a seamless telling of this tale.  Richard is present in every scene, often skulking in the shadows, overhearing treasonous discussions as well as acts of honor and loyalty.  The prison cell from the opening scene transforms into numerous locations, allowing Richard’s fate to loom throughout the story.   

King Richard II (played by Michael Urie) banishes his cousin, Henry Bolingbrook, Duke of Hereford (played by Grantham Coleman) and Thomas Mowbray, Duke of Norfolk (played by Daniel Stewart Sherman) after their dispute over treasonous accusations.  When Henry Bollingbrook’s father, John of Gaunt, Duke of Lancaster (played by understudy Raphael Nash Thompson) dies, the Duchess of York (played by Kathryn Meisle) requests that Richard bring the banished Henry back to his homeland.  Not only does Richard refuse, but he seizes all the Duke of Lancaster’s property that Henry should rightfully inherit.  The Duchess of York joins Henry in a vengeful rebellion to overthrow the King. 

Grantham Coleman & Michael Urie
Photo courtesy of Red Bull Theatre

Michael Urie plays Richard II with wit, charm, and impeccable timing and valor.  He fully embodies this character and speaks the heightened language with eloquence and conviction.  He transitions from moments of intense introspection to sarcastic humor in an instant.  

Mr. Urie develops distinct and potent relationships with every cast member.  These relationships are vital in understanding the loyalty and treachery that drives the action.  The relationship he creates with Grantham Coleman’s Henry Bollinger changes drastically.  They go from loyal and respectful cousins to fierce enemies, as Bolingbrook attempts to take the throne from Richard.  Their connection is strong throughout the story, heightening the betrayal felt by both of them.

Kathryn Meisle, Grantham Coleman, & Emily Swallow
Photo courtesy of Red Bull Theatre

The relationship between Richard II, his Queen (played by Lux Pascal), and Aumerle (played by David Mattar Merten) is intriguing.  The love between them is passionate and truthful.  Kathryn Meisle portrays the Duchess of York with unwavering principle.  Her reasons for turning against Richard are clearly realized.  Emily Swallow’s Northumberland is cold and concise.  She stands forthright in her actions and convictions.    

Photo courtesy fo Red Bull Theatre

After Richard is imprisoned and Henry is about to be crowned King, the Bishop of Carlise (played by understudy Raphael Nash Thompson) delivers an impassioned speech that gives Henry pause.  It is a bold and risky move that makes Henry realize he needs Richard to willingly forfeit his crown in order for him to have a peaceful reign.  Mr. Thompson’s energy and intention give this moment the strength it needs to shift Henry’s course of action. 

Richard II has been extended.  It is playing at Astor Place Theatre through December 21.  It is a brilliant production. 

Domenick Danza

Gotta Dance!

 Gotta Dance!
Theatre at St. Jean’s
December 6, 2025

Photo courtesy of American Dance Machine

American Dance Machine’s Gotta Dance! is a celebration of timeless Broadway choreography.  The program is meticulously conceived and zestfully performed, showcasing definitive works of legendary Broadway choreographers.  Originally founded in 1976 by Lee Theadore, American Dance Machine was a “Living Archive” for Broadway choreography.  The company was reestablished in 2012 as American Dance Machine for the 21^st Century (ADM21) by Nikki Feirt Atkins to preserve iconic works with their original style – while keeping them fresh, relevant, and vibrant. 

Deanna Doyle & Jess LeProtto in "All I Need Is the Girl"
Photo by Bjorn Bolinder, courtesy of American Dance Machine

The show opens with Gene Kelly and Stanley Donen’s original choreography from Singing in the Rain (1952).  Jess LeProtto and Paloma Garcia-Lee perform Gene Kelly and Cyd Charisse’s duet with sizzling passion and flawless style.  Next is Jessica Lee Goldyn performing Bob Fosse’s “I’m a Brass Band” from Sweet Charity (1966).  She is backed up by the men from the company.  They are precise, in sync, and full of energy.  Jess LeProtto and Deanna Doyle perform “All I Need Is the Girl” from Gypsy (1959).  Their chemistry is charming.  Jerome Robbin’s choreography tells a touching and vibrant story of admiration and ambition.  Susan Stroman’s choreography from Contact (2000) fills the stage as the company revives “Simply Irresistible.”  Afra Hines is captivating as the Girl in the Yellow Dress, and the company weaves a tale of jealousy and desire.  Randy Skinner’s choreography from Smokey Joe’s Café (1995) is hot.  Jessica Lee Goldyn shimmies like you’ve never seen before, and she teaches Brandon Burks a move or two.  Taylor Stanley, Afra Hines, and Georgina Pazcoguin perform a stunning rendition of Bob Fossee’s “Manson Trio” from Pippin (1972).  The first act comes to a striking end with Jerome Robbins’ “Cool” from West Side Story (1957).  It is tense, highly dramatic, and truly breathtaking.  Drew Minard is outstanding as Riff.  

