DANNY AND THE DEEP BLUE SEA
Written by John Patrick Shanley, Directed by David Zayas, Jr.
Produced by Megatron Inc. Center For Theatre Research
Danny and the Deep Blue Sea was written by John Patrick Shanley in 1983, but could easily take place in any bar in any city across America today. Danny, played by Giovanni Sandoval, is a hot-headed blue-collar worker who seeks solitude in a bar after a fight where he believes he may have killed a man. He finds Roberta, played by Megan Tomei, already settled into her fortress of solitude, wallowing in her own issues and drama.
In fact, director David Zayas, Jr., has had Tomei on the stage since the house opened. This was a great way to introduce us to Roberta and watch her stew for however long it takes the audience to finish using the bathroom and sit down to begin the piece.
Sandoval jumps right in, and he and Tomei are off and running. Shanley’s dialogue is raw, raunchy, and uncouth, so it takes a moment to adjust to the vibes and themes presented right off the bat. However, both Sandoval and Tomei fall into the rhythm easily and deliver the lines with a grounded and authentic fervor.
Blissfully unaware of what’s happening, both characters begin to peel away the traumatic layers of their psyche, exposing parts of themselves they most likely never thought they’d show or share. Sandoval and Tomei play this back-and-forth, almost cat-and-mouse, emotional push-and-pull expertly and with ease. The audience feels like a lucky fly on the wall as they get to watch these two genuine actors partake in intimate – sometimes out of control – moments.
For the most part, Zayas, Jr. had us sitting on the edge of our seats with his subtle and effective direction. Though, I did find myself pulling out of the piece several times. Why didn’t Sandoval know the melody for Davy Crockett if that was his character’s go-to “I don’t want to hear this” place? If it’s not the 1980s, then change it for a modern audience. Why did we see Danny punch Roberta, only for her not to react to being hit? Also, why didn’t the lighting change from the bar to the bedroom? Perhaps Zayas, Jr. wanted to keep us as awkward and uncomfortable in our seats as the play is with its dialogue and themes.
One major theme in the play calls out the most terrible thing a human can do. Once revealed, can we – should we – be forgiven for them? Do we all deserve happiness, even with our faults and past crimes? Say what you will about this polarizing piece, Sandoval and Tomei had us rooting for Danny and Roberta to find even a shred of happiness by the end.
Review by Nick Radu-Blackburn.
Published by Theatre Beyond Broadway on April 13, 2026. All rights reserved.
