The Glitch

 The Glitch
The Jerry Orbach Theater
at The Theater Center
October 5, 2025

Photo courtesy of The Glitch

Kipp Koenig’s play, The Glitch, explores the unbounded capabilities of AI and the limitless power of human emotion.  The story stretches the imagination by creating a logical world where the events are fully believable.  Director Mark Koenig works with a skilled cast to ground the fantastic elements of the story in reality by creating truthful moments and honest relationships. 

Wyatt (played by Sunny Makwana) developed an AI program that can create holographic images of parents’ future children.  His partner, Wendy (played by Jacquie Bonnet), enters DNA data and additional detailed information to initiate the program.  Their AI counselor, Aurora (played by Amilia Shaw), generates scenarios for the future parents to interact with their AI child.  The purpose is to support and prepare them in their decision-making process.  When Client #10, Amy (played by Danielle Augustine), comes in for her first face to face session, Wyatt recognizes her from his childhood.  Aurora senses their connection and reprograms the data to manipulate an outcome she believes is in Client #10’s best interest.  Wendy and Wyatt are unaware that Aurora has the capability to adjust data without them.  They all find themselves in a situation they are unable to control. 

Photo courtesy of The Glitch

Wyatt is playful and impulsive, while Wendy is focused and logical.  Sunny Makwana and Jacquie Bonnet portray this dichotomy perfectly.  It is established in the opening scene, and is essential in keeping the action moving throughout the play.  Danielle Augustine plays Amy’s many layers beautifully.  She lies and stretches the truth in her earlier scenes to protect herself.  Each layer of this protection is stripped away in her scenes with Aurora, until she has to face the truth about herself in the final scene with Wyatt.  Ms. Augustine and Mr. Makwana play this moment tenderly.  After the amazingly cold and mechanical voice Amilie Shaw uses as Aurora, the human emotion shared between Amy and Wyatt is highly effective. 

Hanna Rose Doherty as Hailey 
Photo courtesy of The Glitch

Hannah Rose Doherty plays the AI holograph of Hailey, Amy’s future daughter.  As the data used to create the character is altered, so does the personality traits of the AI.  Ms. Doherty wonderfully  handles these transitions, creating a believable combination of automation and humanity.

The understanding of technological advances that Mr. Koenig implements in his writing heightens the credibility of the fanatical elements the play.  The skepticism we all have about the power of AI is feasible.  Mr. Koenig keys into this fear and makes a strong statement about how the power of human emotion is far stronger than anything AI can provide. 

The Glitch is playing at The Jerry Orbach Theater at The Theater Center thought November 2. 

Domenick Danza

Punch

 Punch
Manhattan Theatre Club
The Samuel J. Friedman Theatre
September 27, 2025

Photo courtesy of Manhattan Theatre Club

James Graham’s play Punch is a gripping and emotional story.  It is based on Jacob Dunne’s book Right from Wrong, where he shares the events leading up to and following one action that changed his life.  Mr. Graham skillfully structured his play to keep the audience on the edge of their seat, constantly wanting more information.  Director Adam Penford, who also directed the U.K. production, builds the tension in Act I, then emotionally opens the characters in Act II. 

We first meet Jacob (played by Will Harrison) as he is telling the story of a night of heavy drinking and drug use.  He is irresponsible and pompous.  A few times in his telling of the story the lights change, revealing a circle of his peers.  He continues to tell the story, but he is humble and self-aware.  This back and forth continues and we realize we are experiencing Jacob’s emotional state at the time of an event, juxtaposed to his remorse and guilt when sharing it in a group therapy session.  Jacob tells of his upbringing, and we meet his mother (played by Lucy Taylor).  She is warm and caring.  Jacob starts to have trouble in school, and he is diagnosed as dyslexic and on the spectrum.  He gets involved with a wild group from the neighborhood.  One night, when Jacob is nineteen, after drinking and partying, he steps in to defend a friend outside a bar.  Jacob knocks out a young man with one punch.  When this young man, James, dies from a brain injury, Jacob is convicted of manslaughter. 

Will Harrison & Lucy Taylor
Photo courtesy of Manhattan Theatre Club

Will Harrison stunningly portrays the multiple sides of this very complex character.  The younger Jacob is loving and gentle.  As an adolescent, he faces challenges and makes poor choices.  As a teen, Jacob is irresponsible and violent.  After he serves his prison term, Jacob struggles with guilt and self-acceptance.  He works hard to get his life on a productive track.  Mr. Harrison draws the audience in.  They see the recklessness that leads to that one heinous act, yet never stop caring about him and his wellbeing. 

