If you’ve ever felt like you were just playing a part in your own life—waiting for a big break or a magic potion to finally make you feel successful—then Coni Koepfinger’s The Unusual Chauncey Faust, now playing at the Gene Frankel Theatre at 24 Bond Street in New York City, will feel startlingly familiar.
Fresh off its first-place victory at the 15 Minutes of Frame competition, this expanded full-length play is more than just a stage comedy; it is a meta-theatrical mirror held up to our modern obsession with shortcuts and curated identities.
Presented by 24 Bond Arts Center and Lucky’s Lighting Inc. and directed by Aviva Katz, this production written by playwright Coni Koepfinger reimagines the Faustian myth through the lens of a modern actor who feels time slipping away. Portrayed by Sean Ricciardi (March 18 – 26) and Kenny Harmon (March 27 – 29), Chauncey is driven by a purpose beyond mere ambition. His journey takes a sharp, surreal turn when he is diverted from an audition into a psychiatric institution, sparking a fragmented struggle to reclaim the life he imagines for himself.
Hilal Koyuncu as Dr. Maria Olon and Sean Ricciardi as Chauncey Faust. Photo credit: Reza Mirjalili
At its heart, the play explores the internal director—that part of us that finally steps back from the script and asks if we actually want to say these lines. Drawing from the philosophy of Maria Olon Tsaroucha, Chauncey is driven by a deep hunger for purpose, but he is tempted by a system that promises elevation without the hard work of inner growth. He is a man who feels his life is just a series of scenes he didn’t write, trapped in the actor persona—the version of ourselves we show the world through social media, our roles, and our labels. The story asks if we are the authors of our own lives or just following a script because it is easier than being ourselves. It is a battle to stay awake and authentic in a world that constantly tries to automate who we are, turning the stage into a mirror for anyone who has ever felt like a passenger in their own life.
Will Lippman and Sean Ricciardi. Photo credit: Reza Mirjalil
Sean Ricciardi, Will Lippmann, and Emerick King. Photo credit: Reza Mirjalil
The potion in the play serves as a potent metaphor for the temptation to outsource our becoming, a poetic point that relates back to the original legend. It highlights the dream: being on autopilot and chasing money, fame, distinction, or validation. As Chauncey is diverted from an audition into this clinical purgatory, his journey becomes a struggle to see the world without the software running in the background. This is essentially about mindfulness or self-awareness—a waking up inside the dream. A major theme here is the witnessing of intelligence, which is the ability to choose one’s identity consciously rather than performing it unconsciously. Ultimately, Coni Koepfinger has her finger on the pulse of the modern identity crisis, showing us that moment of realizing the ladders we climb might be leaning against the wrong wall.
Sean Ricciardi as Chauncey Faust and Will Lippman as Dr. Stanley Morgan in The Unusual Chauncey Faust. Photo credit: Reza Mirjalili
The chemistry of the ensemble, under the direction of Aviva Katz, keeps the audience leaning in even as the boundaries between reality and performance overlap. Will Lippman (Dr. Stanley Morgan) and Emerick King (Ms. Candice Appleby) provide sharp counterpoints to Chauncey’s existential crisis, grounding the surreal framework of the script with engaging, professional performances. Hilal Koyuncu, portraying Dr. Maria Olon, brings a stark intensity to the stage, serving as a vital anchor in the fragmented world of the institution. Together with Kendra MacDevitt (Avery Mello), the cast keeps the stakes high, forcing Chauncey to confront his choices within this tight-knit, high-energy collective.
Sean Ricciardi and Kenny Harmon in The Unusual Chauncey Faust. Photo credit: Gail Thacker
The production’s atmosphere is essential to its meta feel, crafted by a cohesive artistic team. The scenic design by Joelle Gonzalez and the lighting by Lucky’s Lighting Inc. create a world that feels both intimate and expansive—a dreamscape that shifts at any moment. With Bekah Lazar as stage manager, these transitions feel seamless; when the temptation of the shortcut appears, the lighting shifts into a striking, otherworldly glow, visually signaling the moment the software of the system takes over. The sound design by Andy Cohan, paired with Joe Izen’s original music and orchestrated by Kendra MacDevitt, acts as the play’s heartbeat. Under the artistic direction of Gail Thacker, these elements subtly underscore the tension between Chauncey’s ambition and his need for a breakthrough—that moment where the actor finally stops performing and starts witnessing his own life.
In an era where we are constantly pressured to brand ourselves for an audience, The Unusual Chauncey Faust arrives at the Gene Frankel Theatre for a limited run from March 18 through March 29. It is a timely and deeply necessary wake-up call. It is a journey from autopilot to awareness that mirrors the very relatable modern struggle to stay real in a world that is increasingly simulated.
The iconic Gene Frankel Theatre at 24 Bond St. in downtown Manhattan. Photo By Alexander Fatouros
From left to right Back row: Coni Koepfinger, Will Lippman, Hilal Koyuncu, Maria Olon, Bekah Lazar, Joelle Gonzalez. Center: Sean Ricciardi, Aviva Katz, Kenny Harmon. Floor: Kendra MacDevitt, Emerick King. Photo credit: Andy Cohan
This production is a rare find in the indie theatre scene: a play that manages to be hilariously absurd while carrying the weight of a philosophical provocation. It doesn’t just ask if the dream is real; it asks if you are brave enough to be the author of it. Whether you are a fan of avant-garde theatre or simply looking for a story that makes you think twice about your own daily script, this is a must-see. You’ll walk out of the Gene Frankel Theatre wondering if you’re finally ready to take the lead in your own story.
Review by © 2026 Alexander Fatouros. Editor, The Theatre Times
This post was written by the author in their personal capacity.The opinions expressed in this article are the author’s own and do not reflect the view of The Theatre Times, their staff or collaborators.
This post was written by Alexander Fatouros.
The views expressed here belong to the author and do not necessarily reflect our views and opinions.
