Margin Notes: The Panic Defense

The Panic Defense

Juan C. Ortiz as Brianna/Benny and
Keith R. Beck as Daniel.
Photo courtesy of the production.

Seen on: Monday, 11/09/26.

Plot and Background

Writer/director Sam Affoumado's new docu-drama examines the "gay panic" and "trans panic" legal strategies. Focusing on four specific murder victims, each killed either for their gender identity/expression or their homosexuality, Affoumado attempts to give voice to these people who were silenced forever. Though inspired by docu-plays like The Laramie Project and The Exonerated, this play eschews verbatim text for the imagined senses of selves of the four real-life victims, as well as brief reenactments of the moments leading up to their murders.

Thoughts:

The press release and auteur statement discuss an examination of legal strategies that weaponize prejudices against queer identities in courtrooms, and indeed places the audience in the position of jury, with the two attorneys addressing the audience first to set the stage for us. What follows, though, is less testimony than character study. The four victims--Brianna, Mike, Travis, and Maxine--have alternating monologues, all still addressing the audience directly, as they explain who they are, who they would like to be, and what they want out of life. Each narrative ultimately shows the lead-up to the murders, but does not end there, returning to the characters themselves. Affoumado's true intent, stated goal aside, is to show the real complex humanity of these people before they get flattened out by defense attorneys into vaguely menacing symbols, threatening enough to provoke their attackers into violence. Though we do eventually hear brief testimony from each attacker, their victims remain present to contradict the lies told about them and about their final moments. In the play's epilogue we learn the ultimate sentencing of the murderers (ranging from life imprisonment, to a few years' sentencing, to a not guilty verdict), hear final moments of hope from each victim, and then the production honors victims from this past year with a slideshow of their photos, names, and date and nature of their deaths. The list is damningly long.

Affoumado's work could use some tightening, from both a writing and a directing standpoint. Some of the content of the monologues is repetitive without providing further enlightenment, and the transitions between sections is currently very workmanlike, rather than elegant. That being said, he does effective work at drawing these people as individuals with different cadences and deep self-knowledge. This is further enhanced by some strong performances from the cast. Fola Walker brings a beautifully bubbly, warm, and vulnerable energy to sexworker/aspiring cosmetologist Maxine. Jud Meyers's drawling Travis is everything rich and camp, a man who loves the finery of his claw-footed bathtub as much as the earthy simplicity of his lover Romeo (an adorably blunt Robert Maisonett). Sean Gordon's truck driver and divorcé Mike, a bit lost but a lot earnest, feels like a real person just talking to us, existing in the moment. Juan C. Ortiz tackles eighth grader Brianna with an open boldness. As three out of the four murderers, Keith R. Beck manages to make each distinct without resorting to caricature. Though they have less to do, Regina Gibson and Careem Joy as the prosecutors, deliver their lines with the needed gravitas.

***

Running: Now playing at 30th Street Theater - Opening: November 6, 2026. Closing: November 22, 2026.
Category: play
Length: 1 hour, 30 minutes, intermission.

Creative Team

Director/Playwright: Sam Affoumado
Team: Joan Racho-Jansen (Lighting), Sam Affoumado (Sound), Gavin Strawnato (Projections), Michael Ghysels (Production Stage Manager), Paul Siebold / Off Off PR (Public Relations).
Cast: Erin Barry, Keith R. Beck, Regina Gibson, Sean Gordon, Careem Joy, Robert Maisonett, Jud Meyers, Juan C. Ortiz, Fola Walker.

Robert Maisonett as Catcaller, Fola Walker as Maxine, and
Careem Joy as James. Photo courtesy of the production.