Bent Through Glass

Bent Through Glass

30^th Street Theater
April 3, 2026 

Photo courtesy of Bent Throguh Glass

Bent Through Glass, written and performed by Alex Koltchak, tells an amazing story of love, loss, and the journey toward healing.  Mr. Koltchak takes the audience through events leading up to and following a personal family tragedy.  He is honest and raw, genuine and clear.  Director Michael Sladek guides him through each moment, bringing his journey to compelling emotional closure. 

When Alex Koltchak enters the stage, he wastes no time getting directly to the point.  He immediately shares that, at fifteen years of age, his oldest daughter, Parker, took her own life.  He repeats it several times, almost as if he needs to hear it himself in order to believe it.  He goes back in time and talks about his daughter’s birth, then about the day he met his ex-wife, Deb.  The story continues to move backwards, as he recalls his father’s angry outbursts, his parents’ divorce, and his struggle being raised by an emotionally distant single mother.  He then moves forward, talking about his marriage and family life, raising three children, and the effect his sarcastic sense of humor had on Deb.  After he and his wife divorce, Parker is diagnosed as bi-polar.  She struggles through her early teens, moving from school to school.  When they find an out of state school for her, she begins to find her creative voice.  All seems well, until one early morning when he receives a phone call from her school with tragic news. 

Alex Koltchak
Photo courtesy of Bent Through Glass

The love Mr. Kotltchak feels for his family drives the telling of his story.  He truthfully shares events that are full of uncomfortable and challenging moments.  He never has an unkind word the people involved, and always addresses them respectfully.  This is what keeps the audience fully absorbed and caring.  That caring is not only for his wellbeing, but is extended to every person he talks about.

There are serious moments where Mr. Koltchak is overwhelmed by emotion.  He allows these feelings to fill him up.  As he moves through them, you start to wonder if he has gotten passed the grief and loss from this tragic experience.  Then he shares a story of when he took his two younger children to a Yankee game.  In one moment, they connect as one, and the journey toward healing begins. 

Bent Through Glass is playing at 30^th Street Theater (259 W. 30^th St., NYC) through April 25.  It is a poignant, personal story, skillfully crafted and openly shared.  Don’t miss it. 

Domenick Danza

The Iguana Becomes Marco

The Iguana Becomes Marco
La Mama
Experimental Theatre Club
April 1, 2026 

Photo courtesy of The Iguana Becomes Marco

The Iguana Becomes Marco is a wild, psychological journey, filled with unexpected twists, turns, and fascinating characters.  Writer/Director Booth McGowan is fully in control of every bizarre occurrence.  He grounds each moment in realistic images, then turns them on their head to keep the audience engaged and thinking.  The cast is fully committed, which allows the audience to experience the journey on numerous levels. 

When you enter the small studio space, there is a young man tied to a chair center stage, and deep, eerie music played on the viola (by Georges Mefleh).  You become immediately drawn in… and curious.  As the lights dim an overly masculine character enters, circles the young man in the chair, then sits across from him.  There is a long silence. 

Luke Wisniewski as The Iguana
Photo courtesy of The Inguana Becomes Marco

The dialogue begins.  Marco, the young man tied to the chair (played by Marco Quesada), tells the Detective, the overly masculine character (played by Bobby Cole), that in his dream the Iguana becomes him.  He did not become the Iguana.  The Iguana became him.  What follows is Marco’s encounter with the Iguana (played by Luke Wisniewski). Marco tells the Detective how he ended up locked in his uncle’s garage in Florida with the Iguana, then killed his uncle. 

Marco Quesada delivers his monologues straight and calm, while everything happening around him is absurd and over the top.  The contrast is stunning, keeping the audience focused on the events of the story, while being fully engulfed in Marco’s state of mind.  Luke Wisniewski creates the character of the Iguana with exceptional physical agility and vocal skill.  The timing between him and Mr. Quesada is perfect.

