‘FALLEN ANGELS’: Kelli O’Hara, Mark Consuelos & Rose Byrne. Photo: Joan Marcus.

FALLEN ANGELS
By Noël Coward
Directed by Scott Ellis
Through June 7, 2026
Roundabout Theatre Company
Todd Haimes Theatre
227 West 42^nd St.
https://www.roundabouttheatre.org/get-tickets/2025-2026-season/fallen-angels/performance

By Scott Harrah

Broadway veteran Kelli O’Hara and Oscar nominee Rose Byrne are a hilarious dynamic duo as two booze-swilling best friends in this knockout revival of Noël Coward’s 1928 comedy Fallen Angels.

Mr. Coward’s play hasn’t been on Broadway since 1956. That production featured a revised script by Mr. Coward, moved the story from London to New York, and starred Nancy Walker.

Now, 70 years later, Fallen Angels returns in its original form as a sophisticated, zany farce set in a posh London apartment. Julia (Kelli O’Hara) and Jane (Rose Byrne) are two wealthy society women who spend a girls’ night swilling champagne and dishing about everything from their husbands to a former lover with whom they both allegedly had an affair. While their husbands are away on a golf trip, the two best friends discuss the impending arrival of former French lover Maurice (Mark Consuelos) and argue over whether to stay in London and face him or leave town entirely.

As they slowly get drunk on champagne, they reflect on whether they are still happy in their marriages. They grow increasingly competitive and revealing as they become more inebriated. Watching Ms. O’Hara and Ms. Byrne’s comic chemistry is completely riveting and consistently hilarious.

Comic masterclass

Ms. O’Hara is best known for playing leading ladies in musical theater and serious dramas. She received a Tony nomination in 2024 for her portrayal of struggling alcoholic Kirsten Arnesen in Days of Wine and Roses. As Julia, Ms. O’Hara plays a more lovable drunk who may remind some of Edina Monsoon in the 1990s BBC Brit-com “Absolutely Fabulous.” She delivers Edina-style physical pratfalls, juggling cigarettes and champagne, pacing nervously, and falling into furniture.

Ms. Byrne received an Oscar nomination this year for playing Linda in If I Had Legs I’d Kick You, a disturbing drama about a psychotherapist unable to cope with caring for a daughter with a severe pediatric feeding disorder. She is also renowned for her work in the blockbuster comedies Bridesmaids, Neighbors, and Spy. As Jane, Ms. Byrne is more impulsive than her friend. She staggers and flings herself across the room with a mix of excitement and hysteria. Every emotion manifests physically as she drinks, like a more refined version of Patsy Stone in “Absolutely Fabulous.” Ms. Byrne brings a sense of elegance and cosmopolitan wit to the character of Jane. Both Ms. Byrne and Ms. O’Hara have a harmonic rapport onstage. They truly seem like two friends having a blast together.

Fallen Angels is a classic comedy by Noël Coward, steeped in posh, Art Deco elegance. Nearly a century later, it still sparkles, thanks largely to the electrifying performances of Kelli O’Hara and Rose Byrne. Both actresses lean fully into Coward’s champagne-soaked farce, playing society women who go off the rails into giddy, uninhibited chaos. Ms. O’Hara reveals a dazzling comic edge as Julia, tossing off physical gags with precision while steadily descending into deliciously sloppy drunkenness. Ms. Byrne matches her beat for beat, and together they create a whirlwind of impeccable timing and gleeful excess.

Coward’s world

Noël Coward’s world is one of polished surfaces and carefully curated appearances, where even a casual remark carries weight. He peppers the dialogue with references to London neighborhoods and fashionable destinations, using geography as a sly marker of class and taste. A passing mention of a hotel in Bayswater signals status, aspiration, and the subtle hierarchies that define these characters’ lives. The joke lands differently depending on what you know, but it always lands.

Julia and Jane aren’t the only ones getting laughs in this evening of excess. Tracee Chimo plays the lovable maid Saunders, often serving as a deadpan counterpoint to their antics. Saunders loves to interrupt the ladies with long-winded, often irrelevant anecdotes. She also boasts about how knowledgeable and worldly she is, citing her work with the Red Cross, the Foreign Legion, concert pianists, and countless aristocrats.

Saunders also hilariously condones the duo’s drinking. “Several drinks never do any harm,” she quips. “It is only the first which is dangerous, after that the damage is done.”

