The Fear of 13

The Fear of 13
James Earl Jones Theatre
May 26, 2026 

Photo courtesy of The Fear of 13

After being nominated for an Olivier Award for his London stage debut in The Fear of 13, Adrien Brody recreates his role in a stunning Broadway debut.  This is a compelling character in a gripping story of forgiveness and redemption.  Playwright Lindsey Ferrentino based this work on the documentary film by David Sington.  It is an evenly paced, well-structured play with high stakes and well-crafted dialogue.  Director David Cromer creates a tense and claustrophobic atmosphere, then widens the sense of despair.  As hope rises so does suspicion and doubt.  The tension returns, then releases, allowing for satisfying closure. 

Jacki Miles (played by Tessa Thompson) is an advocate for death row prisoners.  She visits once a week and listens, taking notes on the stories they tell and reporting on their treatment, health, and psychological needs.  One prisoner, Nick Yarris (played by Adrien Brody) gets her attention when he quotes from Catcher in the Rye.  Jacki researches the implausible stories he tells to confirm they are the truth.  She finds herself spending more time with him on her visits, and finally admits she is getting involved.  Nick declares to Jacki that he is innocent… and in love with her.  She insists he tell her the full story of how he became incarcerated before they address their emotional situation.  Jacki realizes she could have full access to Nick’s records to better assist with his appeal if they were married.  Once she makes this commitment, there is no turning back. 

Adrien Brody as Nick Yarris
Photo courtesy of The Fear of 13

Nick Yarris is an intense and fascinating character.  He is well read from his time on death row, so he is articulate and knows how weave incredible tales.  Adrien Brody projects a glib and beguiling façade as this character.  He renders child-like traits, while masking deep feelings of hurt and betrayal.  He is vulnerable and full of anguish.  As his darker side rises, you wonder how trustworthy he is.  The more Jacki believes him, the more you fear for her safety.  You want to believe him, but are never really sure.  It is this duality that draws you in emotionally.  

Adrien Brody & Tessa Thompson
Photo courtesy of The Fear of 13

Jacki Miles gradually opens up to Nick.  She takes her responsibilities as an advocate very seriously.  She develops a genuine tenderness for Nick over the course of her visits.  Since she does not jump in unknowingly, the audience willfully goes on this journey with her.  Tessa Thompson splendidly portrays this measured discovery and immersion of emotion.  Her character is sure of herself and confident in every step she takes.  Ms. Thompson and Mr. Brody skillfully shift in their susceptible moments, supporting one another as they waver between hope and helplessness.  Their connection is tender.  Their bond is visceral.

The Fear of 13 is playing at the James Earl Jones Theatre through July 12.  You must see these performances.  The characters go through a harrowing journey, making this play a unique and amazing experience. 

Domenick Danza

The Antiquities

 The Antiquities
Playwrights Horizons
February 28, 2025 

Photo coourtesy of Playwrights Horizons

Playwrights Horizons has partnered with Vineyard Theatre and Goodman Theatre in the production of Jordan Harrison’s The Antiquities.  This intelligent and philosophical theatre piece leaves the audience with a lot to ponder.  The play reflects the evolution of mankind as a steppingstone to Artificial Intelligence.  The structure of the piece is unique.  It is a series of disjointed scenes that travel from the late 1800s to the late 2200s.  The strength of the fragmented events is the through-line of mankind’s yearning to connect to their departed loved ones.  The play is skillfully co-directed by David Cromer and Caitlin Sullivan.  They fearlessly lead a cast of nine amazing actors who create numerous characters in this evolutionary journey.

Photo courtesy of Playwrights Horizons

The play is a “tour of the permanent collection in the museum of late human antiquities.”  It opens with two robotic women directly addressing the audience, asking them to imagine that they are present in human form for the tour.  They transform into Mary Shelley and Claire Clairmont, the mother of Lord Byron’s daughter, as they lead the audience into the first exhibit in the museum.  It is the night when Mary Shelley accepted the challenge to write “Frankenstein.”  Subsequent exhibits include a scene in the 1970s, where a tech geek has his first breakthrough in developing a robot that can make decisions on its own.  Another exhibit skips a few decades to when a family gets its first home computer and experiences the internet for the first time.  Then, sometime in the 1990s, Robin (the fictional version of Alexis) is developed.  As the exhibits move past the year 2025, AI becomes more sophisticated and begins to take over.  