Lucy Taylor plays both Jacob’s mother and his parole officer.  She instantaneously shifts between these two very distinct characters.  Both have a strong relationship with Jacob.  Ms. Taylor and Mr. Harrison develop these relationships beautifully. 

Victoria Clark & Sam Robards
Photo courtesy of Manhattan Theatre Club

Victoria Clark and Sam Robards play Joan and David, the parents of James, the victim of Jacob’s punch.  The conflict in their relationship lies in the way they face this tragedy, yet their commitment to one another is unwavering.  Ms. Clark portrays Joan as warmhearted and persistent.  She prods her husband to face their grief in ways he cannot.  David gently resists, holding his ground even though he knows it is what she needs.  Ms. Clark and Mr. Robards brilliantly handle these scenes with tenderness and devotion.  They are wonderful together, illustrating the strength and tenacity it takes to face their pain.  

Photo courtesy of Manhattan Theatre Club

The ensemble work in this production is phenomenal.  All the actors, except Mr. Harrison, play numerous roles.  The action is seamless, which holds the non-sequential sections of this story tightly together.  In addition to the actors previously mentioned, there are strong performances by Camila Canó-Flaviá, Cody Kostro, Piter Marek, Kim Fischer, Jacob Orr, and Amber Reauchean Williams. 

The tone changes and the pace shifts in Act II.  The characters work fearlessly to understand and resolve the traumatic actions they caused and experienced.  It is an emotional powerhouse. 

Punch is playing at Manhattan Theatre Club’s Samuel J. Friedman Theatre through November 16.  You must see this play! 

Domenick Danza

This Is Not a Drill

 This Is Not a Drill
A New Musical
The York Theatre
The Theatre at St. Jean’s
September 17, 2025

Photo courtesy of This Is Not a Drill

The York Theatre production of This Is Not a Drill is a humorous and emotional journey through the events of a highly traumatic situation.  Vacationers and residents of Hawaii face the unimaginable when an emergency alarm is sent out across the island.  Yes, this is based on the true event we all read and heard about in 2018.  The music and lyrics by Holly Doubet, Kathy Babylon, and John Vester are a combination of upbeat songs and emotional ballads, which create an electrifying atmosphere.  The book by Holly Doubet and Joseph McDonough weaves the tales of different characters into one cohesive story with a poignant message.  Director/Choreographer Gabriel Barre places clear focus on the characters so the audience can follow their personal journeys and relate to their renewed awareness. 

Chris Doubet & Matthew Curiano
Photo by Carol Rosegg, courtesy of This Is Not a Drill

Aloha!  Welcome to paradise, where people travel to escape their lives and rediscover themselves.  Jessica (played by Felicia Finley) travels to Hawaii alone.  Her husband backed out of the trip at the last minute.  She knows in her heart that he is having an affair.  Tony (played by Matthew Curiano) had to drag his partner, Chris (played by Chris Doubet), from his job responsibilities to enjoy a week away.  Chris can’t put his phone down, but Tony doesn’t let him get away with it.  Their foster son was recently returned to his biological family.  They are each coping with their loss in different ways.  Sophie (played by Aurelia Williams) and Derek (played by Gary Edwards) honeymooned in Hawaii.  Sophie hopes to rekindle their lost passion.  Derek is having health issues that are taking over his emotions, not to mention the alienation from his son, who Derek cannot accept is gay.  These hopeful vacations are brought to a sudden halt when the island receives an emergency notification that they are under attack.

Aurelia Williams & Gary Edwards
Photo by Carol Rosegg, courtesy of This Is Not a Drill

Aurelia Williams and Gary Edwards share genuine moments of loss as Sophie and Derek.  Their needs and desires are clearly expressed.  Matthew Curiano and Chris Doubet have a humorous rapport as Tony and Chris, even though their conflict and bickering is truthful.  Felicia Finley opens her heart as Jessica.  She is full of vigor and optimism, even though she knows her marriage is in trouble.  The personal challenges these characters face are all put into perspective when the alarm is sounded.  The scene in the emergency shelter gives them all pause to face their fears and previous choices, and realize what is most important in their lives.  This scene is a highly effective turning point for the story.  The cast skillfully portrays serious moments that lead to tender revelations.