Later, when Jane mentions a hotel in Bayswater, it’s not simply a generic line. Mr. Coward plays the same game “Absolutely Fabulous” perfected decades later, using London neighborhoods like Shepherd’s Bush and Holland Park as a wink to those in the know and a subtle dig at social climbing for everyone else.

When the men arrive

Julia and Jane’s husbands Fred (Aasif Mandvi) and Willy (Christopher Fitzgerald) soon come home and instantly know things aren’t normal. The apartment is a mess, and both women try far too hard to appear sober, insisting that everything is fine and nothing out of the ordinary transpired.

Maurice soon arrives and chaos ensues. He is now much older and less handsome than the women remember. (Mark Consuelos, of course, is still very dashing and attractive in real life and he’s perfect as Maurice.) Julia and Jane realize they have risked their marriages for nothing.

Both husbands grow suspicious as they try to figure out what really happened, while the wives attempt to do damage control.

Direction & design

Scott Ellis directs this gifted ensemble with skillful precision, allowing each actor to shine. The set design by David Rockwell is gorgeous, and Jeff Mahshie’s period costumes are stunning, particularly those for the leading ladies. Noël Coward’s comedies are best known for sending up the shortcomings of the British upper classes with razor-sharp dialogue. One could argue that Mr. Coward is not known for plays that are slapstick-driven vehicles. However, in Fallen Angels, the physical chaos really is the story. Watching the two women come unglued before pulling themselves together is what makes the show so much fun.

Aasif Mandvi, Christopher Fitzgerald, and Mark Consuelos provide strong comic support in less showy roles. The three men help give the farce just enough structure as everything spirals delightfully out of control. Fallen Angels is an effervescent, bubbly comedy and one of the best revivals of a Noël Coward play in many years.

Published April 26, 2026
Reviewed at press performance on April 23, 2026.

‘FALLEN ANGELS’: Christopher Fitzgerald, Mark Consuelos & Aasif Mandvi. Photo: Joan Marcus.

‘FALLEN ANGELS’: Tracee Chimo & Aasif Mandvi. Photo: Joan Marcus.

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‘PIRATES! THE PENZANCE MUSICAL’: Nicholas Barasch, Ramin Karimloo & Jinkx Monsoon. Photo: Joan Marcus.

PIRATES! THE PENZANCE MUSICAL
By W.S. Gilbert & Arthur Sullivan
Adaptation by Rupert Holmes
Music direction by Joseph Joubert
Choreography by Warren Carlyle
Directed by Scott Ellis
Through July 27, 2025
Todd Haimes Theatre
227 West 42^nd Street
https://www.roundabouttheatre.org/

By Scott Harrah

Gilbert and Sullivan purists might be puzzled by Pirates! The Penzance Musical, the new, hysterically over-the-top Broadway reboot of The Pirates of Penzance. Regardless, audiences looking for sheer escapism will love it. This updated and modernized version of Gilbert and Sullivan’s operetta just received a Tony nomination for Best Musical Revival. This gleeful iteration is quite different from the first production in New York City in 1879.

The original show was set on the craggy coast of Victorian-era Cornwall, England. In this revival, however, Pirates! takes place in 1880 New Orleans in the French Quarter. The revamped book contains a few additions and changes to the story. Nonetheless, Gilbert and Sullivan’s basic plot remains intact.

Motley crew of characters

The story focuses on naïve young Frederic (Nicholas Barasch). He is about to turn 21 (or is he?) and erroneously becomes an apprentice to a group of motley pirates. This is due to the mistake made by the engagingly eccentric woman who raised him, nurse Ruth (Jinkx Monsoon). In addition, Frederic was born on February 29^th during a leap year so no one can figure out exactly how old he actually is or how many birthdays he’s actually had.

He starts working as an assistant to the pirate, led by the dashing Pirate King (Ramin Karimloo), an alleged orphaned nobleman-turned-pirate who appears intimidating but is a softie in reality.

Major General-Stanley (David Hyde Pierce) is a lovably bumbling military man with a bevy of beautiful daughters. Frederic is immediately lovestruck by Mabel Stanley (Samantha Williams), one of Major General’s daughters.