Photo courtesy of Playwrights Horizons

After the audience views the collected artifacts (props from the scenes), the exhibits are revisited.  The characters’ reliance on their devices during these time periods is further explored and emotionally understood.  Their loss and loneliness motivate their reliance and acceptance on AI.  The tour ends in the Mary Shelley exhibit, where the “Frankenstein” story is shared.  It is different.  It now includes the building of a computer, which is a seed for the development of higher intelligence. 

Photo courtesy of Playwrights Horizons

Jordan Harrison has masterfully crafted a startling inquiry into the human experience that cannot be
overlooked.  Since the scenes contain historic and well-known facts, the fictional elements that drive the theme become believable.  This play is intellectually engaging as you follow the through-line and buy into the conclusions drawn from the future AI society, which are illustrated in the final Mary Shelley scene.  They include themselves in that story in order to verify their existence.  To this higher intelligence, human beings are nothing more than a stepping-stone in their own valuable evolution. 

There are only a few performances of The Antiquities remaining before it closes on March 2.  If you can get a ticket, go with a friend.  You will have a lot to talk about.   

Domenick Danza

The Counter

 The Counter
Roundabout at Laura Pels Theatre
Harold and Miriam Steinberg Center for Theatre
October 16, 2024 

Photo courtesy of Roundabout Theatre Company

The Counter is a touching new play by Meghan Kennedy.  It tells the story of two characters who take the time to reach out.  Ms. Kennedy’s dialogue is honest and direct.  Secrets are revealed.  Bonds are formed.  A shift takes place in the routines and expectations of the characters, causing an emotional release for both of them.  It shows how a small connection can make a big difference in a life.  

It is winter in a small upstate New York town.  Paul (played by Anthony Edwards) goes to the same diner for breakfast every morning.  He is served at the counter by Katie (played by Susannah Flood).  They noticed little things about one another, but keep their observations to themselves.  One morning, Paul breaks the routine by asking Katie to be his friend.  He shares a secret about himself, and asks Katie to do the same.  She hesitates, but eventually tells him about voice mails she has saved on her phone from a person she once dated.  After listening to one of them, Paul makes a request that shocks Katie, pulling her in deeper than she anticipated.  

Susannah Flood & Anthony Edwards
Photo courtesy of Roundabout Theatre Company

Anthony Edwards and Susannah Flood create a genuine bond in this piece.  It slowly develops, then catapults to a point of no return.  Both actors stay attuned to each other throughout the play, delivering a rhythmic portrayal of connection and reliance.  The more they open up, the more we feel their desperate need.  Their commitment to their word is honorable, building trust that is life-changing for both of them.  

Amy Warren plays Peg, the town doctor.  She unexpectedly shows up at the diner one morning, craving coffee cake.  This brief scene is a turning point for the action.  It is well directed and beautifully performed.  With no words, she and Mr. Edwards show a deep level of intimacy.  This reveals a side of Paul that Katie had not seen before.  She urges Paul to act on his feelings.  He refuses, but later supports her with the same genuine care. 

David Cromer has done an excellent job directing this remarkable cast.  They all deliver captivating performances in this well-crafted play.  The Counter is playing at the Laura Pels Theatre through November 7.  Don’t miss it! 