"Cool" from West Side Story
Photo by Bjorn Bolinder, courtesy of American Dance Machine

Act II opens with Lynne Taylor-Corbett’s bouncy version of “Sing, Sing, Sing” from Swing! (1999).  The company is bubbly and spirited, and the vocals are tight and crisp.  Afra Hines delivers a sultry rendition of “Mr. Monotony,” followed by Georgina Pazoguin, Barton Cowperthwaite, and Taylor Stanley performing the trio dance that was part of Jerome Robbins Broadway (1989).  Randy Skinner’s tap choreography for “I Love a Piano” from Irving Berlin’s White Christmas (2008) is spectacular.  Deanna Doyle and Brandon Burks start off in the duet.  Their timing is impeccable.  When Afra Hines, Jess Leprotto, Samantha Siegel, and Drew Minard join them, the dynamic shifts and the rhythm soars.  Christopher Wheeldon’s Pas de Deux from An American in Paris is absolutely beautiful.  Georgina Pazcoguin and Barton Cowperthwaite are pure magic.  The highlight of the production is Michael Bennett and Bob Avian’s choreography from A Chorus Line (1975).  Jessica Lee Goldyn perfectly delivers the style and desperation as Cassie for “Music and the Mirror.”  The finale “One” brings the show to a dazzling conclusion.

"One" from A Chorus Line
Photo by Bjorn Bolinder, courtesy of American Dance Machine

The production is stunning and superbly conceived.  The program promptly moves from one number to the next, keeping the audience fully engaged.  At the start of each number, the name of the choreographer, the title of the show, and the year it was originally created are projected on the backdrop, keeping the original archival mission of the company alive and present.  

American Dance Machine’s Gotta Dance! is playing at Theatre at St. Jean’s (150 East 76 St., NYC) through December 28.  It is a unique opportunity to experience bold and brilliant moments in Broadway history.  

Domenick Danza

Playing Shylock

 Playing Shylock
Polonsky Shakespeare Center
November 29, 2025

Photo courtesy of Playing Shylock

Saul Rubinek’s one-person show, Playing Shylock, is inspiring and pertinent.  He closely collaborates with writer Mark Leiren-Young and director Martin Kinch to create this unique performance.  Mr. Rubinek tells personal stories of his family and how he longs to play Shakespeare’s character, Shylock, a role his father dreamed of playing, but never did.  The piece addresses antisemitism, the identity of Jewish actors in the profession, and the art of creating performances that are both timely and timeless.

It is intermission during a production of William Shakespeare’s The Merchant of Venice.  The second act is about to begin, but the curtain is held due to technical difficulties.  The actor playing Shylock enters.  He is Saul Rubineck, and he addresses the audience as himself, not Shylock, to explain the delay.  Protests outside the theater over this controversial play have created concerns from the show’s backers.  The cast received notice during the intermission that this will be the final performance, so Saul decided to cancel the second act.  He is appalled that in 2025 fear could cause their work to be censored.  He speaks directly about his goals in portraying Shylock, the history of Shakespeare’s work, and how infrequently the role has been played by a Jewish actor.

Saul Rubinek
Photo courtesy of Playing Shylock

Mr. Rubinek connects to the audience on a personal level, sharing tender and sacred moments from his life.  He reveals that his grandparents were Holocaust survivors.  He tells about how they were hidden in a farmhouse for two years during the war.  He shares the story of how his grandfather was infuriated when his father told him he wanted to be an actor.  He speaks of his Jewish identity, which he knows he cannot separate from.  He speaks candidly and is fully himself.  He states that “the theatre is not a safe space,” which allows the audience to be vulnerable with him.  They open their own self- awareness as they engage with him on his journey through frustration to revelation.  

The highlights of the piece are the three sections where Mr. Rubinek performs Shylock's monologues from The Merchant of Venice.  They are focused and intense.  He instantly drops into them, transporting himself to a different time and location.  His physicality and vocal timbre shift.  His final monologue is performed in Yiddish.  It is a bold choice that makes a powerful statement.  It is truly riveting. 

Playing Shylock is running at The Polonsky Shakespeare Center in downtown Brooklyn through December 7.  It is a timely and intimate piece of theatre. 

Domenick Danza