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