Orlando: A Rhapsody

Orlando: A Rhapsody
Paradise Factory Theater
November 6, 2025

Photo courtesy of Orlando: A Rhapsody

Orlando: A Rhapsody is a unique and profound exploration of the work and philosophy of Virginia Wolf.  The piece pulls from several of her texts and is written and performed by Vinora Epp and Steven Epp.  This father/daughter team create genuine moments, while discussing and debating various points of view.  It is truly mesmerizing, transporting the audience to a higher realm of thought.  As a director, Vinora Epp has a mastery of the material and a clear purpose for the play.  Its journey is lush, personal, emotionally engaging, and intellectually stimulating. 

While the audience files in and gets comfortable, an older male (Steven Epp) is sitting on a stack of books, reading a Virginia Wolf novel.  A young woman (Vinora Epp) calls for the performance to begin.  She introduces herself and the man reading, who is her father.  She tells of her childhood memories and the spaces she inhabited.  She grew up in the theater, watching her father perform Hamlet.  They prepare to tell Virginia Wolf’s Orlando.  They decide that Vinora will play the younger Orlando, and Steven will portray an older version of the character.  They dive into Virginia Wolf’s texts.  Vinora embodies the character of Orlando, while Steven brings the text of Virginia Wolf’s The Waves to life.  This meshes Orlando’s youthful fervor with a perspective on aging and the passing of time.  This dichotomy continues throughout the piece, as they discuss Orlando’s gender and Virginia Wolf’s viewpoint on fiction.   

Vinora Epp & Steven Epp
Photo by Arin Sang-Urai, courtesy of Orlando: A Rhapsody

At one point Vinora states, “The story is the thing needed,” which prompts Steven to recall his childhood theatrics that motivated him to a life in the theatre.  It is in this section of the performance where these two extraordinary artists engage in dialogue about the relationship between fiction, gender, and theatre.  According to Ms. Epp, this was the driving subtext of the piece and her inspiration for its development.  This final section brings that subtext into direct conversation.  Their points of view are from different generations, offering a point of entry for every member of the audience.  As a perspective you relate to is voiced, you open to contemplating a point of view you did not consider before.  Through this discourse, the visceral journey of the play crystallizes.  You become part of the revelation of a larger frame of thought. 

Vinora Epp & Steven Epp
Photo by Arin Sang-Urai, courtesy of Orlando :A Rhapsody

Vinora Epp and Steven Epp are an amazing duo.  They invite you into their thought process.  You feel welcome and challenged by their insight and wisdom.  It is an incomparable and enthralling experience. 

Orlando: A Rhapsody is playing at Paradise Factory Theater (64 E. 4^th St, NYC) through November 22.  Get a ticket right away.  

Domenick Danza

Henry IV

 Henry IV
Theatre for a New Audience
Polonsky Shakespeare Center
February 12, 2025 

Photo courtesy of Theatre for a New Audience

Theatre for a New Audience has outdone itself with its present production of William Shakespeare’s Henry IV.  This adaptation, by Dakin Matthews, combines parts one and two into one three and one-half hour production (with two intermissions).  Director Eric Tucker has gathered an amazing cast.  They work as a consistent, tight ensemble and all deliver stunning performances.   

King Henry IV (played by Dakin Matthews) is facing a conflict in his sovereignty.  A rebel faction is seeking to overthrow his reign, and place Henry Percy, known as Hotspur (played by James Udom) on the throne.  King Henry’s heir, Prince Hal (played by Elijah Jones) has turned his back on his royal duties.  He enjoys his time in the pubs, galivanting around London with a motley crew of friends, led by Sir John Falstaff (played by Jay O. Sanders).  When the King summons Hal back to the palace for a meeting, he reluctantly obeys.  Falstaff and his crew follow to keep an eye on their friend.  Hal is obligated to support the King in battle, and fights until the rebel faction is defeated and Hotspur is killed.  Upon his father’s deathbed, Prince Hal professes his loyalty and commitment to the crown.  When Hal is crowned King Henry V, he turns his back on his old life, rejecting Falstaff, who was expecting a position in court. 

Elijah Jones & Jay O. Sanders
Photo courtesy of Theatre for a New Audience

Jay O. Sanders delivers a boisterous Falstaff, full of bluster and humor.  His portrayal is just right for this in the round staging.  Elijah Jones is open and genuine as Prince Hal.  He is always one step ahead of Falstaff.  They have a natural camaraderie.  This makes Prince Hal’s rejection of Falstaff acutely hurtful after his royal transformation.  Dakin Matthews is regal as King Henry IV.  His command is firm, and he reveals many layers in his relationship with his son.  

Photo courtesy of Theatre for a New Audience

The double and triple casting allows for instantaneous transitions from the streets of London to the Royal Court.  Steven Epp is outstanding as the Earl of Worcester, Francis, and Silence.  These roles are astoundingly different, allowing Mr. Epp to show off his comic timing, physical dexterity, and dramatic intensity.  James Udom also shows a range of skills in his portrayal of Hotspur and Pistol.  His Hotspur is focused and determined, while his Pistol is mischievous and silly.

Henry IV is playing at Theatre for a New Audience’s Polonsky Shakespeare Center though March 2.  It is a strong and slick rendition of this Shakespeare history tale, skillfully directed and majestically performed. 

Domenick Danza

The Servant of Two Masters

The Servant of Two Masters

Theatre for a New Audience

Polonsky Shakespeare Center

November 11, 2016

Photo courtesy of Theatre for a New Audience

Theatre for a New Audience’s production of The Servant of Two Masters is pure gold.  Director Christopher Bayes brings energy and magic to this commedia dell’arte classic.  The cast pops every punchline and physicalizes the distinctive style of the period.  The production is bawdy, fast paced, and heartwarming.

Truffalino (played by Steven Epp) finds himself in the service to two masters.  The first, Beatrice (played by Liz Wisan), is disguised as her deceased brother to redeem the promissory notes from his business partner, Pantalone (played by Allen Gilmore).  The second, Florindo (played by Orlando Pabotoy) is the love of Beatrice who killed her brother in a duel.  In order to be convincing in her disguise, Beatrice becomes engaged to Pantalone’s daughter, Clarice (played by Adina Verson), even though she is promised to Silvio (played by Eugene Ma).  Mayhem ensues, all trickery is revealed, and love prevails.

Steven Epp as Truffolino
Photo courtesy of  Theatre for a New Audience
& Yale Repertory Theatre

Steven Epp is genius as Truffalino.  He and Mr. Bayes are credited for ‘further adaptations” of the script.  They skillfully add political commentary throughout the show.  Not only is this effective and hilarious, but it brings the commedia style and appeal into the present.  The antics become more than just buffoonery as the actors’ asides make us laugh at ourselves.  The cast works as a tight ensemble, giving life and verve to an almost three hundred year old theatrical form.

Theatre of a New Audience rises to new heights every year.  Their upcoming season is sure to live up to this expectation.  The Servant of Two Masters runs at the Polonsky Shakespeare Center in downtown Brooklyn through December 4.    

Domenick Danza