Twisty plot & many production numbers

Not being that familiar with Gilbert and Sullivan’s body of work, I will not nitpick about whether or not Rupert Holmes’ modern adaptation is true to the original Pirates of Penzance. It doesn’t matter that the story is now set in the Big Easy because New Orleans is a perfect setting for shameless silliness and the lively score, given an all-American flavor with jazz rhythms thanks to music supervisor Joseph Joubert. The entire cast seems to be having a blast onstage, sporting Linda Cho’s elaborate period costumes and performing choreographer Warren Carlyle’s high-spirited dance moves.

Top-notch performances

The vibe of Pirates! is manic and madcap, but the show is first and foremost an operetta/musical. For Gilbert and Sullivan aficionados, the songs are crucial, and David Hyde Pierce does an excellent job with the most recognizable number, the tongue-twisting classic “I Am the Very Model of a Modern Major-General.” Mr. Hyde Pierce is best known for playing fussy snob Dr. Niles Crane on the popular TV sitcom “Frasier,” but he’s been in countless Broadway musicals and dramas and he certainly approaches the quirky Major-General with the right mix of wit and wackiness.

Mr. Hyde Pierce also takes on the dual role of William S. Gilbert while Preston Truman Boyd doubles as both Arthur Sullivan and the Sergeant of Police. Mr., Truman Boyd and Mr. Hyde Pierce both give a brief introduction at the beginning of the show as Gilbert and Sullivan, respectively.

The always brilliant Ramin Karimloo, also a Broadway veteran, is sublime as the Pirate King. He’s handsome, winsome, and agile, with a natural gift for all the physical comedy involved with the role. Of course, he has a dynamic tenor voice and is a huge crowd-pleaser when singing “I Am the Pirate King” in the first act.

Nonstop energy

Jinkx Monsoon, a two-time “RuPaul’s Drag Race” winner, broke box-office records two years ago when she made her Broadway debut in Chicago. As Ruth, Ms. Monsoon hams it up and is as camp as Christmas, but when she sings, one immediately knows why she has so many fans. She has an amazing voice, especially during her solo number, “Alone, and Yet Alive (The Mikado)” in the second act. She consistently captivates the audience with her nonstop radiant energy. When she sings with cast members, the chemistry she has with the others is incredibly palpable.

Nicholas Barasch is perfectly cast as Frederic, the overzealous youngster and pirate apprentice. With his red hair, squeaky-clean looks, and a lush tenor voice, Mr. Barasch delivers a rock-steady performance and shows amazing physical agility with all the frenzied scenes in the show. His love interest, Mabel, is portrayed by the lovely Samantha Williams. Ms. Williams has a gorgeous soprano voice and a natural rapport with Mr. Barasch.

Admirable direction

Overall, Scott Ellis does an admirable job directing everyone and keeps things light and full of vitality while managing to rein in the cast when needed despite all the hubbub onstage. Pirates! The Penzance Musical is not a definitive new interpretation of Gilbert and Sullivan’s 19^th century saga. However, it’s still a lot of fun for anyone looking for an evening of light entertainment.

Published May 4, 2025
Reviewed at press performance on April 29, 2025

‘PIRATES! THE PENZANCE MUSICAL’: Nicholas Barasch, Ramin Karimloo & Jinkx Monsoon. Photo: Joan Marcus.

‘PIRATES! THE MUSICAL’: Jinkx Monsoon & cast. Photo: Joan Marcus.

‘PIRATES! THE PENZANCE MUSICAL’: (Collage, clockwise from top, right): Samantha Williams & Nicholas Barasch; Nicolas Barasch (center right & left). Photos: Joan Marcus.

‘PIRATES! THE PENZANCE MUSICAL’: (Collage, top:) Nicholas Barasch & Ramin Karimloo & David Hyde Pierce. (Bottom, left): David Hyde Pierce as William S. Gilbert & Preston Truman Boyd as Arthur Sullivan. (Bottom, right): Preston Truman Boyd as the Sergeant of Police & cast. Photos: Joan Marcus.

‘PIRATES! THE PENZANCE MUSICAL’: Ramin Karimloo & cast. Photo: Joan Marcus.

‘PIRATES! THE PENZANCE MUSICAL’: The cast. Photo: Joan Marcus.

‘PIRATES! THE PENZANCE MUSICAL’: The cast. Photo: Joan Marcus.