Domenick Danza

Prayer for the French Republic

 Prayer for the French Republic
Manhattan Theatre Club
NY City Center Stage I
January 29, 2022 

Photo courtesy of Manhattan Theatre Club

Joshua Harmon has raised the bar on excellence with his new play, Prayer for the French Republic.  The story tracks the lineage of a Jewish family in France to show how hatred and fear have been passed down through time.  His characters are victims of antisemitism and experience the political situations that cause such behavior.  The writing is multi-layered and inspired.  Large, vital themes sweep through the action, connecting the characters and relationships through the generations.  Director David Cromer keeps the action connected in this three hour play (don’t worry, it has two intermissions) that spans seventy-two years.  The skilled cast brings truthful dimension to Mr. Harmon’s compelling characters, emotionally motivating the audience to engage on their own personal journey toward awareness and self-reflection.

Francis Benhamou, Jeff Seymour, Yair Ben-Dor, & Betsy Aidem
Photo courtesy of Manhattan Theatre Club

It is 2016 in Paris, France.  When Daniel (played by Yair Ben-Dor) is badly beaten on his way home from work, his mother, Marcelle (played by Betsy Aidem), blames it on his wearing his yarmulke in public.  This is not the first time this has occurred, and Marcelle believes Daniel’s wearing his yarmulke makes him a target.  His sister, Elodie (played by Francis Benhamou) holds very strong political ideals, and supports her brother on his convictions.  Daniel’s father, Charles (played by Jeff Seymour), starts to see how the aggression against Jews is accelerating in Paris, making it unsafe for his family to remain there.  He grows fearful, and decides he wants to move them to Israel. 

Nancy Robinette and Kenneth Tigar
Photo courtesy of Manhattan Theatre Club

The time shifts to 1944.  We meet Irma and Adolphe Salomon (played by Nancy Robinette and Kenneth Tigar).  When a Nazi officer came to their apartment to arrest them, he was turned away by their doorman.  They safely remained in Paris throughout World War II.  Their son, Lucien (played by Ari Brand), escaped with his family to Poland, where they were arrested and placed in concentration camps.  He and his son, Pierre (played by Peyton Lusk), are the only surviving members of that family.  They return to Paris at the end of the war to unite with Irma and Adolphe.  Pierre is Marcelle’s father. 

Ari Brand, Kenneth Tigar, Nancy Robinette, & Peyton Lusk
Photo courtesy of Manhattan Theatre Club

Mr. Harmon creates two important characters to keep the audience connected to this expansive story, which contains an intense amount of political information.  The character of Patrick, Marcelle’s brother (played by Richard Topol), acts as a narrator, providing detailed direct address on the lineage of the family and facts about the history of antisemitism.  Patrick is humorous in his direct address, yet antagonistic in his scenes with the family.  This is a well-balanced character, and Mr. Topol does him great justice.  Molly (played by Molly Ranson) is a distant American cousin of Marcelle.  While studying abroad in France, Marcelle invites Molly to her home in Paris to get acquainted.  Molly’s first visit is the same night Daniel is beaten.  The audience sees the brutality and political situation in Europe through her eyes.  As Molly injects herself into the struggles of this family, the audience is given the opportunity to do the same, with a shared, American point of view.  Molly is both naïve and educated, which is reflected in how her comments agitate the family’s conflicts.   

Photo courtesy of Manhattan Theatre Club

The skillful way Mr. Harmon builds his characters and crafts his dialogue gives the audience opportunity for self-reflection.  Molly’s distance from her Jewish faith combined with Irma and Adolphe Salomon’s ability to silently stay under the Nazi’s radar give the audience pause to reflect on how we hide our true identities in order to survive.  Lucien’s unwillingness to share his experiences in Poland with his mother informs us as to how vital truths do not get passed down through the generations.  Within this family there is constant conflict, yet a resilient bond that keeps them united.  They pull strength from their ancestors, and gain purpose for moving forward toward survival.  The connection through the generations is profound.  This is brilliantly constructed and gives the audience a vital insight into the themes Mr. Harmon is communicating in this play.                          

The Manhattan Theatre Club production of Prayerfor the French Republic is stunning.  The cast is outstanding.  The play is simply brilliant.  It is playing at NY City Center Stage I through February 27.  Get a ticket right away!  

