Posts Tagged ‘review’

St. Louis Shakespeare Brings Impeccably Staged “Hamlet” Down to Earth

Posted in St Louis Theatre, tagged , , , , , on April 17, 2024| Leave a Comment »

Hamlet
by William Shakespeare
Directed by Patrick Siler
St. Louis Shakespeare
April 11, 2024

Hamlet is unquestioningly one of Shakespeare’s most well-known plays. It’s also frequently studied in high school and college (both for me). It’s also known for being particularly philosophical, with many celebrated reflections on life, death, family, theatre, and more. There have been many approaches to staging it over the years–or centuries, in fact, and I’ve seen quite a few productions in my lifetime. This latest version, from St. Louis Shakespeare, takes a direct, down-to-earth approach that brings the characters’ humanity and relatability to the forefront, while still doing justice to it’s more philosophical moments.

Famously, Hamlet is the story of the young prince of Denmark (Dustin Petrillo) who is mourning the death of his father, the former king, and resents the recent marriage of his mother Gertrude (Donna Parrone) to his father’s brother and newly crowned king, Claudius (Colin Nichols). When the Ghost of his father (Don McClendon) appears at the castle walls, Hamlet confronts the spirit and is informed that Claudius is a murderer, having killed the old king in order to get his crown, and apparently his queen as well. Hamlet’s quest for revenge affects his relationships and the lives–and sometimes deaths–of those he cares about most, including friends like bestie Horatio (Creighton Markovitch), would-be love interest Ophelia (Hannah Duncan), Ophelia’s brother Laertes (Bradley M. Dillon), father Polonius (Chuck Brinkley) and more. 

The whole kingdom is affected by the goings-on in this famous tragedy, but this production, directed by Patrick Siler, focuses most on the personal stakes of the characters, even editing the ending to reflect this focus, and portraying the characters and relationships in a direct, immediate way. The relationships are at the forefront here, and the performances are powerful and credible, led by Petrillo in a dynamic and reflective performance as one of the most melancholy of Melancholy Danes I’ve seen, with a fully believable degree of emotional investment. His moments with the also strong Duncan as a guarded but clearly conflicted Ophelia and Markovitch as devoted friend Horatio are especially effective, as is the famous “closet scene” with Parrone’s convincingly concerned Gertrude. Nichols makes for a memorable Claudius, as well, not showing the character’s clear ambitions without overplaying it, and in a similar vein, Brinkley’s portrayal of the somewhat foolish Polonius is firmly rooted in reality and not over-the-top as some versions of this character can be. The humor is there, but so is a degree of sympathy that makes the character even more convincing. McClendon is another standout in a dual role as the Ghost of Hamlet’s father and as the First Gravedigger. It’s a strong ensemble all around, with a strong supporting cast and cohesive chemistry, bringing a directness to the proceedings that strikes me as especially accessible to new audiences as well as those already familiar with the play.

This production fits well into its venue–the smallish theatre at Lift For Life Academy–with an effective minimalist set by Kaylie Carpenter and dynamic lighting by Tony Anselmo that highlights the action, mood, and characters well. The sound and musical accompaniment by David A. N. Jackson is especially well done, with Jackson even interacting with the characters onstage in key moments. The costumes by Michele Friedman Siler are contemporary and stylish, suiting the characters appropriately and adding to the modern flair of this staging.

This is an especially powerful Hamlet, and all the more memorable for its credible performances and in-the-moment, well-paced staging. The only regret I have is that it didn’t run longer. It’s a commendable effort from St. Louis Shakespeare, and a clear reminder of the greatness of this play that it can be adapted so well with such timeless relevance. 

 

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STLAS’s Intense “The Whale” Showcases Relationships, Strong Acting

Posted in St Louis Theatre, tagged , , , , , , on April 11, 2024| Leave a Comment »

The Whale
by Samuel D. Hunter
Directed by Annamaria Pileggi
St. Louis Actors’ Studio
April 6, 2024

Nadja Kapetanovich, William Roth
Photo by Patrick Huber
St. Louis Actors’ Studio

Samuel D. Hunter’s The Whale is probably best known for its recent film adaptation starring Brendan Fraser. In fact, although I haven’t seen the film, I didn’t even know it was a play until St. Louis Actors’ Studio announced its current season. Their production, directed by Annamaria Pileggi, is a thoughtfully staged, intensely emotional relationship drama that serves as a showcase for an excellent cast of local performers. 

