By: Darryl Reilly
“Some sessions are quieter than others, what do you want me say?” says a veteran Jewish female Manhattan therapist to her combative young gay male client in playwright Dan Manjovi’s hilarious, stinging, and moving ultra contemporary drama Breach. The issues of trans and Gaza are fairly debated; a tissue box gets a lot of use during emotional bits. “You’re Archie Bunker!” “Who is he?” “Google him!” We later get an uproarious compendium of video clips capturing that cultural icon in all his bigoted glory.
Mr. Manjovi exhibits an exquisite command of dramatic writing in Breach. His punchy dialogue perfectly imparts exposition and character delineation while landing numerous laughs. His plotting and construction are impeccable. Here is a galvanizing well-made great American play reflecting this social media-driven era. Its scorching finale is reminiscent of David Mamet’s incendiary Oleanna.
Licensed clinical social worker Fern Laiken is near retirement age. Tim Gow is in his 20’s and has been having weekly therapy sessions with her for seven months. He is a deeply troubled gay man prone to promiscuity, anger, acting out, and immensely needy. No wonder, he was abandoned by his parents as an infant and raised by a single foster mother in Pennsylvania. His job as a furniture deliverer is shaky; he is a month behind on his therapy bill. He has taken up writing, completing a short story and posting on Substack. His recent fixation on the Palestinian cause inspires him to attend protest rallies.
From a later phone conversation, we learn that Fern’s marriage is strained. She is also in trouble at her main job; she has worked for 24 years as a junior high school guidance counselor. A tense meeting takes place with her new superior; it is alleged that she was insensitive to a trans student. Then it is time for another contentious session with Tim.
Distinguished performer LeeAnne Hutchison is supreme as Fern. Ms. Hutchison’s calm voice, serene manner, and air of concern all enable her authentic portrayal. Hutchison is shattering when Fern’s life unravels.
Passionately arguing over the poor quality of his “Ikea floor sample” chair versus Fern’s deluxe one is a kinetic highlight of Max Monnig’s dazzling performance as Tim. Another grand portion is his tender reminiscence of visiting New York City as a child and being smitten with it. Mr. Monnig’s beaming presence, vocal resonance, comic timing, and lithe physicality all allow his characterization to attain aching poignancy. Monnig and Hutchison’s intense rapport is integral to the show’s success.
Peterson Townsend. (Photo credit: Dallas Phelps)
As the institutional ultra-progressive martinet who interrogates Fern, the wonderfully sedate Peterson Townsend is commanding. Mr. Townsend swiftly switches from authoritarian to empathetic with assured ease.
Director Christopher Scott’s physical staging on the contained playing area representing two offices is of spatial precision, strategic movement, and visual variety. Mr. Scott achieves momentum and suspense. The basic scenic design chiefly consists of a long table and two chairs. The outside world of Manhattan is depicted by Peter Brucker’s entrancing projection design. Mr. Brucker’s sound design renders the clanging modern incidental music with jolting flair. The lighting design of muted brightness and moody dimness enhances the presentation.
With its gutsy topical subject matter, glorious acting, and focused production, Breach is a stimulating theatrical experience. It is presented as part of the Fresh Fruit Festival, an annual LGBTQ-centric play event.
Breach (April 29, April 30, and May 2, 2026)
Fresh Fruit Festival
wild project, 195 East 3rd Street, in Manhattan
For tickets, visit www.freshfruitfestival.com
Running time: 75 minutes with no intermission