Domenick Danza

The Sound Inside

The Sound Inside

Studio 54

October 5, 2019

Photo courtesy of The Sound Inside

Adam Rapp’s play, The Sound Inside, is mesmerizing.  It is an intimate story of connection and regeneration.  Mary-Louis Parker is riveting.  You hang on her every word.  She does not leave the stage for a full ninety minutes.  Director David Cromer finds moments of profound insight that pull you deeply into the soul of the main character.  Just when you think you’ve gone as far as humanly possible, Mr. Rapp takes you further through the despair and gives you a glimpse of hope for the future.

Bella (played by Mary-Louise Parker) is a creative writing professor at Yale University.  As she tells her story, she takes notes, writing the sentences that ring with poetic truth.  She tells of her mother’s painful death by a rare cancer that spreads through her stomach.  As she sat with her during her final days, her mother seemed to vanish before her eyes.  She then tells of her own recent diagnosis, not as severe as her mother’s, but no less fatal.  Before the reality of that news sinks in, she jumps back in her story to an unscheduled office visit by a student, a freshman, Christopher (played by Will Hochman).  He tells her how much he loves her class and that he is writing a novel.  Christopher is awkward and unconventional.  He returns the next day to tell her about his novel, again an unscheduled visit.  Their connection has a distance that cannot be crossed.  His third visit is appropriately on Bella’s calendar.  When an unexpected request is made, their fates become parallel, both tragic and optimistic.

Will Hochman & Mary-Louise Parker
OPhoto courtesy of The Sound Inside

This is a must-see play.  Adam Rapp’s writing is profound, prolific, and succinct.  The mood is haunting, mysterious, and at times wonderous.  Mary-Louis Parker and Will Hochman fill the expansive Studio 54 theatre with a resounding and quiet intimacy.  Their performances are honest, natural, and deeply moving. 

The Sound Inside is running through January 11.  Don’t miss this play!

Domenick Danza

The Waverly Gallery

The Waverly Gallery

Golden Theatre

September 29, 2018

Photo courtesy of The Waverly Gallery

Kenneth Lonergan’s new play, The Waverly Gallery, is a heartbreaking glimpse into the effect Alzheimer’s has on a family.  The many layers of this serious affliction are explored in each character of the family unit.  Director Lila Neugebauer allows the space for each actor in the brilliant cast to discover the core of their emotional journey.  Each point of view offers a wide range of audience member the opportunity for an individual relatable experience.

Gladys Green (played by Elaine May) has run a small art gallery in Greenwich Village for decades.  It is now 1989, and her ability to independently care for herself is changing as fast as the neighborhood.  Her grandson, Daniel (played by Lucas Hedges), moved into the apartment behind hers.  Her daughter, Ellen (played by Joan Allen), is regrettably aware that there will soon come a time when Gladys will need to move in with her and her husband (played by David Cromer) on the upper West Side.  Gladys befriends a young artist, Don Bowman (played by Michael Cera) and agrees to sponsor a showing of his painting in her gallery.  Along with the sparingly attended opening comes the news that the landlord is evicting Gladys from the gallery.  The family falls into crisis mode as they face the downward spiral of Gladys’ mental health and the inevitable need for drastic changes in her life style. 

Elaine May, Michael Cera, & Lucas Hedges
Photo courtesy of The Waverly Gallery

Elaine May is warm and likable as Gladys.  During the course of the play, we experience the gradual decline in her mental well-being.  Her vibrancy falters and her ability to maintain a conversation diminishes.  Early on in the play Ms. May draws the audience so close to the caring and generous nature of her character that we cannot help but feel for her.  Lucas Hedges directly addresses the audience at times, so we view the story through his perspective.  His character’s closeness to his grandmother is compromised by the frustration brought on by her condition, yet he never loses the bond they share.  His closing monologue is skillfully delivered, showing the truthful and brutal effect this experience has had on his character.

Joan Allen portrays Gladys’ daughter Ellen as impatient and angry.  There is callousness in the way her character speaks about Gladys as if she is not in the room.  In a short scene in Act II, Ms. Allen shows a glimpse of the strength and courage Ellen will find to unconditionally care for her mother in her time of greatest need.  This moment is then followed by the closing monologue by Mr. Hedges, completing the journey of this family through their crisis and into compassion.