This play is the story of Charlie, a lonely, unhealthy, and overweight man who teaches online writing classes from his small apartment, which he never seems to leave. He’s cared for by his friend Liz, who is a nurse and also has another connection to him that will be revealed in the story. Liz urges Charlie to take better care of himself and to go to the hospital, but she also brings him unhealthy food to eat. As Charlie’s health continues to deteriorate, he seeks comfort in an old essay about Moby-Dick and in conversations with a young Mormon missionary, Elder Thomas, who has happened by one evening, and who Charlie thinks can help him find answers concerning a personal tragedy. Charlie also seeks out his teenage daughter, Ellie, who hasn’t seen her father since she was two when Charlie came out as gay and began a relationship with his late partner, Alan, ending his marriage to Ellie’s mother, Mary. Ellie seems to be angry at everything and claims to hate everyone, but Charlie wants to get to know her in hopes that he can somehow help her have a better life. There are many complications, as emotions flare and secrets are revealed, as volatile relationships are explored in a quest for some kind of hope in the midst of regret and despair.

The personal relationships are intensely believable, driven by William Roth’s heartfelt performance as Charlie, and supported by the equally strong Colleen Backer as the fiercely protective Liz and Nadja Kapetanovich as the surly Ellie. These are the key relationships here, and all three actors give powerfully emotional performances. There is also excellent work from Thomas Patrick Riley as the friendly but guarded Elder Thomas, and Lizi Watt as the hard-drinking, emotionally wounded Mary. There’s a lot of emotional hurt going on here, with sadness and anger at the forefront but with a lingering, persistent suggestion of hope. 

The detailed set and moody lighting design by Patrick Huber add to the overall melancholy tone of the story. There has been some criticism of this story as potentially exploitative, considering the use of padding of a thinner actor to look overweight, but the thoughtful direction here doesn’t seem mocking or belittling to me, and Teresa Doggett’s work on the costumes and prosthetics comes across as realistic, and even understated.  There’s also strong work from sound designer Kristi Gunther and props designer Emma Glose.

The Whale is intense, and acted with impressive depth by St. Louis Actors’ Studio’s well-chosen cast. It works especially well in the intimate setting of the company’s Gaslight Theater. There’s a lot to process in this play, concerning relationships, literature, self-expression, religious influence, and more. It’s a profoundly affecting story.

Nadja Kapentanovich, Thomas Patrick Riley, Lizi Watt, Colleen Backer, William Roth
Photo by Patrick Huber
St. Louis Actors’ Studio

St. Louis Actors’ Studio is presenting The Whale at the Gaslight Theater until April 21, 2024

This review was originally published at kdhx.org

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“Dark Matters” is Chilling, Fascinating at WEPG

Posted in St Louis Theatre, tagged , , , , , on April 11, 2024| Leave a Comment »

Dark Matters
by Roberto Aguirre-Sacasa
Directed by Karen Pierce
West End Players Guild
April 5, 2024

Cory Burke, Joseph Garner, Suki Peters, Ben Ritchie
Photo by John Lamb
West End Players Guild

West End Players Guild is venturing into science fiction and mystery with its latest production. Playwright Roberto Aguirre-Sacasa’s suspenseful, intriguing Dark Matters proves to be a fascinating story with an increasingly chilling tone. With strong direction and four convincing performances, this play tells its story well, with enigmatic characters and a challenge for the audience concerning what–and who–to believe. 

The story is narrated occasionally by Jeremy (Cory Burke), a teenager whose parents have recently moved the family from Washington, DC to a small mountain town in Virginia. As the story begins, Jeremy’s father Michael (Joseph Garner) is concerned that his wife, Bridget (Suki Peters) has gone missing. The local Sheriff, Benjamin Egan (Ben Ritchie) is working with Michael to figure out what’s happened, and his questioning gets more and more intrusive, calling into question Bridget’s mindset and pre-disappearance activities. Meanwhile, Jeremy has been rummaging in the attic and has found writings by Bridget that suggest she really believes in aliens from outer space, rather than just researching them for a book as Michael has told the sheriff. Soon, however, Bridget returns with a story that seems too strange to be believed, and Michael grows even more suspicious, while Jeremy is more inclined to believe his mom and the Sheriff continues to ask questions. 

That’s about all I can say without spoiling, and make no mistake–it’s the sense of building suspense and mystery that makes this show as effective as it is. That sense of something being “off” but not being sure what the truth actually is, and where this story is all leading, even at the very end, is what makes this play so powerful and spine-tinglingly chilling. The well-paced direction by Karen Pierce, and the strong performances of all the players make this worth seeing. From Garner’s increasingly doubtful and unhinged Michael, to Burke’s devoted, alternately hopeful and frightened Jeremy, to Ritchie’s matter-of-fact and increasingly enigmatic Sheriff Egan, to Peters’ fully convinced and persistent Bridget–the whole cast is excellent. It’s not always clear what to believe, but one sure thing is that the acting is superb, and the ensemble is cohesive and impressive.

The set by director pierce makes good use of the stage in the basement of Union Avenue Christian Church, as well as the area in front of the stage. The lighting by Jacob Winslow and sound by Morgan Maul-Smith add to the overall mysterious atmosphere and growing sense of urgency. 

Dark Matters is fully engaging and compelling theatre, especially for viewers who like mystery and science fiction. It’s a human drama with an otherworldly air, and after its conclusion, questions still linger. There’s a lot to think about here. Who, and what, do you believe? That’s a question that will be surely talked about for a while after seeing this remarkably well-staged play.