Luke Wisniewski & Marco Quesada
Photo courtesy of The Iguana Becomes Marco

Booth McGowan plays Maximilian, the silly Police Officer who assists the Detective in his investigation.  Maximilian’s bumbling antics plays brilliantly against the bravado that Bobby Cole brings to the character of the Detective.  This juxtaposition keeps the action moving at an accelerated pace, until Lucinda Dunham enters as Marceline, and the pace and tone dramatically shift.  Marco previously told the Detective that he had a date with Marceline, but she stood him up.  Yet… here she is, in a clingy, sexy gown, ready to be escorted to an expensive jazz club.  Ms. Dunham flows in and commands the stage.  She and Mr. Quesada have excellent chemistry.  Jason Hoover saves the day as Jimmy, Marco’s friend from NYC.  His energy level is high.  He dominates the scene with his broad and quicky characterization.

The Iguana Becomes Marco is playing at La Mama through April 5.  It is a unique piece of theatre that needs to be experienced firsthand. 

Domenick Danza

Fanny, A Fantasy in G

Fanny, A Fantasy in G
Off-Brand Opera
Gural Theatre, A.R.T New York
March 27, 2026 

Photo courtesy of Off-Brand Opera

Off-Brand Opera’s production of Fanny, A Fantasy in G is an inspired telling of the life of Fanny Mendelssohn.  Playwright Tim McGillicuddy creates vibrant characters living in the strict, structured society of Berlin, Germany in the 19^th century.  Being a wealthy family of Jewish descent, the Mendelssohn family had influence and connection, yet quickly fell to hard times.  Director George Abud focuses on the compelling relationships within the family to give this story humanity amid intense social expectation. 

The opening moment of the play is breathtaking.  Fanny Mendelssohn (played by Annalisa Chamberlin) is standing at the piano with her quill in hand, composing.  She gestures to the heavens, then the Muse (played by Melody Fader) plays the notes on the piano that Fanny is channeling.  This is immediately followed by the sound of aggressive, political discourse from outside the house.  These images set up both the inspiration that drives the characters and the conflict that propels the story. 

Annalisa Chamberlin, Melody Fader, & Zaq Latino
Photo courtesy of Off-Brand Opera

Fanny spends most of her time composing at the piano while her brother, Felix (played by Zaq Latino), who is also a musician, gets most of the credit for her work.  German society, at this time, does not permit a woman to compose music.  Fanny becomes aware of the charitable work her father, Abraham (played by Rufus Collins), does to support the families living in the Jewish ghetto.  As she involves herself with this cause, she becomes aware that the economic/political situation is more complex than her family’s wealth can solve.  Fanny’s mother, Lea (played by Una Clancy) insists that she consider marriage.  She gives in to her mother’s pressure on the condition that Wilhelm Hensel (played by Daniel David Stewart) be considered for her husband.  Her parents agree to her demand, in spite of the fact that Wilhelm is an artist of meager means.  Fanny spends her life trying to balance her music with society’s expectation, only to lose all her composition manuscripts when she puts her trust in the wrong people. 

Annalisa Chamberlin, Ava Delaney, Zaq Latino, & Melody Fader
Phto courtesy of Off-Brand Opera

Annalisa Chamberlin portrays Fanny Mendelssohn as passionate and childlike.  She is exuberant and enthusiastic, finding joy in her music, her family, and her marriage.  It is this energy that drives the action of the story.  The audience follows her as she persists in her endeavors, unaffected by problems and defying all obstacles.  Ms. Chamberlin creates endearing relationships with Zaq Latino and Ava Delaney, who play her brother, Felix, and her sister, Becka.  Their bond is genuine and solid.  Una Clancy delivers a strong performance as Lea Mendelssohn, the matriarch of the family.  She keeps them united and safe, while constantly reminding them of the sacrifices they need to make to maintain their social status.

Jack Ducat, Alan Kelly, Rebecca Rand, Joseph Pyfferoen,
Kelsey McClarnon, & Zaq Latino
Photo courtesy of Off-Brand Opera

Adam LaSalle plays Landstreiker, a wealthy and influential banker.  Kelsey McClarnon plays Lamond, a self-centered music publisher.  These two characters heighten the conflict of the story by representing the business and financial environment that impact the Mendelssohn family.  The third element of the outside force is poet and artist, Heinrich Heine (played by Joseph Pyfferoen).  Mr. Pyfferoen brings warmth and sensitivity to this role, yet forcefully stands up for Fanny when needed.   

