She Kills Monsters
Written by Qui Nguyen
Directed by Xenia Danylyszyn
Presented by City Gate Productions
The Secret Theatre | 10-10 44th Avenue, Long Island City, NY 11101
October 16-25, 2026
Fantasy strikes Long Island City this spooky season, but not just with costumes and treats galore - oh no. This spooky season, monsters are lurking about, heroes are being torn limb from limb, and souls are lost.
All of this is happening right here in our beloved borough off across the river from New York City, and no, I’m not talking metaphorically about what's happening here on the streets of Queens…or am I?...
The monsters are lurking in She Kills Monsters, the one-act play written by Qui Nguyen takes the Secret Theatre Stage in complete fantasy fashion. Presented by City Gate Productions, Director Xenia Danylyszyn turns the role-playing adventure phenomenon, Dungeon & Dragons, and Njuyen’s script into 85-minutes of pure heart-speaking entertainment.
I arrived at the theatre not knowing what to expect. After hearing the pre-show playlist of early 2000’s pop/rock hits, this millennial had a feeling that it was going to be a good time. Smash Mouth was right, this show was full of All-Stars.
A stage full of strategically stacked packing boxes greeted my fellow guests, and a little after Wonderwall by Oasis played over the speaker, She Kills Monsters started with a prologue explaining our heroine’s back-story backlit behind a white sheet. Silhouettes informed this vital information as if we were taken back to a much simpler time.
You see, our heroine, Agnes, played by Emily Ann Banks, has found her late sister, Tilly’s D&D Book of Holding. As a way to feel closer to her sister and tackle a not-so-commonly-portrayed version of grief, Agnes finds one of her sister’s friends, Chuck, to guide her through the Dungeons & Dragons world Tilly created. From here, we crossed paths with past, fantasy, and present. The audience embarked on a ride full of twists, turns, and more than a handful of sexual innuendoes.
The pacing of the show picked up a bit when the ensemble was introduced via a runway entrance to a Madonna classic, Vogue. Once our heroine, Agnes, played by Emily Ann Banks met her party, the cast’s chemistry exploded the energy on stage.
I have to award the casting team, for this was one of the most magical ones I’ve seen in a while, especially in Queens. Along-side Emily Ann Banks (Agnes) and Annie Kefalas (Tilly), were Victor Gao (Chuck), John DeFilippo (Miles), Ryan Sheehan (Orcus), Melissa Tala Bautista (Lilith), Christina Calcote (Kaliope), Caitlyn Alico Beckwith (Vera/Farrah), Kori Dezena-Andrade (Steve), Hope Weltman (Evil Tina), and Megan Gwyn (Evil Gabbi). Each cast member brought just the right amount of spark to their quirkily written roles.
The cast must have worked meticulously on their stage combat and choreography (yes, there is a bit fo dancing). The Assistant Fight Director, Luke Pearlberg, really shined through a sword-fighting sequence to Evanescence’s Bring Me to Life, and other scenes throughout the show. The ending sequence to My Chemical Romance’s Black Parade was also crafted beautifully.
One thing I certainly didn’t expect, and this alludes to the collaboration of the director and cast, was the heartfelt, sad moments that truly hit the heart. This play highlights a number of concepts about life, and the team with City Gate Productions, brought them forth the only way theatre does: through human-core storytelling.
There’s something I feel we sometimes forget as humans. Stories of all kinds have a symbiotic relationship with life. Fantasy reflects life. Life opens up through fantasy. That is why we as humans relate and learn through stories. That is why we feel and cry when we watch movies, read a book, or see a play.
We learn through stories that not everything is what it seems. The lord of the underworld can be a fun-loving slacker who loves to watch syndicated TV shows. The cool kids aren’t cool. For those who aren’t strong physically are strong in another way. We just have to find the nugget that sparks our minds to think differently.
We can’t run away from our woes and grievances entirely. We can only let them be felt and processed in different ways. Those different ways just might be the way to healing.
Click HERE for tickets
Review by Amanda Montoni.
Published by Theatre Beyond Broadway on October 19, 2026. All rights reserved.
