‘Luigi: the Musical’ Is a Beautiful, Queer, Chaotic Lightning Rod
By Jonah Price, 06/16/2025
Like an Enamored Parent:
Let me start by being honest about my bias: I knew six of the seven cast and crew members behind Luigi: the Musical prior to opening night. Each of them is part of the same queer comedy community I belong to and produce for—through shows like Safe Words Queer Comedy Showcase and Hysteria Comedy Open Mic for Women & Queer People. Like an enamored parent whose child can do no wrong, I’ve made my career in comedy out of putting myself in the position to nurture and support voices like theirs from offstage. Some of the rose coloring in my opinion of this show—which grabbed national headlines and drew the ire of more than one Fox News host—comes from that place.
A police Cruiser
Still, when I arrived at the Taylor Street Theater on opening night, the atmosphere was buzzing—with excitement, nerves, and a little bit of tension. Hired security stood outside. A police cruiser loitered out front, a symbolic warning to any would-be hecklers or agitators. Press was everywhere—Astrid from the SF Standard, with whom I shared my opinion that the subject matter speaks to a very real pain so many Americans feel. I believe the conversation the show invites is valuable. I reassured Astrid, as I reassure you now, that nobody involved in the production condones violence.
Inside, the audience was quivering, friends and family of the cast, journalists, critics, and everyday community members—all of us brought something personal to our viewing of this performance. We’ve all lived through the same broken healthcare system that puts profit before people, lived the consequences of late-stage, under-regulated capitalism.
A Vulnerability that Began to help Heal
My experience was one of connection. Side-splitting humor and electric energy left the audience laughing, gasping, and applauding—fully along for the ride. The night felt like a catharsis, a releasing of our guards, laughter and joy permitting a vulnerability that began to help heal calloused wounds.
Some cast members impressed me. Janeé Lucas’ performance as Diddy effortlessly executed caricature and parody with a delivery that felt completely authentic. Andre Margatini brought such charm to his portrayal of the awkwardly grandiose SBF that I found myself both laughing and wincing as I caught myself cheering for a character I also desperately wanted to be brought to justice. And the dynamic between Luigi and the guard in the climactic scenes, played by Jonny Stein and Caleb Zeringue—stirred a few strings, both of heart and otherwise.
So yes, I’ve named the whole cast. I’m proud of all of them, as I’m proud of Arielle Johnson, Musical Director, Dani Macri, Associate Musical Director and Pianist, and Nova Bradford, the show's lead writer.
On that night, for me, the message of Luigi the Musical was easy to hear.
Weird, Messy, Wonderfully Sincere
And yes, Luigi the Musical has a message. A big one. It takes aim at a system that lets people die so insurance companies can thrive. It uses the absurd real-life coincidence of a single correctional facility shared by 2025’s most thirsted-after murder suspect, a crypto fraudster, and a disgraced music mogul to comment on corruption, power, and inequality. In its weird, messy, wonderfully sincere way— the show says that trying to change the world is hard. Good people will screw it up, but their message can still be worth listening to.
Some moments still loop in my head days later: A fourth-wall breaking joke, coupled with a pop culture reference so current it would delight the Best Friends ForEVAH duo — Ariana Grande and Cynthia Erivo. The immersive dualism of the pre-show recording — voiced by Stereotypes’ Christopher Beale - announcing the audience’s arrival at the Metropolitan Detention Center in Brooklyn.
A city Like this, A moment like Now
Sure, as has been pointed out, not every note may have landed cleanly—but that’s part of what made the show feel so alive. In a city like this, in a moment like now, I’m not sure perfected polish is what we need most from our art—or if it is something I was going to expect from an independent production that went from concept to opening night in mere months.
I left the theater shaken and inspired. Afterward, I attempted to tell the cast how proud I was of them. But as I opened my mouth, my voice broke before I could get two words out — interrupting myself with a croak and more tears than I care to admit.