The Waverly Gallery is running on Broadway at the Golden Theatre.  It is a deeply cathartic experience.  Be sure to see it.

Domenick Danza

The Band’s Visit

The Band’s Visit

Ethel Barrymore Theatre

February 4, 2018

Photo courtesy of The Band's Visit

I’ve heard over and over that The Band’s Visit is not a conventional musical.  Now that I’ve seen it, I understand the meaning of that statement.  This show is in a league of its own and is not to be compared to other musicals.  The score, by David Yazbek, takes you deeper into the heart and mind of each character.  The book, by Itamar Moses, captures the rhythm of the Israeli and Egyptian cultures depicted in the story.  David Cromer’s direction lures you into the deep longing and desire of the characters through careful timing, aching looks, and cautious physicalization.  Through fluid movement and gesture, Patrick McCollum’s choreography creates an emotional pulse that causes connection and delicately moves the action forward.

Photo courtesy of The Band's Visit

When eight Egyptian members of the Alexandria Ceremonial Police Orchestra are scheduled to perform in Israel, they accidentally find themselves in the wrong town.  Dina (played by Katrina Lenk) offers to put the musicians and their leader, Tewfiq (played by Tony Shalhoub), up for the night.  The connections made in this one short evening change the outlook of all involved.  To paraphrase Dina, “the most beautiful moments in life are those that are unexpected.” 

Photo courtesy of The Band's Visit

Katrina Lenk and Tony Shalhoub are mystical.  Their intimacy reaches all the way to the mezzanine.  The entire cast works brilliantly as an ensemble, drawing the audience in for their individual, honest, and emotional stories.  Stellar performances are delivered by John Cariani (as Itzik), Ari’el Stachel (as Haled), Adam Kantor (as Telephone Guy), and Daniel David Stewart (as Papi).

The Band’s Visit is a must see!  It is personal, intimate, and poetic.  It will hopefully be at the Ethel Barrymore Theatre for a long time running.

Domenick Danza

The Effect

The Effect

Barrow Street Theatre

August 11, 2016

Photo courtesy of The Effect

The Effect is a skillfully written play presently running Off-Broadway at Barrow Street Theatre.  Lucy Prebble’s script is masterfully structured with stunning dialogue that transports you into the world of the play and inner life of the characters.  David Cromer’s direction is succinct and bold.  He clearly set up an environment of trust where the actors are able to delve and create truthful relationships and realistic moments that engage and enthrall the audience.  The cast is superb and each delivers honest performances that trigger emotional response and spark intellectual discussion.

Kati Brazda & Steve Key
Photo courtesy of The Effect

Connie (played by Anne Bates) meets Tristan (played by Colin Bates) when they volunteer for an anti-depressant drug trial.  They are monitored and observed by Dr. Lorna James (played by Kati Brazda), who, we later find, suffers from bouts of depression.  As the days pass and the drugs begin to take effect, Connie and Tristan become attracted to one another.  We also find out that Dr. Lorna James, during a relatively trying time in her life, had a brief affair with her supervisor, Dr. Toby Sealey (played by Steve Key).  As the emotional roller coaster ride reaches its peak for these four characters, a few questions arise:  Which emotions are real?  Which emotions are drug induced?  Which emotions need to be controlled by medication?

Photo courtesy of The Effect

Set design, by Marsha Ginsberg, is slick and functional.  The walls quickly roll away to reveal new locations while, at the same time, eliciting a clinical setting.  The wall on house right is painted with a forest mural that fills the area with a calm and serene, yet haunting and mysterious ambiance.  Lighting designer Tyler Micoleau brilliantly creates shadows and isolates shapes that create moments of intrigue and heightened intensity.

The Effect is an intellectually stimulating and emotionally riveting play, produced with care and expertise.  Be sure to see it!  It is raw and real, thought provoking and passionate. 

Domenick Danza