Ryan Spahn

Jane Anger

March 8, 2022

Puns, witty repartee, double entendres, verbal wordplay out of Abbott and Costello, sight gags and slapstick all abound in playwright Talene Monahon's zany, edgy and accomplished historical comedy, "JANE ANGER or The Lamentable Comedie of JANE ANGER, that Cunning Woman, and also of Willy Shakefpeare and his Peasant Companion, Francis, Yes and Also of Anne Hathaway (also a Woman) Who Tried Very Hard." During a breezy 90 minutes, four offbeat characters cavort in a room; laughter is plentiful. [more]

Mr. Toole

March 10, 2020

Vivian Neuwirth’s "Mr. Toole" is a fitting tribute to a charismatic teacher and a brilliant author. However, the play, in the form it currently is in, seems to have been shoehorned into a shape it doesn’t entirely want to take. It is possible that it would be more successful as a screenplay opened up a bit. At any rate, it is a play that will be of interest to students of American fiction and those who know the two novels of John Kennedy Toole. The play may do something in the way of making Toole and his work better known. It will probably make you want to read one or both of his two novels, "A Confederacy of Dunces" and "The Neon Bible." [more]

How to Load a Musket

January 25, 2020

An essay more than a play, with players as opposed to characters, "How to Load a Musket" is a racist diatribe that fails to make its points coherently. The costumes and appointments on the walls of a black box space say all that there is to say in a play that ultimately leaves one wanting for more. The scenic design by Lawrence E. Moten III is the show’s best asset. [more]

Moscow Moscow Moscow

July 30, 2019

Halley Feiffer's new comedy, the obsessively titled "Moscow Moscow Moscow Moscow Moscow Moscow," is an intermittently funny ten-minute parody of Anton Chekhov's "Three Sisters." Unfortunately, it goes on for another hour and twenty-five minutes, tiresomely recycling jokes and shallow insights until you begin to wonder if Feiffer actually read the Russian playwright's work or just a Wikipedia synopsis for her cooler-than-thou "adaptation," which seems motivated by a strange desire to ridicule not only Chekhov's characters but also anyone who might feel bad for them. So, be forewarned, if you have an ounce of sentimentality in your soul, it may seem as if the laughter heard during the production (and, to be fair, there was a lot of it) is to some extent directed at you. [more]

Daniel’s Husband

November 12, 2018

What begins as light comedy in Michael McKeever’s well-made play "Daniel’s Husband" becomes deadly serious in this cautionary tale. If the plot seems familiar, this is a return engagement of a successful play that appeared at the Cherry Lane Theatre in April 2017. The same engaging and proficient cast returns and while designer Brian Prather remains the same, the costume and lighting designers are now different. The play has been tweaked a bit but you will probably not notice if you have seen it before. It still packs an emotional wallop in the way events turn out. [more]

Daniel’s Husband

April 20, 2017

Matthew Montelongo is particularly effective in conveying Mitchell’s anti-marriage convictions, only to make us feel Mitchell’s subsequent anguish. Anna Holbrook is also outstanding as the self-centered Lydia, smartly dressed in Jennifer Caprio’s always dead-on costumes. But it would be an oversight not to also applaud Ryan Spahn as Daniel, Lou Liberatore as Barry, and Leland Wheeler as Trip. If Montelongo and Holbrook somehow emerge as acting victors, it may be because they have, in some respects, the two richest roles. (Mitchell and Lydia duke out their ultimate conflict offstage, in a court of a law.) In an odd way, "Daniel’s Husband" is ultimately the age-old story about THE mother-in-law, which may have given rise to many a comedian’s jokes, but, can often have lethal consequences for any married couple--whether they’ve literally tied the knot or not. [more]

Gloria

June 27, 2015

His new play "Gloria" goes in another direction, a scathing satire of the media (magazine work, book publishing and television development) as well as the public’s frenzy for the details of high profile news stories. Evan Cabnet who has also piloted new plays by Theresa Rebeck and Christopher Shinn, has cast his crackerjack production with some astute newcomers to local stages (Catherine Combs, Jennifer Kim, and Ryan Spahn) as well as some accomplished New York veterans (Kyle Beltran, Jeanine Serralles, and Micahel Crane) in this always absorbing office drama. The cast is articulate and smooth-tongued as they should be playing people in the media. [more]