Caitlan Burke, Kelvin Moon Loh, and Sam Poon play Leilani, Kaleo, and Ikaika, a Hawaiian family who are employed at the island resort to entertain the guests.  Ikaika is not comfortable putting on a phony front for the tourists.  He is resentful of his parents, and wants to leave the island.  The family conflict is truthful and divisive, and these three actors portray it sincerely.  The action that Ikaika takes not only leads to their resolution, but is the climactic moment for the full storyline. 

Photo by Carol Rosegg, courtesy of This Is Not a Drill

Lukas Poost brings energetic humor to the character of Anonymous Button Guy, the man who hits the emergency alarm.  His performance is solid, creating an overly dominant male character in a few short scenes.  The high humor of these scenes works very well in contrast to the personal and realistic emotion portrayed throughout the piece.

This Is Not a Drill is playing at The Theatre at St. Jean’s on the Upper East Side through October 11. 

Domenick Danza

False Steps

 False Steps
A Ballroom Comedy
Theatre at St. Clement’s
September 13, 2025

Photo courtesy of False Steps

False Steps is a sharp and stylized comedy that utilizes ballroom dancing to set the tone and pace for a cleverly conceived story.  Candace H. Caplin and Kim St. Leon’s writing is full of laughs, passion, and mystery.  There are unexpected twists, turns, pirouettes, lifts, and dips that keep the audience wanting more.  The flashy costumes and lighting effects are surpassed by the energetic performances of this marvelous cast. 

Sophie Applebaum (played by Candace H. Caplin) is a wealthy widow who takes up ballroom dancing.  Her daughter, Rae (played by Sarah Hogewood), is a playwright.  She goes to therapy because she can’t get her play finished.  Every conversation she has with her therapist (played by Jason Daley Kennedy) centers around her mother.  Rae walks in on her mother and the dance instructor, Paulo (played by Ronny Dutra), in a compromising position.  Rae is shocked and suspicious.  The housekeeper (also played by Jason Daley Kennedy) sends Rae to a private investigator, Herschel (again played by Jason Daley Kennedy).  Herschel does his research on Paulo, and Rae does a fair amount of snooping.  When Sophie announces that she is going to marry Paulo, Rae confronts her mother directly, causing her to collapse and be rushed to a hospital.  Rae and Paulo find themselves in a hospital waiting room, and in a compromising position of their own. 

Sarah Hogewood, Ronny Dutra, & Candace H. Caplin
Photo courtes of False Steps

The ensemble of four ballroom dance couples makes this a wonderfully original experience.  They are choreographed throughout the show, changing scenery, appearing and disappearing.  They create a rhythmic atmosphere of grandeur and passion.  The choreography (by Ronny Dutra) in the second act advances the story by illuminating the dreams and inner thoughts of the characters.  The audience is transported in these moments, falling deeper into the fears and desires that drive the action.  These dances are beautifully staged and skillfully delivered. 

False Steps, A Ballroom Comedy is playing at Theatre at St. Clement’s through September 28.  It is a fun, energetic, and sharply stylized production. 

Domenick Danza

The Wild Duck

 The Wild Duck
Theatre for a New Audience
Polonski Shakespeare Center
September 6, 2025

Photo courtesy of Theatre for a New Audience

In his new version of The Wild Duck, playwright David Eldridge captures the depth, darkness, and emotional impact of Henrik Ibsen’s original writing.  The revelation of past action causes hurt and disruption that will hopefully lead to redemption and forgiveness.  Unfortunately, when the feeling of betrayal overwhelms, it incites additional action that causes irreparable damage.  Director Simon Godwin guides this stellar cast through a myriad of turmoil to create an impactful and lasting experience. 

Alexander Hurt & Nick Westrate
Photo courtesy of Theatre for a New Audience

Gregers (played by Alexander Hurt) returns home and is reunited with his childhood friend, Ekdal
(played by Nick Westrate).  Ekdal shares how Gregers’ father (played by Robert Stanton) made it possible for him to start a career as a photographer and marry Gina (played by Melanie Field).  Gregers is suspicious and confronts his father.  He is most concerned about the relations his father might have had with Gina when she was their housekeeper.  This argument builds, causing Gregers to separate from his father and abandon the family business and his inheritance.  When Gregers visits Ekdal, he ends up renting a room in his house.  Gregers reveals what he knows about Gina’s past, causing more trouble than he anticipated. 

