THEATER FOR THE NEW CITY
Executive Director, Crystal Field
Presents
The Great American Play Series in
The Story of Sal B. and Barbranne: A Mob Fantasia (Cyrano Redux)
December 18 2025 – January 4, 2026
Thursday, Friday, Saturday at 8:00 PM, Sunday at 3:00 PM
No shows Dec 24 and 25, Dec 31 and Jan 1. (ten performances)
Tickets $20, Students & Seniors $15
Run Time: 100 minutes
CINO THEATER
THEATER FOR THE NEW CITY
155 First Avenue (between 9th and 10th Street)
New York, NY 10003
Directions
The play, which was workshopped in TNC’s Dream Up Festival this summer, re-imagines “Cyrano de Bergerac” as a high-stakes mob story.
The play imagines a time 100 years in the future, after World War III, when organized crime has merged with the military and struggles with Eastern enemies over Middle East oil. With mob intrigue, romance, and absurdist action, Edmond Rostand’s classic story of eloquence, unspoken love, and heroism is transformed into a chaotic, modern, and often surreal fantasia, preserving the essence of Cyrano’s wit, heart, and valor.
We meet Sal B., a resourceful mob consigliere and horribly scarred veteran of Special Forces. He must orchestrate the heroic deeds of the impulsive and narcissistic Paul Jr., whose attempts at romance and military glory repeatedly put him–and those around him–at risk. Jr. courts a brave, irresistible, kidnapped journalist named Barbranne (also known as “B”) with poetic, often ridiculous, declarations of love while Sal, unseen, guides him. Tasked with protecting the journalist, Sal faces jihadists, international intrigue, and his own messianic impulses, all while orchestrating moments of poetry and unlikely love.
The play gives us romance, mob drama, geopolitical farce, and heroic action in a tone alternating between absurdist comedy, melodrama, and poetic reflection. At its core, it is a meditation on love, loyalty, and human folly, re-conceiving Cyrano’s themes in a modern, chaotic, morally ambiguous world.
Playwright Stephan Morrow has used the setting of Ukraine and comparable themes of peace and tyranny in a selection of prior plays. “The Assassination of J. Kaisar and the Rise of Augustus” (TNC, 2019) re-told Shakespeare’s “Antony and Cleopatra” in a dystopian U.S. future. “Darkness After Night (Ukraine)” (TNC, 2022) and “The Sixth Column” (Unproduced, 2025) dealt with the conflicts of Russia and Ukraine. “The Coming Storm: the legacy of Anti-Semitism endures” (TNC Dreamup Festival, 2024) demonstrated how Germany’s tyrannical government actually inhibited its own scientists in the race to master nuclear fission.
Morrow writes, “I hope the play will resonate with the tragic war situation ongoing in Ukraine, and I hope that its doppelgangers of John Gotti and Paul Castellano showing up in its future world will make it relatable to today.” On the play’s love themes, he adds, “Personally, I’m intrigued by unrequited love, having gone through that trauma myself.”
CAST
Robert Aloi
Matthew Cade
Tsahai Gilchrist
George Lugo
Joe Marshall
Mark Evan Melendez
Napaht Na Nongkhai
Donata O’Neill
Aidan Peluso
Roy Rohrsetzer
Vaibhav Taparia
PRODUCTION
Lighting Design – Elijah Smith
Morrow has directed seven plays by Mario Fratti at Theater for the New City. His other TNC directing credits include all of his own plays written since 2019 plus “Recovery” by Anne Lucas, “Dogmouth” by John Steppling and “My Wife in a Chador” by Claudio Angelini. He is also an active member and frequent moderator of The Playwright Directing Unit of the Actors Studio. (He was mentored for that unit by Elia Kazan.) Morrow is founding Artistic Director of The Great American Play Series, which stages neglected American classics in “performances on book.” He is also a prolific actor in theater and film and a director of indie films. His cinematic adaptations of his political plays have been reaping numerous awards at festivals. (See: https://stephanmorrow1.tripod.com/stephanmorrowdirector/)
The Great American Play Series was founded by Stephan Morrow to present special event performances of classic American plays to the theater going public in Los Angeles and New York.
Mr. Morrow writes, “Crystal Field is a NYC gem and I am so lucky to have found a home at TNC. She is dedicated to giving artists free reign to pursue their artistic vision. In this age of institutional theaters dominating the Off Off Broadway arena with their deep pockets and huge amounts of funding, TNC is a gold mine of opportunity for independent theater artists and the only theater where you can go in, pitch an idea and get it up without waiting years to get into the pipeline. God bless Crystal.”