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‘ENGLISH’: (left to right): Pooya Mohseni, Hadi Tabbal, Marjan Neshat, Tala Ashe & Ava Lalezarzadeh. Photo: Joan Marcus.

ENGLISH
By Sanaz Toossi
Directed by Knud Adams
Through March 2, 2025
Todd Haimes Theatre
227 West 42nd Street
https://www.roundabouttheatre.org/get-tickets/2024-2025/english

By Scott Harrah

Four Iranian students struggle to learn English as a foreign language while pursuing dreams of life abroad in the provocative comedy-drama English by Sanaz Toossi (winner of the 2023 Pulitzer Prize for Drama).  Set in a language school in Karaj, Iran in 2008, English focuses on the stories of each student as well as their teacher Marjan (Marjan Neshat), an upbeat woman who spent nine years in Manchester, England before returning to the Middle East. Ongoing themes about the struggle to learn a new language, cultural identity and communication issues run throughout the 90-minute play.

The English teacher

Marjan is a passionate anglophile and demands that everyone speak English only in her class. No Farsi is allowed at any time. Anyone familiar with advanced foreign-language classes knows this type of “immersion,” as it is called, is standard. However, while English contains lots of comedic moments about the difficulty learning and speaking English, Sanaz Toossi’s tale is also about the different reasons why the students are studying a foreign language. Many have dreams of leaving Iran to pursue better lives abroad.

The students

Elham (Tala Ashe) is hoping to attend medical school in Melbourne, Australia to become a gastroenterologist and medical researcher, but she needs a near-perfect score on the TOEFL (Test of English as a Foreign Language). Although she’s highly proficient in math and science, Elham is having trouble mastering English. She tells the class in earnest , “My accent is a war crime.”

Omid (Hadi Tabbal) is the only male student and his English skills are so exceptional that everyone wonders why he is in the class. He likes to visit Marjan during office hours so the two can watch videotapes American and British romantic comedies to purportedly get a better grasp of English. Regardless, it is obvious he fancies her and the two are flirtatious together.

Roya (Pooya Mohseni) is a middle-aged woman who needs to learn English so she can spend time with her son and daughter-in-law in Canada. She specifically needs to be fluent in English because her Canadian granddaughter doesn’t speak Farsi. Her character is one of the most heartbreaking in the show when we learn the truth about her family overseas.

Goli (Ava Lalezarzadeh) is an 18-year-old woman who just wants to learn English and speak it without a Persian accent to give her more career opportunities.  Because she is so young, Goli learns the language fast and has fewer difficulties than the older students.

Word games & ‘show & tell’

The story shows the students participating in word games, such as throwing around a ball and naming every item in a kitchen using the proper English word. Students are also expected to do a “show and tell” presentation in many classes, and there are some genuinely funny moments. In particular, Goli plays the silly Ricky Martin pop song “She Bangs” and analyzes the 2000 hit like it’s a Shakespearean soliloquy. However, Goli points out that “English doesn’t want to be poetry like Farsi.”

The universality of the play is perhaps the best aspect of playwright Sanaz Toossi’s story. This could be set in any non-English-speaking nation where people aspire to leave their homeland for a better life. Many dramas set in the Middle East focus on politics and religion, but the play avoids these controversial topics and instead explores the human conflicts that arise when a foreign language, culture, tradition and ambition all collide.

All that’s missing from Ms. Toossi’s otherwise superb script is more depth to the characters. Many scenes outside the classroom, when characters discuss their issues with learning English as well as their personal problems in life, add nuance and some explanation about each student’s backstory. However, in this one-act play, there are a few holes in the exposition. For example, we know the teacher Marjan spent nearly a decade in Manchester, but why she returned to Iran is never fully explained.

Outstanding performances

Director Knud Adams extracts outstanding performances from the five-person ensemble. Marjan Neshat, as teacher Marjan, is lively and somber and portrays the woman as both positive and nurturing while being complex and mysterious behind her cheerful façade.

Ava Lalezarzadeh as young Goli is wonderfully bubbly, while Hadi Tabbal is great as the enigmatic Omid.

Tala Ashe is remarkable as the troubled but gifted future doctor Elham. Ms. Ashe displays all the multiple layers to Elham with amazing skill and precision, showing the woman to be smart and self-assured but also vulnerable when she discusses taking the TOEFL exam.

