Love’s Concordia bar
TDF is a fantastic place to discover new shows in New York City. It’s how I found Love’s Concordia Bar, where I spent my evening last night. The plot? Imagine a bar owned by Love itself.
It’s playing at the Flea Theater. I’d never been before—though I’d heard of it. When I used to think of “The Flea,” I imagined bug bites... but like, in a fun, black box venue kind of way. Not the case at all. It’s immaculate, modern, and spacious.
At check-in, a woman offered a string of pink beads if we were okay with the cast interacting with us during the pre-show. If not, no beads for you. Of course I said yes—I live for those kinds of moments in theater.
The cast is chock-full: thirteen people on stage, no small feat. During pre-show interactions, I was slightly anxious, but mostly entertained. There was a handsy couple who were fun—the guy resembled Eddie Redmayne. The woman, Soraya Omtzigt, turned out to be the standout performer of the night and choreographed some of the show as well. More on her later.
A woman in a two-tone wig (Tomoka Takahashi) asked questions about love for her “research.” She picked up on my slight discomfort and skillfully put me at ease—something I found really impressive. Her playbill bio was super unique, and I’m curious to see what she does next. Elsewhere in the dizzying pre-show scene: an angry woman with a fan (who we later learn is Cinderella!) and a manic baby in a rainbow jumper.
The set design signals fun right from the jump. Neon lights adorn the back wall. Sequin cloths and flickering candles sit atop café-style tables. There’s a sense of immersion from the start, and it’s genuinely fun.
The show takes a little time to orient itself. Some actors could help by slowing down and delivering lines more clearly, especially during tense moments. Character depth varies, mostly depending on how fully each actor chooses to inhabit their role. Ariana Perez as Pragma, for instance, is fully committed and compelling. Once the show hits its stride, it moves full steam ahead and becomes quite an impressive production.
There’s a solid plot here. While Love’s Concordia Bar may seem like a fun, sexy escape, we learn that everyone inside is trapped—unable to move past their idealized version of love. The show runs about 90 minutes (not including the pre-show). At times, the plot feels weighed down, like overpacked luggage. My humble suggestion: shave off a few minutes and tighten up the storyline, which is otherwise beautiful and well thought out.
I recently wrote and produced a play in the East Village, and I’ve given myself the same feedback. Indie theater is notoriously underfunded. Rehearsal time is critical, and rehearsal takes money. A beautiful production like Love’s Concordia Bar deserves more support.
There’s something resonant and fun here for sure. The bar functioning as a kind of Hotel California is wicked and smart. I liked the variety of characters—many of whom have stayed with me since last night. The concept of two characters (Mania and Fasima) sharing a body? Genius. Essence Blake plays this role and delivers a striking monologue (or maybe not quite a monologue?) with clarity and command. It’s the kind of moment that makes an actor memorable.
Edoardo Tesio is a co-writer, producer, director, and actor in the show. He and Marjorie Murillo, the other half of the writing duo, demonstrate exquisite range—intrigue, comedy, depth, thoughtfulness. Watching Edoardo on stage, it’s clear he loves what he does. Half the fun was watching him shine. Some people are just made for theater. He radiated warmth as he thanked the audience, and I’m eager to see what else he creates.
I was surprised by how well the comedy landed. The manic baby—Agape—starts as a hyperactive seven-year-old and later returns as an old hag. I rarely laugh out loud at theater, but I cackled at Agape’s return from self-exile. The kind of laughter where everyone else has moved on and I’m still crying with laughter. Matthew Ramos, who plays Agape, went all in. His execution of that transformation, his commitment—it was so fucking impressive. And it’s their first Off-Broadway performance? Wild.
As mentioned, Soraya Omtzigt stole the show. She embodied her role with power, depth, and presence. She took command of the stage and looked like she was having a blast. It’s only upward from here for her.
Also worth noting: Olivia Altair, who plays Harmonia, wrote and produced all the music for the play. The heart and creative joy in this production shine all the way through.
There was so much fun in watching the chemistry, conflict, and chaos between all the different couples. This exploration of love and identity was done with taste and cleverness—never self-righteous, never preachy. It’s full of memorable moments, and I think Love’s Concordia Bar is something really special.