The costumes, designed by Raul Luna, beautifully set the time period and formal atmosphere.  Henry Pedersen’s scenic design is simply done and appropriately focuses all the attention on the baby grand piano on a turntable in the center of the stage.

Fanny, A Fantasy in G is playing at the Gural Theatre at A.R.T/NY (502 W. 53 St.) through April 12, then transfers to the Liederkranz Club (6 E. 87 St.) from April 15 – 19. 

Domenick Danza

Monte Cristo, A New Musical

 Monte Cristo
A New Musical
The York Theatre
Theatre at St. Jean’s
March 20, 2026 

Photo courtesy of The York Theatre

The York Theatre production of Monte Cristo, A New Musical is a whimsical take on the Alexandre Dumas classic novel.  Peter Kellogg’s book keeps the action moving, finding humorous moments in this dark tale.  His lyrics dive into the emotional depth of the characters.  The music, by Stephen Weiner, sets the treacherous political environment of the period.  His duets are passionately composed, creating sweeping moments for the characters to explore.  Director Peter Flynn finds the rhythm and timing that aptly serves the style of this new musical.  The stellar cast is captivating. 

When Edmund (played by Adam Jacobs) finally returns from a long sea voyage, he asks Mercedes (played by Sierra Boggess) to marry him.  She accepts, sending Fernand (played by Daniel Yearwood) into a jealous frenzy.  Danglars (played by James Judy) takes advantage of this and convinces Fernand to deliver a forged letter accusing Edmund of treason.  At first, Villefort (played by Norm Lewis) finds Edmund not guilty, then changes his decision when he realizes this could put his father in danger of political prosecution.  Edmund is arrested and thrown into prison, where he meets Abbe (played by Danny Rutigliano), another political prisoner.  Abbe educates Edmund in the classics, and teaches him to fence and defend himself.  After eighteen years, Edmund escapes and returns to Mercedes, only to find she is married to Fernand.  He sets out on a year-long quest to seek revenge against those who imprisoned him and destroyed his life. 

Sierra Boggess & Adam Jacobs
Photo courtesy of The York Theatare

Adam Jacobs and Sierra Boggess shine as Edmund and Mercedes.  Their voices soar in their duets,
creating passionate moments that propel the action of the story.  Danny Rutigliano and Karen Ziemba deliver stunning comic relief as Caderousse and Carconte, the Inn Keeper and his wife.  It is in their Inn that the plan to frame Edmund is conceived and carried out.  Caderousse is recruited by Edmond to assist him in his plan of revenge.  

Norm Lewis
Photo courtesy of The York Theatre

Norm Lewis truthfully portrays Villefort’s guilt over his action against Edmund.  The scene where he confesses to Edmund and reveals the co-conspirators is gripping and sincere.  His regret is genuine, where Fernand and Danglars never face the consequences of their actions.  Daniel Yearwood plays Fernand as proud and arrogant, until Mercedes leaves him.  He falls quickly after that.  James Judy portrays Danglars as pompous and cowardly.    

Danny Rutigliano & Karen Ziemba
Photo courtesy of The York Theatre

There are also excellent performances by Stephanie Jae Park, Eliseo Roman, Kate Fitzgerald, and Jadon Lopez.

Anne Mundell’s scenic design transforms the moderate space at St. Jean’s into numerous locations, some vast and expansive, others confined and dangerous.  The lighting, by Alan C. Edwards, creates depth and mystery that draws the audience into mood of the story. 

The York Theatre production of Monte Cristo, A New Musical is playing at Theatre at St. Jean’s (150 E. 76 St.) through April 5. 

