Johnstone's 30-page rehearsal typescript and numerous other sources to reconstruct the show. In May 2014, coinciding with the ninetieth anniversary of the show's Broadway opening, I'll Say She Is received two staged readings, in a new "reconstruction" and adaptation by Diamond, who had by then spent five years researching and expanding the work. A fuller staging was seen in August 2014 at the New York International Fringe Festival, featuring Melody Jane as Beauty, Noah Diamond as Groucho, Seth Shelden as Harpo, Robert Pinnock as Chico, Aristotle Stamat as Zeppo, and Kathy Biehl as Ruby. Both the Marxfest readings and the Fringe productions were co-produced and directed by Trav S.D. A full Off Broadway production opened at the Connelly Theater in June 2016, running for 3 previews and 23 performances. Directed by Amanda Sisk, it was well received by the New York press, receiving critic's pick from The New York Times and lauded by Adam Gopnik in The New Yorker. Diamond and Shelden reprised their roles as Groucho and Harpo respectively, the British comedian Matt Roper played Chico, actor Matt Walters portrayed Zeppo, while Sabrina Chap arranged the score and worked as musical director and bandleader. A short film featuring interviews and cast rehearsals was featured in the Wall Street Journal. Having observed a rehearsal session of the famed 'Napoleon' sketch at New York's Pearl Studios, Gopnik wrote in the New Yorker: "One sees at once why the Napoleon scene became legendary overnight—apart from still being extremely funny, it has the edge of randomness, the pure absurdity, that made the Marx Brothers seem, on that opening night as ever after, so modern. Of the great movie comedians, Chaplin is rooted in Dickens and the nineteenth-century stage; Keaton, more cinematic, in a kind of melancholic Civil War stoicism. Only the Marxes seem contemporary with Dada. There is no logic or pathos or point or even much structure to it—the fourth wall is broken, then restored, and then broken again. Napoleon’s appearances and reappearances from the Russian front are as arbitrary as a Magritte drawing—and the scene’s moral, to the degree that it has one, is the nihilistic one that runs true in comedy from Aristophanes to Sid Caesar: all authority is always ridiculous, and man (and woman) runs by appetite alone. All of Monty Python’s non sequiturs and sudden stoppages—"the sketch is now over"—begin here, as does most of the pure burlesque