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

Gruesome Playground Injuries

 Gruesome Playground Injuries
Lucille Lortel Theatre
November 26, 2025

Photo courtesy of Gruesome Playground Injuries

Rajiv Joseph’s Gruesome Playground Injuries had its Off-Broadway premiere in 2011.  It is now experiencing another Off-Broadway production at the Lucille Lortel Theatre, featuring two awe-inspiring actors who deliver enthralling performances.  Director Neil Pepe beautifully paces this non-sequential plot line, giving the audience a chance to connect the events and process the action.  Playwright Rajiv Joseph skillfully weaves touching scenes of caring and connection between his two characters, generating questions and intrigue.  This causes the audience to fully invest and hang onto every word. 

Doug (played by Nicholas Braun) first meets Kayleen (played by Kara Young) in the school nurse’s office.   They are eight years old.  Kayleen is there because she threw up.  Doug, in full Evil Knevel mode, rode his bicycle off the roof of the school.  His head is bloody and bandaged.  Kayleen asks to see his wound, then she asks to touch it.  We meet them over and over in the nurse’s office and various hospital emergency rooms through their adolescence, teen years, and adult lives.  Doug sprains his ankle at the school dance, loses his eye in a fireworks accident, and gets struck by lightning.  He asks Kayleen to touch his wound every time.  Since their first meeting, Doug has believed that she has the power to heal him.  Unfortunately, Doug is unable to reach inside Kayleen and heal the pain she carries.  

Kara Young & Nicholas Braun
Photo courtesy of Gruesome Playground Injuries

Nicholas Braun is daring, gullible, and winsome as Doug.  He tells Kayleen that his mother says he is
accident prone.  Kayleen says he’s just stupid for doing crazy things.  Mr. Braun exudes the mettle and gumption that makes it fully believable that Doug would courageously and recklessly jump into activities that cause him severe injury.  He and Kara Young develop an innate bond.  From the minute they lay eyes on one another in the first scene, when they are eight years old, they are viscerally connected.  As they get older, Kayleen continually pushes Doug away.  Ms. Young plays these moments with a compelling subtext and clear back story.  Kayleen’s dialogue offers glimpses into her turmoil.  The emotional weight is obvious.  The complex details of her past experiences are intrinsically understood.  This is the strength of Ms. Young’s performance.  While her physicality in each scene is lively and energetic, she persistently carries emotional baggage, which leers its ugly head at unexpected times.

Gruesome Playground Injuries is playing at the Lucille Lortel Theatre through December 28.  Don’t miss it!  

Domenick Danza

Little Bear Ridge Road

 Little Bear Ridge Road
Booth Theatre
November 22, 2025

Photo courtesy of Little Bear Ridge Road

Playwright Samuel D. Hunter has outdone himself with Little Bear Ridge Road.   His characters are emotionally raw and intensely self-protective.  Director Joe Mantello creates moments that give the audience focused insight into the characters.  As the relationships deepen, the characters soften, exposing more of what they fight to hide from themselves and one another.  The outcome is a visceral understanding of their fears, needs, and hopes.

Ethan (played by Micah Stock) returns to his rural hometown in Idaho after his father passes.  He needs to sell his father’s house but first has to get the deed to the property from Sarah, his father’s sister (played by Laurie Metcalf).  Knowing he has no place to stay and very little money, Sarah invites him to stay with her until his business is complete.  She makes it very clear that she doesn’t like having people in her house.  Not having seen one another or spoken in many years, they navigate carefully.  After his father’s house is sold, Ethan discovers that Sarah is ill.  He feels he should stay to care for her.  She refuses his help, but since he has no place else to go, he stays for two years.  During that time, they face uncomfortable truths that have emotionally stifled them for decades. 

Laurie Metcalf & Micah Stock
Photo courtesy of Little Bear Ridge Road

Micah Stock and Laurie Metcalf are riveting in the roles of Ethan and Sarah.  They continually talk
about how they are the last of their family line, then promptly respond with how little it matters to either of them.  Regardless of what they say, their connection feels vital.  They are linked and in dire need of one another, even though their dialogue and tone say differently.  It is this contradiction that draws the audience into the action of the play.  We yearn for them to be honest and direct, yet they are incapable of opening up.  It is brilliantly written and directed, and these two actors deliver outstanding performances. 

Laurie Metcalf, John Drea, & Micah Stock
Photo courtesy of Little Bear Ridge Road

John Drea plays James, who becomes Ethan’s boyfriend over the two years he is staying with Sarah.  James is optimistic and full of life, polar opposite to Sarah and Ethan.  Mr. Drea finds a way to make this a natural complement to Ms. Metcalf and Mr. Stock’s portrayal of their characters.  Their combined energies fill this dark journey with obstacles and opportunities that emotionally engage every member of the audience.

Little Bear Ridge Road is a skillfully crafted piece of theatre.  The play was commissioned by and received its world premiere at Chicago’s Steppenwolf Theatre Company.  The production is unique in many ways, from the stark, simple set to the genuine portrayal of the need for human contact and emotional healing. 

Little Bear Ridge Road is playing at the Booth Theatre through February 15.  You’ve got to see it! 

Domenick Danza