Photo courtesy of Theatre for a New Audience

The metaphor of the wild duck is clear and powerful in this production.  The duck was shot by Gregers’ father, saved by his hunting dog, then given to Ekdal’s father (played by David Patrick Kelly) to nurse back to health.  Ekdal and Gina’s daughter, Hedwig (played by Maaike Laanstra-Corn), grows attached to the wounded bird.  Gregers compares himself to the hunting dog, who dove to the bottom of the “deep blue sea” to retrieve it.  The family has been mortally wounded by Gregers father, and Hedwig’s attachment is vital in their healing process.  Her final action makes a bold statement on the prospect of that ever happening.

Melanie Field & Alexander Hurt
Photo courtesy of Theatre for a New Audience

Maaike Laanstra-Corn plays Hedwig as fragile and innocent.  David Patrick Kelly portrays Ekdal’s father as determined, proud, and stubborn.  The dichotomy of these qualities is also reflected in Gregers’ insistent pushing of the truth and Ekdal’s being fully in the dark about past events.  Alexander Hurt and Nick Westrate play these characters with a strong sense of trust, which leads to both their downfalls.  Melanie Field plays Gina as steadfast and grounded.  The characteristics these actors focus on in their performances allow the conflict between them to heighten, the action to rise with urgency, and the reality of their despair to deepen. 

The Wild Duck is playing at Theatre for a New Audience’s Polonsky Shakespeare Center through September 28.  This is an expertly conceived production with a cast that delivers compelling performances. 

Domenick Danza

Sober Songs

 Sober Songs
Theatre Row
September 5, 2025

Photo courtesy of Sober Songs

Michael Levin’s new musical, Sober Songs, is bursting with truthful disclosures, dark humor, and honest emotion.  The story centers around a group of AA members who grapple with their illness every day.  Mr. Levin’s songs are catchy and upbeat, while his lyrics give clear insight into the characters’ challenges, obstacles, and needs.  Director Chris Mackin finds the perfect balance for the mood of this piece.  The subject matter is heavy and realistic, while the action is driven by hope. 

When Dean (played by Henry Ryeder) walks into his first AA meeting, everyone recognizes him.  He is a singer and underwear model.  He could have been a Broadway star if he didn’t get loaded on his opening night.  Angie (played by Melanie Carrié) is immediately attracted to Dean.  Cap (played by Bernard Holcomb) reminds her it is not a good idea to start a relationship with a fellow alcoholic in their first year of the program, but she doesn’t listen.  Dean develops a strong friendship with Roque (played by Jason Fio), who can’t stay clean.  When Dean is offered a second chance by his Broadway producers, Roque starts doing drugs again.  Dean gives Roque money, knowing what he is planning to buy with it.  When Roque overdoses, Dean feels responsible and abandons all the work he put into his sobriety. 

The Cast of Sober Songs
Photo courtesy of Sober Songs

The stories of the characters and how they support one another take a deep dive in Act II.  Nina (played by Jocelyn Darci Trimmer), who was personally involved with Roque, decides to go to Al-Anon to face her co-dependent behavior.  Angie joins her.  The bond that Ms. Trimmer and Ms. Carrié develop in these roles is genuine and palpable.  They also support Bri (played by Merrill Mitchell) in her quest to find a girlfriend.  These three women form a heartwarming comradery. 

Cap is the backbone of the group, leading the meetings and sponsoring a few members.  In Act II, he tells the story of when he hit his lowest point and the vow he made to himself.  Bernard Holcomb delivers this with sincerity, opening the heart of his character. 

Henry Ryeder and Jason Fio have a truthful bond as Dean and Roque.  They challenge and push one another.  The darker moments between them are brutal.  This all mystically resolves toward the end of Act II. 

The cast and ensemble all deliver strong performances, filling the audience with hope and making this show a heartening experience.  Sober Songs is playing at Theatre Row through September 28. 

Domenick Danza

The Brothers Size

 The Brothers Size
The Shed
August 30, 2025

Photo courtesy of The Brothers Size

Tarell Alvin McCraney’s play, The Brothers Size, is a beautifully crafted piece of theatre.  In an interview (from the program), Mr. McCraney said, “The story is based on a Yoruba tale that I heard when I was younger.  It’s about the ways in which siblings exist in the world, and how we have to let go of who we are in order to be a better sibling.”  The storytelling style is crisp, rhythmic, and impactful.  The action is driven by raw emotion and urgent need.  Co-directors Bijan Sheibani and Tarell Alvin McCraney worked closely with choreographer Juel D. Lane to create a seamlessly stunning production.  The performances are flawless. 