Domenick Danza

Chasing Grace

 Chasing Grace
The Mezzanine Theatre
She NYC Arts
March 17, 2026 

Photo courtesy of Chasing Grace

What do you want to leave behind?  How do you want to be remembered?  These are the questions Elizabeth Addison asks in her new musical, Chasing Grace, as her characters face the challenge of their addiction.  These characters take a unique and winding journey to discover the answers to these inquiries.  Ms. Addison’s writing is poignant, funny, emotionally engaging, and sometimes over the top.  Her music spans a wide range of styles to tell this incomparable story.  The cast delivers bold and daring performances, making the audience laugh, while tenderly touching their hearts. 

Photo courtesy of Chasing Grace

Grace (played by Harper Miles) enters a treatment center to gain control over her addiction.  She has a difficult time adjusting.  The other women share traumatic stories, have special needs, and most are missing their children.  When Grace’s counselor (played by Chantelle Guido) abruptly leaves the center, Grace hits bottom.  Then, Sheri (played by Kiara Wade), a sister addict, commits suicide.  

Photo courtesy of Chasing Grace

The second act takes a sharp turn when The Writer of the first act (played by Gabrielle Beckford) enters and puts the experiences of the characters she wrote about into a different perspective.  Her goal is to get her musical (the story of the first act) produced on Broadway.  She meets her collaborators (played by Shamiea Thompson and Chantelle Guido).  They commercialize the story and take away the dignity of the women in the treatment center.  As The Writer loses herself in the process of revising her work, her partner, Janessa (played by Kiara Wade) breaks up with her, leaving her alone to face herself. 

Gabrielle Beckford and Haper Miles are perfectly cast as The Writer and Grace, portraying versions of the same character at different times in their lives.  Their energies complement one another beautifully.  The moment when they face one another at the climax of the story is genuine and riveting, bringing the action to a satisfying conclusion.

Photo courtesy of Chasing Grace

Most of the women portray more than one character.  Kiara Wade plays Sheri in Act I and Janessa in Act II.  Sheri is both gusty and defeated.  Janessa is all heart.  Ms. Wade grabs the audience’s attention in these roles and does not let go.  

Shamiea Thompson plays Cece in Act I and The Tony Award Winning Black Writer/Director of Stage & Screen (one of the collaborators) in Act II.  Both characters are blatantly controlling.  Cece is manipulative, while the collaborator is egotistical and flamboyant.  Ms. Thompson makes these distinct characters her own. 

Photo courtesy of Chasing Grace

Tracey Conyer Lee plays Tessa, a woman at the treatment center with special needs, who is abandoned by her son and family.  Ms. Lee delivers an outstanding performance in this role.  Her physicality and vocal characterization are skillfully developed.  The heart of this character is fully exposed, making her vulnerable and empathetic. 

There are also excellent performances by LaDonna Burns, Theo Michaela, Marlaina Powell, and Chantelle Guido. 

Chasing Grace is playing at the Mezzanine Theatre at She NYC Arts (502 W. 53 St.) through March 29.  It is a brave and truthful telling of the pursuit of serenity, courage, and wisdom.  The production is skillfully directed by Elizabeth Addision.  The score is excellent.  The cast is superb. 

Domenick Danza

Marcel on the Train

 Marcel on the Train
Classic Stage Company
February 28, 2026

Photo courtesy of Classic Stage Company

Marcel on the Train uses the art of mime to tell the story of Marcel Marceau’s escape from France during the Nazi occupation in 1943.  The play is beautifully written by Marshall Pailet and Ethan Slater.  The scenic design by Scott Davis and lighting by Studio Luna seamlessly transport the audience to numerous locations by creating simple and bold effects.  Marshall Pailet directs this amazing cast with a sharp eye for detail and a skillful knowledge of physical storytelling. 

Marcel (played by Ethan Slater) is asked to take a group of Jewish orphans on a train across the French border to hike into Switzerland.  He and his partner (played by Aaron Serotsky) come up with the plan and create the falsified documents for the children, who are dressed as boy scouts.  Marcel tries to keep the children’s spirits up, especially Berthe (played by Tedra Millan), who is filled with fear and cynicism.  When the train car is searched, one of the children, Henri (played by Alex Wyse), engages the Nazi Officer (played by Aaron Serotsky) in a playful battle of wit.  They successfully get past the check point, then realize they will have to start hiking immediately without meeting up with the second group of orphans.  The humor that Marcel used to keep the children distracted while on the train is of little use in the snow and cold, but his imagination gets them through a dangerous encounter. 

