Review by Dr. Jeffrey T. Marvin
Production: The Unfriend
Playwright: Steven Moffat
Director: Peter Rothstein
Theatre: Asolo Repertory Theatre
Designation: United States Premiere
“This production is destined for Broadway—and it will mark the arrival of a fully realized masterpiece”
The United States premiere of The Unfriend, Steven Moffat’s brilliantly constructed comedy of social manners and moral discomfort, now on stage at Asolo Repertory Theatre under the expert direction of Peter Rothstein, stands as yet another testament to the extraordinary artistic standard that has become synonymous with Asolo Rep. With precision, sophistication, and riotous comic timing, this production not only honors Moffat’s razor-sharp wit but elevates it into a theatrical experience of rare brilliance. From its opening moments to the thunderous standing ovation that concluded the evening, it was unmistakably clear: this is a monumental theatrical event—one that feels destined for Broadway.
Founded in 1959 and now housed in the magnificent Florida State University Center for the Performing Arts, Asolo Repertory Theatre has evolved into one of the most respected regional theaters in the United States. Its roots trace back to the historic Asolo Theatre, originally constructed in Asolo, Italy in 1798 and later painstakingly reconstructed in Sarasota. Over decades, Asolo Rep has earned national acclaim for producing ambitious, intellectually rigorous, and visually stunning works, ranging from Shakespeare and Shaw to bold contemporary premieres.
There is something profoundly irreplaceable about live theater—something that no screen, no matter how large or technologically sophisticated, can replicate. It is the shared human experience that makes Sarasota one of the nation’s true arts capitals. With institutions such as Asolo Repertory Theatre, Sarasota Opera, Sarasota Ballet, Sarasota Orchestra, Sarasota Concert Artist Series, Florida Studio Theatre, Urbanite Theatre, Westcoast Black Theatre Troupe, and The Ringling Museum, Sarasota has become a cultural destination of international significance.
Mark Benninghofen delivers a deadpan performance of breathtaking precision. Zach Harris gives a performance of remarkable depth and charm. Ashley Raymond performs with luminous grace, while Arusi Santi brings authority and compelling presence. Carla Noack, Brian Wallace, and Sally Wingert form a trio of extraordinary harmony and flawless comedic timing.
Greg Emetaz’s production design is complex, ambitious, and visually stunning. Catherine Horowitz’s sound design, Philip Rosenberg’s lighting design, and Kate Sutton-Johnson’s scenic design combine to create a fully realized theatrical environment of extraordinary sophistication.
This production is destined for Broadway—and one can only hope that when it makes that transition, the entire creative force behind this extraordinary achievement will remain intact. If Broadway is indeed its next home, opening night will mark the arrival of a fully realized masterpiece.
