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

Lempicka

 Lempicka
Longacre Theatre
March 30, 2024 

Photo courtesy of Lempicka

Tamara de Lempicka is a world renown artist, whose paintings define the Art Deco period.  Her work and life flourished between World War I and World War II in Paris.  The new Broadway musical, Lempicka,  celebrates her unique style, and tells the story of her life and loves during that time period.  The score by Carson Kreitzer is bold and daring.  The music soars through the Longacre Theare, amazingly performed by this outstanding cast.  

We first meet Tamara de Lempicka (played by Eden Espinosa) in the 1970s in Los Angeles.  She is an older, eccentric woman, sitting on a park bench, painting, and contemplating the journey of her life.  We travel back with her sixty years, to her wedding day in Russia.  She marries Tadeusz Lempicki (played by Andrew Samonsky).  When the Russian Revolution begins, her husband, a Polish royal, is taken prisoner.  She gives herself to a Russian officer in order to get her husband released.  They flee to Paris with their baby daughter.  In Paris, Tamara returns to painting, something she did less of after she married.  Her work catches the eye of the Baron and Baroness (played by Nathaniel Stampley and Beth Leavel), who recommend she study under Marinetti (played by George Abud).  She immerses herself in her studies, and desperately tries to earn money selling her paintings.  When she meets Rafaela (played by Amber Iman), Tamara is immediately attracted to her.  She asks to paint her portrait.  It is with this nude painting that Tamara discovers her own style, which brings her great success in Paris.  Her affair with Rafaela, though known by her friends and husband, is kept very secret.  As Tamara’s fame rises, so does the power of the Nazi Party.  Her husband returns to Poland, and Tamara, being Jewish, flees to the United States with her daughter and the Baron.  

Eden Espinosa as Tamara de Lempicka
Photo courtesy of Lempicka

The production is sharp and stylistic, reflecting the unique and bold style of Lempicka’s Art Deco
masterpieces.  Although focusing on the two loves in Lempicka’s life, the story covers decades of time.  There is chaos and political upheaval, as well as social and artistic evolution, yet the story is told clearly and succinctly. 

Beth Leavel & Nathaniel Stampley
Photo courtesy of Lempicka

In Act II, Beth Leavel delivers an emotionally impactful solo.  The Baroness comes to Tamara to have her portrait painted.  The Baroness has been informed that she has a very short time left to live.  She wants her husband to remember her as she is, strong and full of life.  These are the qualities the Baroness sees in Tamara’s work, and she trusts Tamara to capture what she wants her husband to remember.  The Baroness admits that her husband is in  love with Tamara.  She makes Tamara promise to help her husband, who is also Jewish, escape the Nazis.

Before her death in 1980, Tamara de Lempicka’s paintings were recovered and put on auction in the United States.  They brought in millions, and re-establish her reputation.  Her work transformed the way women were viewed in society.  This musical documents her struggle, both personal and as an artist, to achieve her vision and make a name for herself.  

Domenick Danza

The Resistible Rise of Arturo Ui

The Resistible Rise of Arturo Ui

Classic Stage Company

November 17, 2018

Photo courtesy of Classic Stage Company

This is an ideal time for a revisit of Bertolt Brecht’s The Resistible Rise of Arturo Ui, and the Classic Stage Company production hits every mark in this political parable.  The Brecht style and utilization of theatre as a vehicle for strong social commentary is heightened in this production by actors changing hats to portray numerous roles and side glances to the audience to acknowledge their presence.  Under the direction of John Doyle this amazing cast finds the poetic timing of Brecht’s writing to incite humor, identification, and outrage.  

Bertolt Brecht wrote The Resistible Rise of Arturo Ui after escaping Germany in 1933.  The play parallels Hitler’s rise to power with that of Brooklyn-born Chicago gangster, Arturo Ui (played by Raul Esparza).  He offers protection to the grocery industry by inciting fear in an unknown enemy.  He them proves the presence of this fictional enemy by having his goons burn down a warehouse.  This action is a reference to the burning down of the Reichstag in 1933, which brought Hitler and the Nazi Party to a powerful public position.  Arturo Ui trains himself to have the public persona he knows he needs to gain power with the working class.  Once this is achieved, he is able to rise to greater self-serving heights.

Raul Esparza as Arturo Ui
Photo courtesy of Classic Stage Company

Raul Esparza displays an amazing range of skill in his portrayal of Arturo Ui.  His character yearns for power and transforms to achieve it.  His vocal characterization goes from nasal and comic to bold and powerful.  His physicalization changes from timid and flippant to magnetic and controlling.  He embodies the power as it shapes his identity.  He takes ownership it, and fully believes it is part of him.  His performance is riveting and inspiring.  You cannot take your eyes off him.  

From the Classic Stage Company electronic program notes: “The play is a parable in which Brecht demonstrates, through satire and high drama, how mundane irrationality can lead to an inhumane and barbaric government."  This is a powerful message for our time, and the cast works as a tight ensemble to deliver it with full impact.  Each actor (George Abud, Eddie Cooper, Elizabeth A. Davis, Christopher Gurr, Omoze Idehenre, Mahira Kakkar, and Thom Sesma) creates distinctive characters that are genuinely layered in truthful detail. 

Raul Esparza & Eddie Copper
Photo courtesy of Classic Stage Company

The purpose of a parable is to simplify a complex situation and offer perspective for deeper and clearer understanding.  The Classic Stage Company production of The Resistible Rise of Arturo Ui does that to perfection.  Don’t miss this timely production.  It is running through December 22.

Domenick Danza

Peer Gynt

Peer Gynt

Classic Stage Company

May 22, 2016

Photo courtesy of Classic Stage Company

Peer Gynt, Henrik Ibsen’s five act play written in verse and loosely based on a Norwegian fairy tale, is presently in production at Classic Stage Company.  Ibsen’s script is said to “blend poetry with social satire and realistic scenes with surreal ones.”  This holds true in this production, especially the social commentary, which rings relevant to our present day political dilemma.  Directed and adapted by John Doyle, these moments are strongly focused, yet he has omitted the depth and expanse of the main character’s experiences on his journey by diminished the show to a mere one hour and fifty minutes without an intermission. 

Peer Gynt (played by Gabriel Ebert) longs for greatness.  To be specific, he yearns to be emperor.  He rides a wild stag and steals the virginity of the bride of a fellow townsperson.  He gains wealth and dubs himself a prophet.  He is told he has become an emperor, but only of himself.  This achievement is not enough for him.  In the final moments he realizes he has not been true to himself, and is therefore not able to receive the rewards he desires.

Gabriel Ebert as Peer Gynt
Photo courtesy of Classic Stage Company

The actors (Gabriel Ebert, Quincy Tyler Bernstine, Becky Ann Baker, Adam Heller, Jane Pfitsch, Dylan Baker, and George Abud) all do an amazing job creating true characters whose objectives are clearly and realistically motivated.  The final section of the play (Act 5 from Ibsen’s script) is powerful and provocative, yet outweighs the surface skimming of the previous sections.  The most memorable scene is when Peer Gynt peels an onion trying to find the center.  He compares each of the layers to an experience he had on his journey.  When he realizes there is no center to the onion, only continual layers, he feels a sense of despair.  His response offers an understanding that he was searching for something deeper all along.  The production, however, lacks the heightened sense of adventure and visceral connection needed to make that moment, and others like it, compelling and meaningful.

Peer Gynt runs at ClassicStage Company thought June 16.

Domenick Danza