Wednesday, August 14, 2019

Off-Broadway Review: Broadway Bounty Hunter

Annie Golden and Alan H. Green. Photo: Matthew Murphy
Broadway Bounty Hunter
Music and Lyrics by Joe Iconis
Book by Joe Iconis, Lance Rubin and Jason Sweettooth Williams
Directed and Choreographed by Jennifer Werner

By Lauren Yarger
Following the force of the cult musical Be More Chill selling out Off-Broadway and rolling onto Broadway last season, another funky show by Joe Iconis has found its way to a short Off-Broadway run at the Greenwich House Theatre. Like the composer's  sci-fi Be More Chill which appeals to teens, Broadway Bounty Hunter involves a plot using mind controlling drugs for evil purposes, but this story is about an older women, Annie (Annie Golden), an actress of a certain age, who isn't getting parts any more....  The real-life Golden, who made her mark in Hair, Assassins and most recently in the TV series “Orange is the New Black,” proves that she still can belt and deliver a very humorous performance (it is award- worthy).

Down-on-her-luck Annie, still mourning the loss of her beloved husband and laughed out of an audition by a director (Omar Garibay), Annie sees some hope when she is given a chance to train as a bounty hunter under master Shiro Jin (Emily Borromeo). Colleague Lazarus (Alan H. Green) doesn't think she has what it takes, but starts to see her in a different light when they take off on their first bounty hunter assignment together to bring back notorious drug dealer Mac Roundtree (Brad Oscar). Rounding out the cast are Badia Farha, Jasmine Forsberg, Jared Joseph, Christina Sajous and  Emilie Battle. Broadway veteran Anne L. Nathan (Once, Sunday in the Park with George) performs the title role at Saturday matinee performances.

There is a lot going on on the small stage set by Michael Schweikardt with Lighting Design by Jules Fisher and Peggy Eisenhauser and Projection and Viceo Design by Brad Peterson. It can be a bit dizzying, especially when Choreographer/Director Jennifer Werner gets everyone moving.

But it's fun. I have become a quick fan of Joe Iconis's quirky, catchy scores. Despite not being a 12-year-old, I really liked Be More Chill and am sorry it didn't get more traction on Broadway or with Tony voters. "Michael in the Bathroom" and "Rich Set a Fire" and other songs from Be More Chill circulate through my brain regularly making e wonder if I have ingested some kind of pill that makes you love music of certain composers... And I liked Bounty Hunter, too, though it is less developed than the other. I related to the "woman of a certain age theme" and thoroughly enjoyed the production of a musical called Young People the Musical. Funny stuff. Alas. not everyone was a fan and the show will  close Sunday,  Aug. 18, a month earlier than originally scheduled.

More Information:

Broadway Bounty Hunter plays at Greenwich House Theater (27 Barrow Street, NYC).

-- Language
-- Risque costumes (design by Sarafina Bush)
-- God's name taken in vain
-- Sexual dialogue

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Our reviews are professional reviews written without a religious bias. At the end of them, you can find a listing of language, content or theological issues that Christians might want to know about when deciding which shows to see.

** Mature indicates that the show has posted an advisory because of content. Usually this means I would recommend no one under the age of 16 attend.

Theater Critic Lauren Yarger

Theater Critic Lauren Yarger

My Bio

Lauren Yarger has written, directed and produced numerous shows and special events for both secular and Christian audiences. She co-wrote a Christian musical version of “A Christmas Carol” which played to sold-out audiences of over 3,000 in Vermont and was awarded the Vermont Bessie (theater and film awards) for “People’s Choice for Theatre.” She also has written two other dinner theaters, sketches for church services and devotions for Christian artists. Her play concept, "From Reel to Real: The Jennifer O'Neill Story" was presented as part of the League of professional Theatre Women's Julia's reading Room Series in New York. Shifting from reviewing to producing, Yarger owns Gracewell Productions, which produced the Table Reading Series at the Palace Theater in Waterbury, CT. She trained for three years in the Broadway League’s Producer Development Program, completed the Commercial Theater Institute's Producing Intensive and other training and produced a one-woman musical about Mary Magdalene that toured nationally and closed with an off-Broadway run. She was a Fellow at the National Critics Institute at the O'Neill Theater Center in Waterford, CT. She wrote reviews of Broadway and Off-Broadway theater (the only ones you can find in the US with an added Christian perspective) at

She is editor of The Connecticut Arts Connection (, an award-winning website featuring theater and arts news for the state. She was a contributing editor for She previously served as theater reviewer for the Manchester Journal-Inquirer, Connecticut theater editor for and as Connecticut and New York reviewer for American Theater Web.

She is a Co-Founder of the Connecticut Chapter of the League of Professional Theatre Women. She is a former vice president and voting member of The Drama Desk.

She is a freelance writer and playwright (member Dramatists Guild of America). She is a member if the The Outer Critics Circle (producer of the annual awards ceremony) and a member of The League of Professional Theatre Women, serving as Co-Founder of the Connecticut Chapter. Yarger was a book reviewer for Publishers Weekly A former newspaper editor and graduate of the University of Missouri’s School of Journalism, Yarger also worked in arts management for the Bushnell Center for the Performing Arts, the Hartford Symphony Orchestra and served for nine years as the Executive Director of Masterwork Productions, Inc. She lives with her husband in West Granby, CT. They have two adult children.


All material is copyright 2008- 2022 by Lauren Yarger. Reviews and articles may not be reprinted without permission. Contact


Key to Content Notes:

God's name taken in vain -- means God or Jesus is used in dialogue without speaking directly to or about them.

Language -- means some curse words are used. "Minor" usually means the words are not too strong or that it only occurs once or twice throughout the show.

Strong Language -- means some of the more heavy duty curse words are used.

Nudity -- means a man or woman's backside, a man's lower front or a woman's front are revealed.

Scantily clad -- means actors' private areas are technically covered, but I can see a lot of them.

Sexual Language -- means the dialogue contains sexually explicit language but there's no action.

Sexual Activity -- means a man and woman are performing sexual acts.

Adultery -- Means a married man or woman is involved sexually with someone besides their spouse. If this is depicted with sexual acts on stage, the list would include "sexual activity" as well.

Sex Outside of Marriage -- means a man and woman are involved sexually without being married. If this is depicted sexually on stage, the list would include "sexual activity" as well.

Homosexuality -- means this is in the show, but not physically depicted.

Homosexual activity -- means two persons of the same sex are embracing/kissing. If they do more than that, the list would include "sexual activity" as well.

Cross Dresser -- Means someone is dressing as the opposite sex. If they do more than that on stage the listing would include the corresponding "sexual activity" and/or "homosexual activity" as well.

Cross Gender -- A man is playing a female part or a woman is playing a man's part.

Suggestive Dancing -- means dancing contains sexually suggestive moves.

Derogatory (category added Fall 2012) Language or circumstances where women or people of a certain race are referred to or treated in a negative and demeaning manner.

Other content matters such as torture, suicide, or rape will be noted, with details revealed only as necessary in the review itself.

The term "throughout" added to any of the above means it happens many times throughout the show.

Reviewing Policy

I receive free seats to Broadway and Off-Broadway shows made available to all voting members of the Outer Critics Circle. Journalistically, I provide an unbiased review and am under no obligation to make positive statements. Sometimes shows do not make tickets available to reviewers. If these are shows my readers want to know about I will purchase a ticket. If a personal friend is involved in a production, I'll let you know, but it won't influence a review. If I feel there is a conflict, I won't review their portion of the production.

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