A DANGEROUS STORY,
TOLD FROM THE OTHER SIDE

A provocative two-hander that shifts the lens
onto the older man in a fraught relationship

Teacher-student affairs are a classic subject of drama for novels, stage, screen, and beyond, from works like The History Boys to Parallel Lines to Notes on a Scandal. First staged in 2020 at Toronto’s Tarragon Theatre, and back after its successful run in 2025, Sexual Misconduct of the Middle Classes introduces us to Jon and Annie. Jon, a middle-aged writer and writing professor estranged from his third wife, and Annie, his 19-year-old student, discovering college, herself, and her own desires all at the same time.

Most teacher-student entanglements (actually, most large age-gap romance stories, come to think of it) are usually told from the perspective of the smitten student or younger love-seeker, framed in a coming-of-age tale or star-crossed lovers romance. Playwright Hannah Moscovitch subverts typical expectations for a May-December relationship story by centering Jon’s point of view—an artistic risk for the post-#MeToo reckoning.

Kicking off the play with a speech straight out to the audience, complete with wry theater jokes, Jon introduces us to the story unapologetically. If Jon is ashamed, he carries it well; he makes no excuses or rationalizations for the violation of the school’s code of conduct and societal dating norms. Annie rarely leaves the stage (or his mind), sitting against the bare brick wall between scenes, making her presence felt, if not her agency immediately. (She’ll show some backbone later in the play, rest assured.)

Hugh Jackman brings his effortless charm, likability, and native Australian Strine to Jon, holding court in at Audible’s Minetta Lane Theatre as he recounts Jon’s tale of a semester-long affair with a girl not even two decades old yet. Ella Beatty’s Annie is young and nervous, balancing her affection for Jon both as a fan of his novels and as a love interest. Like most teenagers, she isn’t sure what she wants, but is intrigued by Jon’s writings of sex in his novels. Annie is living away from home for the first time, providing context for her need for connection and mentorship from an older figure. Jon, having recently separated from his third wife, is also in need of connection and care.

Before the audience can start to wonder why Jon doesn’t just go find someone closer to his own age, Moscovitch makes clear the story here is not a predatory one—honest. Annie and Jon first meet while Jon is enjoying a beer and mowing his lawn, a rather innocent meet-cute, as Annie has taken up residence just down the street from him (a complete coincidence, mind you). Sure, they’re drawn to each other, but Jon was never specifically looking to get involved with a 19-year-old freshman student. Our lovers are presented in quite the sympathetic light, making one almost forget the multi-decade age gap… almost.

Co-scenic design by Brett J Banakis and Christine Jones uses the bare brick of the theatre to showcase the vulnerability of our leads, who will bare their emotions just as much. A few props, such as a desk, scattered furniture, and a lawnmower, establish place when necessary.

Isabella Byrd smartly illuminates the stage. The audience will find itself lit in a dull glow momentarily here and there, as the production invites us to examine our own thoughts and biases we may bring into our consideration of Jon and Annie’s affair.

Costume designer Ásta Bennie Hostetter keeps Jon in flannel and jeans with earth tones of brown, green, and blue, maintaining his likability and approachable nature. Annie stays in lighter colors of white; being young and just starting to learn about the world, she is a bit of a blank slate. A bright red overcoat, however, may telegraph her intentions with Jon.

Beatty and Jackman deliver a splendid two-hander, the ease between them earned from having lived with the play together since 2025. While certainly a star in his own right, Jackman takes the stage rather inconspicuously, nearly dodging entrance applause. He commands attention when needed (which is often—Hugh addresses the audience as Jon throughout most of the play), and also generously leaves space for Beatty to hold her own.

Beatty does well in a play that centers on Jackman, matching a seasoned movie and stage star beat for beat. When Annie eventually confronts Jon, it’s clear she has more in the tank than just being a youthful, innocent girl in puppy love.

Sexual Misconduct of the Middle Classes takes departures from typical age-gap mentor/mentee relationship tales by centering the older participant’s perspective—and the older male perspective at that. Certainly a third rail, optics-wise, in a world still finding its way after multiple high-profile men in power have been brought down for their predatory antics. Sexual Misconduct passes judgment on Jon by its obvious namesake, but shows a sympathetic journey for our over-the-hill suitor.

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photos by Emilio Madrid

Sexual Misconduct of the Middle Classes
Audible Theater and TOGETHER
Minetta Lane Theatre, 18 Minetta Lane
85 minutes, no intermission
ends on April 30, 2026
for tickets ($17–$62; $35 day-of via TodayTix),
call 212.242.0800 or visit Audible Theater
(also available on Audible)

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