Pooya Mohseni gives one of the show’s best performances as Roya, a woman torn between her love of her country and native tongue. She wants to learn English so she can reunite with her son and form a relationship with her English-speaking granddaughter in Canada. Ms. Mohseni displays a wide range of emotions with ease and aplomb, and the audience really feels all the pain Roya is experiencing.

Marsha Ginsberg’s simplistic but innovative set design, complete with Farsi words on a sign, Enver Chakartash’s authentic Iranian costumes, along with Reza Behjat’s wonderful lighting and equally effective sound design by Sinan Refik Zafar really make audiences feel like we are watching a class in the suburbs of Tehran.

Sanaz Toossi’s play examines the complexities of yearning to travel outside one’s home country for a better life. Just learning a foreign language is not the only obstacle people face when planning to travel abroad to work, study or reunite with family. English is a provocative evening of theater, showing how language and cultural barriers create many setbacks with sobering consequences.

Published January 29, 2025
Reviewed at press performance on January 28, 2025

‘ENGLISH’: Hadi Tabbal & Marjan Neshat. Photo: Joan Marcus.

‘ENGLISH’: Ava Lalezarzadeh. Photo: Joan Marcus.

‘ENGLISH’: Tala Ashe & Marjan Neshat. Photo: Joan Marcus.

‘ENGLISH’: Hadi Tabbal. Photo: Joan Marcus.

‘ENGLISH’: Tala Ashe. Photo: Joan Marcus.

‘ENGLISH’: Pooya Mohseni. Photo: Joan Marcus.

The post ‘English’: Pursuing the Persian expat dream appeared first on StageZine.

‘YELLOW FACE’: Daniel Dae Kim & Ryan Eggold. Photo: Joan Marcus.

YELLOW FACE
By David Henry Hwang
Directed by Leigh Silverman
Through November 24, 2024
Todd Haimes Theatre
227 W. 42nd St
https://www.roundabouttheatre.org/get-tickets/2024-2025/yellow-face/

By Scott Harrah

White actors in blackface in old movies are mostly a thing of the distant past, but whites portraying Asians were much more common in the mid to late 20^th century.  From Mickey Rooney playing a stereotypical caricature of a Japanese man in Breakfast at Tiffany’s (1961) to David Carradine portraying an Asian in the popular 1970s TV show “Kung Fu” to British actor Jonathan Pryce, a white Welshman, playing a Eurasian character on Broadway in 1990 in Miss Saigon, the history of whites playing “Orientals” has been particularly offensive and cringe-worthy. The story surrounding the controversy over Miss Saigon is the launching point for 90 minutes of dark humor and satire about portrayals of Asians in the entertainment world in David Henry Hwang’s semi-autobiographical play, Yellow Face.

Mr. Hwang’s play originally appeared off Broadway at the Public Theater back in 2007, with the same director, Leigh Silverman. The play received mediocre reviews back then, but half an hour has been cut and this Broadway production is now tight and fast-moving, and is just as topical in 2024. Issues of race, identity, and the need for cultural representation in the arts are still controversial nearly two decades later.

Daniel Dae Kim stars as DHH, obviously based on playwright David Henry Hwang. The story unfolds in 1990 as DHH, the first Asian American playwright to win a Tony Award (for M. Butterfly), is spearheading a movement to make British mega-producer Cameron McIntosh re-think the casting of white actor Jonathan Pryce portraying a Eurasian in Miss Saigon. Although Mr. Pryce sold many tickets over in London, DHH feels that the American production should have an actor of Asian descent for many reasons. Because Mr. Pryce was a big name at the time, Cameron McIntosh ultimately got his wish and the Welsh actor was cast in the Broadway production.

DHH, feeling defeated, writes the play Face Value and casts Marcus (Ryan Eggold), a white actor from Seattle with no Asian ancestry, in the lead role of an Asian. At this point, Yellow Face delves into a bit of wonderful satire. DHH cannot find an Asian actor he thinks is right for the role, so he invents a fake ancestral history for Marcus. When Marcus tells the playwright that he has both Russian and Jewish blood, DHH comes up with the absurd idea that Marcus is a “Siberian Jew” and uses this bogus history to justify casting the actor.

When Face Value flops and closes in previews on Broadway, DHH realizes he has not been true to his culture and why he needs to be more of an advocate for Asian Americans in the theater.

