John Fisher’s Kinetic Comedy Slams Both Sides

 by Bevon Benet Brye

In the intimate Theatre Rhinoceros, John Fisher has ignited a dazzling political celebration. His latest work, “Left Field,” takes a “what-if” joyride through the halls of power. As playwright, director, and actor, Fisher manages both a fever dream and a spirited commentary on our national crisis.

Fisher plays Delson Stammer, a foul-mouthed, unapologetic AIDS activist who swears his way from the streets of San Francisco to the West Wing. Fisher’s premise feels wonderfully absurd and oddly prophetic.

He leans into the comedy with a delightfully cheeky tone: the dialogue sparkles with cynical wit and the intellectual snark that San Francisco audiences love.

Stammer explodes like a human firework tossed into the beige machinery of Washington. The play’s brilliance lies in balancing “out of left field” humor with the righteous passion of a gay man who survived the plague years. Stammer refuses to play “nice.”

Fisher hammers home our inversion of social hierarchy, with Stammer declaring, “People living with homelessness are the saints, the nobility, the conscience of our culture…”

The four actors bring visceral intensity to the homeless, our “saints” of the sidewalk. Stammer argues that homelessness must be a moral frontline issue. That sentiment turns every interaction into a spiritual trial. Stammer weaponizes identity politics against the status quo, while his opponent Dante (impressive Raphael Buenaventura) navigates between radical activism and healthcare regulations.

The tension peaks when Stammer rejects the polite language of the establishment, snarling, “I’m not progressive. I’m a fatherfucking Communist.”

Fisher also highlights women’s issues through Emerald (multi-talented Elena Swarz), who balances motherhood against Stammer’s demands. And Stammer’s sidekick Keble (spot-on Gene Mocsy) urges him toward national fame. The cast transforms the stage into a kaleidoscopic San Francisco where the marginalized become the new nobility.

What truly elevates this production is the spectacular physicality. In a venue where every breath is audible, the actors move with a choreographed energy that makes the small stage feel as expansive as a campaign trail.

Fisher turns aisles into corridors of power. The actors crawl, dance, and collide, creating a kinetic energy that mimics the breathless pace of a high-stakes election.

However, from a Black perspective, the fire in “Left Field” occasionally cools. While the play expertly deconstructs the LGBTQ+ political experience, the lack of Black representation in a play set in the vibrant melting pot of San Francisco feels like a missed opportunity.

For a multiracial spectator, the revolution feels slightly incomplete, as the stage could more fully reflect the diversity of the community it seeks to champion.

Still, “Left Field” remains a sharp, virtuosic comedy commanding immediate attention. The talented cast earns their laughs with a wicked, satirical sparkle.

If you want to see the Oval Office upended by a leader who chooses truth over optics, Fisher’s latest is a warming fire. Come and enjoy a celebration of US.

“Left Field” –written & directed by John Fisher, sound design by Raphael Buenaventura, scenic design by John Fisher & Aaron Simunovich, lighting by Colin Johnson, costumes by Crystal Liu & John Fisher, and props by Crystal Liu, at Theatre Rhinoceros, San Francisco.

Info: therhino.org – to March 15, 2026.

Cast: John Fisher, Gene Mocscy, Elana Swartz, and Raphael Buenaventura. Understudy: Ma’Sherrod Swinson.

Banner photo: Raphael Buenaventura, Elana Swartz, Gene Mocscy, & John Fisher. Photos: Scott Sikorsky