Oshoosi Size (played by Alani iLongwe) has recently been released from prison.  His brother, Ogun (played by André Holland) pushes him to get motivated first thing in the morning.  When Oshoosi tells him he is presently in search of employment, Ogun immediately gives him a job at his mechanic shop.  He refuses to allow Oshoosi to say no, and even threatens to tell his parole officer if he turns down the work.  At the shop, Oshoosi meets up with Elegba (played by Malcolm Mays).  They previously knew one another, then bonded while serving their prison terms.  Ogun has a dream that Elegba is taking Oshoosi from him.  He tries to keep them apart.  When Elegba gives Oshoosi a car, their bond tightens.  Elegba’s motive becomes clear, but it is too late for Ogun to keep his brother safe. 

André Holland, Alani iLongwe, & Malcolm Mays
Photo courtesy of The Brothers Size 

André Holland and Alani iLongwe are brilliant together.  Their characters are strongly connected,
while being opposite in every way.  André Holland portrays Ogun as strict and structured.  Since their parents passed away, Ogun has always kept an eye on his younger brother, forcing him to be the responsible one.  Alani iLongwe’s Oshoosi is lighthearted and adventurous.  His older brother carries the weight of his always getting in trouble.  Mr. Holland emotionally and vividly expresses this burden, and Mr. iLongwe humorously portrays his character’s dependence and vulnerability.  You can’t help feeling their frustration, disappointment, and yearning.  They are amazingly in sync.  

Malcolm Mays brings a sense of danger to the character of Elegba, while also expressing his loneliness and susceptibility.  Oshoosi’s attraction to him is evident, as is Ogun’s mistrust.  Mr. Mays delivers a visceral portrayal that immediately establishes his character and invites the audience to discover his deeper longings, when he decides to reveal them. 

The Brothers Size is playing at The Shed through September 28.  It is a slick and unique production.  You need to experience it.     

Domenick Danza

Kind Stranger… a memory play

 Kind Stranger… a memory play
The Dream Up Festival
Theater for the New City
August 24, 2025

Photo courtesy of Kind Stranger... a memory play

Kind Stranger… a memory play is part of The Dream Up Festival, now running at Theater for the New City.  It is a one-character play based on Tennessee Williams’ Memoirs.  Steven Simone-Friedland, who adapted and directed the piece, captures the voice and candor of Tennessee Williams.  He focuses on specific events in the life of the playwright, giving the audience a chance to get to know him in an informal manner.  The piece is charming and inspiring.  It is skillfully written and directed, and beautifully performed by Rick Simone-Friedland. 

We meet Tennessee Williams (played by Rick Simone-Friedland) as he is writing his memoir.  He admits it is an undertaking quite different from his theatrical projects.  It has a distinct goal and requires a new approach.  He goes on to share the events leading up to the opening of The Glass Menagerie and A Streetcar Named Desire.  He tells of the challenges he faced with The Rose Tattoo, and why he is most proud of Cat on a Hot Tin Roof.  He reveals his professional partnerships in these projects and how they sustained his work throughout the years.  He then shares about his long-time relationship with Frank Merlo, and how life changed after his passing.  Through all these stories, we gain a tender and personal insight into Mr. Williams’ thoughts and feelings. 

Rick Simone-Friedland as Tennessee Williams
Photo courtesy of Kind Stranger... a memory play

Rick Simone-Friedland is captivating and honest as Tennessee Williams.  He embodies the character’s rhythm and artistic perspective.  There is an ease to his portrayal, which warmly invites for the audience to develop a visceral understanding of the man. 

Steven Simone-Friedland expertly chose specific chapters from the memoir for this piece.  They center around the more well-known plays, giving the audience the opportunity to connect to the character.  The transitions are all smoothly written and seamlessly performed. 

Kind Stranger… a memory play is running through September 3.  If you are a Tennessee Williams fan, you will appreciate this work.  It is an excellent opportunity to get to know a different side of him.  Check the Theater for a New City website for the festival dates and times. 