Ethan Slater as Marcel Marceau
Photo courtesy fo Classic Stage Company

Ethan Slater is genuine and warm-hearted as Marcel.  He uses the only tools he knows to get the children across the border.  He fuels them with hope to get their courage up and keep them moving forward.  The core of the art that Marcel Marceau becomes famous for is clearly grounded through this experience.  His trust and belief in his whimsey and imagination deliver him and the orphans to safety. 

Alex Wyse, Tedra Millan, Max Gordon Moore, and Maddie Corman play the four orphans escaping with Marcel.  These actors create distinct characters who face their fears in different ways.  Alex Wyse portrays Henri as precocious and gutsy.  He steps up in the face of danger, and glibly brings his companions through a perilous situation.  Tedra Millan’s Berthe is highly pessimistic in the way she views the world.  She has a clear sense of reality and does not buy into any sugar coating.  Max Gordon Moore plays Adolphe as both antagonist and fainthearted.  He is always picking on Henri, then takes a back seat when Henri makes his bold move.  Maddie Corman delivers a touching performance as Etiennette, who does not speak.  She has a heartbreaking storyline, but never gives up hope.  These characters bicker, disagree, and poke fun at one another, yet pull together when their survival is on the line. 

Max Gordon Moore, Alex Wyse, Ethan Slater, & Tedra Millan
Photo courtesy of Classic Stage Company

Aaron Serotsky plays numerous roles, each of which is vital to the progression of action.  He transforms for each character, radiating a different energy with each costume change.

Marcel on the Train is an exceptional telling a heroic and poignant story.  The use of mime uniquely creates a throughline for the action.  The performances are outstanding.  The Classic Stage Company production is playing through March 22. 

Domenick Danza

Pied á Terre

Pied á Terre
Anne L. Bernstein Theater
The Theater Center
February 22, 2026 

Photo courtesy of Pied a Terre

Pied á Terre is a thought provoking  and mysterious piece of theatre.  Playwright John S. Anastasi peels back one layer at a time, keeping the audience questioning the identity and motives of each of the characters.  Director Peter Loewy builds the tension by keeping the action of each scene truthful in the moment.  The audience buys into the fallacies set up in the mind of each character, then faces a new reality as information is shared.  The cast creates empathetic characters that connect with the audience, emotionally engaging them in the action and outcome. 

Julia (played by Josephine Phoenix) enters a Greenwich Village apartment and discovers it is occupied by Katie (played by Macy McGrail), who reveals she has been living there with Jack (played by Jordan Allen Bell) for the past six months.  Julia tells Katie that she is Jack’s sister.  Katie explains that she met Jack at the grocery store when she was short on money for her purchases.  The truth is that Katie is a hooker and Jack invited her to move in.  Julie pushes for the details, trying to understand what Jack has been up to.  He gives Katie money for clothes, and takes her to museums and the ballet.  Katie is frustrated that Jack does not want a sexual relationship.  Julia finally admits she is Jack’s wife, and that he passed away a few days ago.  Katie and Julie must face facts and accept the dark truth. 

Photo courtesy of Pied a Terre

Josephine Phoenix and Macy McGrail are excellent together as Julia and Katie.  They are continually masking the truth, creating a vibrant tension with rich subtext.  They gradually open up to one another.  When they do, strong emotions flow.  There are resentments and denials, which evolve beautifully into honesty and acceptance. 

Jordan Allen Bell shows different sides of Jack’s character in the way he relates to Julia and Katie.  He is more reserved and cautious with Katie, while being relaxed and direct with Julia.  The audience gains full insight into his character by piecing together his actions in these distinct scenes.  When the truth is fully revealed, the audience understands his true objective and the deep of love he feels for both women.  

Pied á Terre is playing at the Anne L. Bernstein Theater at The Theater Center (210 W. 50 St.).  It is an engaging and skillfully crafted play.  The show runs in rep with their production of Perfect Crime, so check the website for specific dates and times.  

Domenick Danza