Sacco & Vanzetti Are Dead!
Written and directed by Joey DeFilippis Matthew Ferrara
The American Theatre of Actors — Sargent Theatre | 314 W. 54th St New York, NY 10019
July 17-July 27th (minus July 22nd)
1920 was an explosive year. The League of Nations was formed as an international organization to solve international disputes; it was the precursor to the United Nations which, by the way, the United States opted not to join. Prohibition took effect under the 18th Amendment. Sacco and Vanzetti were arrested for robbery and double murder. Women’s suffrage came to fruition with the 19th Amendment. The Wall Street Bombing, the deadliest terror attack in the U.S. at the time, is thought to be retaliation for the arrests of Sacco and Vanzetti.
Nicola Sacco and Bartolomeo Vanzetti were Italian immigrants and anarchists who were controversially convicted of robbery and murder in Massachusetts in 1920. Their trial was widely criticized for its bias, lack of concrete evidence, and anti-immigrant sentiment. Despite international protests and appeals for clemency, they were executed in 1927. The case became a symbol of injustice and prejudice in the American legal system. I remember learning about this case in high school and being aghast. My activist spirit and advocacy passion were fueled by the glaring unfairness of racism, xenophobia, and anti-immigration rhetoric.
So, when I received the invitation to see Sacco & Vanzetti Are Dead!, a satirical retelling of the trial, I was curious to see how this story could be funny. How can there be humor in such a tragic situation? Theatre provides the space for social commentary.
Let me situate you. I returned to my old haunts at the American Theatre of Actors (ATA). I timed my arrival perfectly to avoid the corrections bus to Rikers. ATA shares space with the Midtown Community Court, after all. Warm memories rush back as Mr. Jennings greets me. Thankfully, the elevator is working, and I make my way up to the Sargent. Conviviality and chatter welcome me as I enter. The audience is made up of family members and friends. As I settle into my corner seat, I take in the set: flats as a backdrop, entryways, and a projection screen. I’m already intrigued by the use of both design elements.
The opening tableau sets the tone, signaling to the audience that in witnessing the murder of Frederick Parmenter and Alessandro Berardelli, we are also stepping into a stylized world where a tongue-in-cheek barrage of racial slurs against Italians exposes the xenophobia at the story’s core. Sacco and Vanzetti (Joey DeFillipis and Matthew Ferrara) ride a train, waxing poetic about their hopes in the land of opportunity and sharing wistful tales from the old country. Their reverie is abruptly cut short when they are arrested for the murders of Parmenter and Berardelli, primarily because they look Italian. Their possession of anarchist fliers and a pistol does little to help their case.
Coming to their rescue is Fred Moore (Michael Gardiner), their defense attorney, a radical from California and the lead counsel for the Industrial Workers of the World. So begins a seven-year journey of incarceration and trials. District Attorney Frederick Katzman, portrayed with stark simplicity by Dan Yaiullo, and Judge Thayer, played with disdainful authority by Bret Raybould, embody a justice system that never intended to give these men a fair trial. In one striking moment, Katzman begins to speak to the trial’s inherent unfairness. However, he is swiftly silenced. This reinforces the notion that Sacco and Vanzetti would not serve as symbols of justice, but be symbols of power’s relentless grip.
Any actor taking on the behemoth of a role is fortunate to be supported by a strong ensemble cast, one that elevates the work and exemplifies the art of collaboration. In Sacco and Vanzetti, DeFilippis and Ferrara run a marathon, as did Gardiner’s Moore. His portrayal is a cocktail of Chris Farley and Jack Black. His unrestrained, obnoxious take on Moore, played with pugnacious flair, injects the play with humor and bombast. He brings an uncomfortable levity to the piece.
The ensemble cast was dynamic, each actor distinctive in playing multiple roles. Francesco Baldino makes his theatrical debut as Mike Boda, a fellow anarchist, meeting the demands of the role with a steady presence. Danielle MacMath plays multiple roles without confusion. Her clarity and range are impressive, as is Ryan O’Toole. His characters land with unique presence and definition.
I appreciated the use of this theatrical linguistic device: having characters speak in their natural vernacular before shifting into an Italian accent. It allowed the audience to feel the authenticity of the characters while still following the story. DeFilippis and Ferrara effortlessly flowed between the two. I loved the choice to speak Italian in quiet conversations and song, as it made the moments intimate, especially between Sacco and his wife, Rosina (portrayed with strength and conviction by Ilana Schimmel).
They do not shy away from the use of racial slurs for Italians. Though some moments may have felt excessive—they did at times for me—their inclusion is important. It reinforces the prejudice of the time, as well as the vicious cycle that continues today.
What impressed me most was how much unfolded on such a small stage. The play featured many scenes and set changes, which might typically frustrate me. However, I was struck by how quickly and fluidly each transition occurred. It worked well within the confines of a static set, with flats moving in and out across the stage. That said, I found myself wishing they had used more projections. Projections could have added another layer to the storytelling, helping to convey more of the historical and political context surrounding Sacco and Vanzetti and the spectacle of their trial. With so much exposition packed into the piece, more projections could have served as a dynamic visual complement.
Joey DeFilippis and Matthew Ferrara not only wrote this sharp comedic allegory about the treatment of immigrants and the “othering” of minority Americans, but they also embody Sacco and Vanzetti with captivating energy. On top of that, they directed the play. It’s a monumental task for any artist, yet their passion and command of the material thrust them into a unique zone where they juggle writing, acting, and directing with effortless grace. They’re a magnetic duo, bold and unforgettable, who held my full attention from start to finish.
Sacco & Vanzetti Are Dead! is a wildly funny, fiercely intelligent, and deeply angry piece of theatre. And rightfully so.
Click HERE for tickets.
Review by Malini Singh McDonald.
Published by Theatre Beyond Broadway on July 18, 2025. All rights reserved.