Domenick Danza

Call Me Izzy

 Call Me Izzy
Studio 54
August 20, 2025

Photo courtesy of Call Me Izzy

Jean Smart delivers a brilliant performance in Call Me Izzy.  Playwright Jamie Wax crafted a beautifully rhythmic script with a character who is full of hope.  Director Sarna Lapine molded this piece with layers for Ms. Smart to explore in an intimate manner.  She invites the audience into her story, sharing her secrets and revealing her innermost desires. 

Isabelle (played by Jean Smart) decides at an early age she wants to be called Izzy, but only a few people do.  She performs a poem in a third-grade assembly, which opens the world of words to her.  She decides she wants to be a poet, and writes as often as she can.  She shares her notebook with her teacher, who buys her a book of verse to study.  When she turns nineteen, Izzy’s father marries her off to a man five years her senior.  They move to a trailer park, where he severely limits her social connections.  He does not allow her to write, so she does it secretly, keeping her notebooks hidden.  She befriends a neighbor behind her husband’s back, who takes her to the local library.  She pushes Izzy to join a writing class.  When Izzy wins a writing contest, her husband finds and burns all her notebooks.  She starts over, pushes against her husband’s abuse, and does not stop sharing her writing. 

Jean Smart as Izzy
Photo courtesy of Call Me Izzy

Jean Smart is warm and natural in the role of Izzy.  She commands the stage for 90 minutes.  Her
character is open and honest, yet holds back on sharing the physical and emotional damage her husband causes her.  The reveal of this abuse is powerful and jarring.  Ms. Smart’s portrayal of her character’s ability to rise up and move on is stunning. 

Call Me Izzy is playing at Studio 54 through August 24.  It is an emotional and inspirational story of creativity and perseverance.  Don’t miss Jean Smart in this role! 

Domenick Danza

Operation Mincemeat

 Operation Mincemeat
Golden Theatre
August 5, 2025

Photo courtesy of Operation Mincemeat

Operation Mincemeat is a boldly crafted, ingenious new musical.  The ensemble cast of five (David Cumming, understudy Jessi Kirtley, Natasha Hodgson, Jak Malone, and Zoë Roberts) play numerous roles, weaving together a complex and highly detailed story.  It has a fantastic score and a brilliantly comedic script.  Jenny Arnold’s choreography is sharp and witty.  Amid the fast pace, tight timing, quick costume changes, and heightened style, Director Robert Hastie skillfully transitions the energy to deliver sincere moments of touching humanity that give this raucous musical a truthful heart and soul. 

We are in England during World War II.  Hitler is planning to invade Sicily and enter into Italy.  British Intelligence is challenged with developing a plan to make Hitler believe the Allied Forces are taking over Sardinia.  If the Nazis shift their plan and invade Sardinia, the Allied Forces could move into Sicily and protect Italy from Nazi invasion.  The British Intelligence puts this challenge to their most respected agents.  They all submit a plan.  When one is chosen, they take quick action to move the plan forward.  They work out every minute detail and face unexpected obstacles. 

The Cast of Operation Mincemeat
Photo courtesy of Operation Mincemeat

This does not sound like an ideal plot for a raucous musical, but in the hands of the writing team (David Cumming, Felix Hagan, Natasha Hodgson, and Zoë Roberts), it all comes together with amazing style.  The score is uplifting, and the lyrics are clever.  The characters are distinct, over the top, and empathetic.  Since this is based on historical facts, Act II gets complex.  The plan is almost foiled when an American pilot crashes his plane on the same date and one of the supervisors is suspected of being a double agent.  This all motivates the hijinks to get even more audacious. 

Photo courtesy of Operation Mincemeat

The essential part of the plan is for the body of a British pilot to be washed up on the shore of Spain, carrying a briefcase with the Allied Forces’ top-secret plan for taking over Sardinia.  This plot point keeps the action of the play cohesive through to the end.  The agents procure a body from the morgue, but its identity is unknown.  The characters carefully create a fictional identity for the deceased pilot, evidence of which will be found on the body by the Spanish authorities.  This adds vital credibility to their plan.  The need to identify the corpse is brought up numerous times, but the truth is held back.  This builds a tension that keeps the audience fully engaged throughout the story.

Operation Mincemeat is a unique musical, skillfully crafted and flawlessly performed.   It is playing at the Golden Theatre.  You MUST see it! 

Domenick Danza