Get F***ed
Written and directed by Reese Carmen Villella
The Tank | 312 W 36th St., New York, NY 10018
May 21, 2026 - May 23, 2026
Get Fucked drops the audience directly into the messy emotional ecosystem of a young friend group navigating sex, intimacy, identity, ambition, queerness, and loneliness. Written and directed by Reese Carmen Villella, Set within a tightly wound friend group, the play captures the emotional volatility of modern relationships where labels blur, friendships become lifelines, and honesty arrives wrapped in humor, sex, and self-destruction.
Dakota (Drew Schoenhofer) and Kai (Carter Williams) orbit an undefined relationship filled with longing and avoidance, while B (Aspen Narain), Mac (Sean Gunby), and Gigi (Sasha Ray Simon) complete a friend group that feels deeply recognizable in all its love, judgment, chaos, and loyalty. These are the people who tell you the truth, hold you through heartbreak, and drag you out for drinks after.
Villella’s writing thrives in heightened reality with bursts of absurdism, allowing conversations around sexuality and self-exploration to feel raw, hilarious, and emotionally honest. Beneath the internet culture references, situationships, and downtown party energy is a deeply feminist pulse examining how young people search for identity and connection in a world constantly asking them to perform both.
The production establishes its atmosphere immediately. Party music floods the space while tiger-print beds and couches transform the stage into something between a dorm room, afterparty, and emotional battlefield. William Owen’s projections and sound design add a vibrant kinetic energy, with GET FUCKED flashing boldly across the space alongside Emma Balamoti’s dynamic lighting design. The result feels immersive from the moment the audience enters, like the opening act to a wild Thursday night downtown.
As an ensemble, Schoenhofer, Williams, Narain, Gunby, and Simon move with the easy rhythm of people who know each other intimately, balancing humor with vulnerability in ways that feel lived-in rather than performative. The play often unfolds like an episodic series, less concerned with plot than emotional accumulation, and that structure works beautifully for this world.
Which is why the later fourth-wall break feels unnecessary. By that point, Get Fucked already has the audience exactly where it wants them. The sudden shift into meta commentary briefly disrupts the immersion rather than deepening it. Villella’s writing is already strong enough to trust the story without stopping to explain it. Still, Get Fucked captures something painfully familiar about modern intimacy: the loneliness beneath hyperconnectivity, the fluidity of relationships, and the way friendship can become its own form of survival.
Most importantly, it’s a genuinely good night at the theatre.
Review by Malini Singh McDonald.
Published by Theatre Beyond Broadway on May 23, 2026. All rights reserved.