The story includes subplots, most notably DHH’s Chinese American father (Francis Jue), a successful banker in California. DHH’s dad is living the American dream, modeling himself after his hero, Jimmy Stewart. Scenes between DHH and his ambitious father are among the show’s most powerful and moving. As DHH struggles financially, his father offers him a lucrative seat as a board member of the Far East National Bank—a position the playwright reluctantly accepts. However, taking the job has negative consequences when criminal allegations are made against the bank by the U.S. government.

What’s most remarkable about Yellow Face is the humor Mr. Hwang has inserted into the story. What could have easily been a heavy-handed tale of inclusivity is instead a witty, insightful, often hilarious look at a serious topic that pokes fun at multicultural casting while still demonstrating why cultural representation is so vital in 21^st century America. Director Leigh Silverman has done a brilliant job fine-tuning the narrative while also getting fine performances from the cast, with standout performances by Mr. Kim and Mr. Jue as well as trenchant acting from many supporting cast members. Yellow Face is thought-provoking and powerful, and one of the fall season’s must-see show

Edited by Scott Harrah
Published October 6, 2024
Reviewed at October 2, 2024 press performance

‘YELLOW FACE’: Daniel Dae Kim. Photo: Joan Marcus.

‘YELLOW FACE’: (left to right) Francis Jue, Marinda Anderson, Kevin Del Aguila, Daniel Dae Kim, Ryan Eggold & Shannon Tyo. Photo: Joan Marcus.

‘YELLOW FACE’: Francis Jue & Daniel Dae Kim. Photo: Joan Marcus.

The post ‘Yellow Face’: Asians in the arts & controversy appeared first on StageZine.

‘HOME’: Brittany Inge, Tory Kittles & Stori Ayers. Photo: Joan Marcus.

HOME
By Samm-Art Williams
Directed by Kenny Leon
Through July 21, 2024
Roundabout Theatre Company
Todd Haimes Theatre
229 West 42^nd Street
(212-719-1300), www.roundabouttheater.org

By Scott Harrah

Home by the late Samm-Art Williams was first produced on Broadway back in 1980. Director Kenny Leon has brought the African-American classic drama back to Broadway for a brief summer run at the Roundabout Theatre Company at the Todd Haimes Theatre. On a sad note, Mr. Williams died just a few days before the first preview of this Home revival.

This simplistic one act focuses on the life of young Cephus Miles (Tory Kittles), a Black man working on the small Cross Roads, North Carolina farm he inherited from his family, struggling to survive in the segregated South. When his childhood crush Patti Mae Wells (Brittany Inge) rejects him and leaves for college, Cephus’s world is shattered. He refuses to serve in the Vietnam War and gets thrown in prison as a draft dodger.

Fast-forward to a few years later. Cephus is out of prison but he has unpaid taxes on his land and the farm has been seized. He flees up North to a big city and finds a brand-new life. Although he finds a good-paying job and a new girlfriend, his luck soon runs out. He loses his job and gets mired in a downward spiral of drugs and hookers. Fortunately, he manages to clean himself up and moves back down to North Carolina where Patti Mae is waiting for him.

Home captures a place and time, chronicling the life of an African-American man who is forced to face adversity and struggle. Not everything has aged well in the 44 years since the show was on Broadway, particularly the references to him jokingly saying he can “speak Indian,” referring to Native Americans. However, overall Mr. Williams’ story has profound things to say about the Black experience and how home is where both the heart and hurt is for many people.

The production is utilitarian and sparse, and Arnulfo Maldonado’s sets are minimalistic but still manage to depict different decades, from the 1950s to the 1970s. Director Kenny Leon gets fine performances from Tory Kittles, who is consistently riveting as Cephus, a man who never loses his sense of goodwill. Brittany Inge as Woman One/Patti Mae Wells and Stori Ayers as Woman Two both do an outstanding job playing multiple characters—everything from a bus driver to an alcoholic in the street. Home is, more than anything, a story of hope that is anchored by a talented ensemble cast that really make this 90-minute story shine and come to vivid life.

Edited by Scott Harrah
Published June 19, 2024
Reviewed at June 13, 2024 press performance

‘HOME’: Stori Ayers, Tory Kittles & Brittany Inge. Photo: Joan Marcus.

‘HOME’: Stori Ayers, Tory Kittles & Brittany Inge. Photo: Joan Marcus.

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