Suki Peters, Joseph Garner
Photo by John Lamb
West End Players Guild

West End Players Guild is presenting Dark Matters at Union Avenue Christian Church until April 14, 2024

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SATE’s Aphra Behn Festival is an Entertaining Showcase

Posted in St Louis Theatre, tagged , , , , , , , , , , , , , , , , , , on April 7, 2024| Leave a Comment »

8th Annual Aphra Behn Festival
SATE Ensemble Theatre
April 4, 2024

Image: SATE Ensemble Theatre

SATE’s 8th Aphra Behn Festival ran at the Chapel this past weekend, and it was a lot of fun, with a large, enthusiastic audience and a slate of promising plays with strong casting and direction. Here are a few thoughts on this year’s featured shows:

“The The”
by Anne Valentino
Directed by Michelle Hand

This clever play has my vote for best of the evening, with an intriguing premise, compelling characters, and strong performances. Meghan Baker plays Allie, who works for a hotel chain’s corporate office in the “hotel naming” department. She’s been sent to investigate a West Virginia hotel, The Thisben, to get local reaction concerning whether or not the hotel should be able to keep the “The” in its name. Allie is also an aspiring photographer whose work her husband, Jason (David Cooperstein) often belittles. 

The performances are good here, with the star of the show being Keating in a variety of roles at The Thisben–including the desk clerk, the manager, the maid, and the daycare director–who may or may not all be the same person. Keating’s comic timing and versatility are impeccable, and the highlight of the show. Michelle Hand’s thoughtful direction is also a plus here, and the script is fun, although the pre-West Virginia moments lag a bit. 

“Left to Lose”
Written and Directed by Stella Plein

This one is more of a sci-fi offering, presented as a staged reading. The three performers do their best, led by Angela Chan as lead character Ezra and as “The Radio”, although the distinction between the two parts is not always clear. As Ezra deals with a personal loss involving a national tragedy, Deniel Lee as “The Public” interjects reactions to the events and Ivy Liao as Ezra’s husband, astronaut Hayou, provides moments of pathos. It’s a promising story, but I think more could be done in terms of clarity and definition of the characters.

“Run Run Run as Fast as You Can”
by Tessa Van Vlerah and Dylan Staudte
Directed by Katie Leemon

The writers of this play appear to have been influenced to some degree by Dr. Horrible’s Sing-Along Blog, with its portrayal of super-villains in a comic way. The premise has said villains in a support group led by Limburger (Andre Eslamian), challenging them to examine their lives and reform. Sienna, the fox (Sam Hayes) is somewhat snarky, but Royal Pea (LaWanda Jackson) is even more surly, as well as being snooty and entitled. All three players give well-timed comic performances, and the staging is energetic and memorable. Kayla Lindsay’s costumes–strong throughout the various plays–are especially outstanding here.

“The Croning”
by Margeau Steinau
Directed by Abigail Greaser

It’s a party! Or is it a fight? Well, it’s kind of both, as three personifications of feminine archetypes–the Maiden (Anna Rimar), the Mother (Katie Puglisi), and the Crone (Jodi Stockton) engage in a struggle as the aging Crone tries to take stock in her life and integrate the three characters into one. This is the most symbolic of the plays at the festival, and it highlights Erik Kuhn’s lighting as well as featuring energetic staging by director Abigail Greaser and three fun performances, as well as good amount of confetti and glitter! It’s a memorable way to conclude the festival, which also incorporated readings of poems by writers associated with Prison Performing Arts.

Even though this is the 8th annual festival, it’s the first time I’ve attended, and I’m glad I did. It’s a compelling showcase for its playwrights, directors, and performers, and I look forward to seeing what the 9th festival has to offer. 

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SDT’s “Xanadu” is Energetic, Nostalgic Fun on Wheels

Posted in St Louis Theatre, tagged , , , , , , , , on April 5, 2024| Leave a Comment »

Xanadu
Book by Douglas Carter Beane
Music and Lyrics by Jeff Lynne and John Farrar
Directed by Justin Been
Choreographed by Mike Hodges
Stray Dog Theatre
April 3, 2024

Shannon Lampkin Campbell, Phil Leveling
Photo by John Lamb
Stray Dog Theatre

Where were you in 1980? I know a fair amount of my readers probably weren’t even born yet, but I was around. I was a kid, and like many other kids in the neighborhood, I liked to roller skate. The skates, and the iconic soundtrack featuring ELO and Olivia Newton-John, are what I remember most about the notorious cinematic flop-turned-cult-classic Xanadu, which was later turned into a surprisingly successful Broadway musical with a book by Douglas Carter Beane, and a production team that recognized the cheesy appeal of the original and decided to lean into it. At Stray Dog Theatre, an enthusiastic cast directed by Justin Been positively revels in the nostalgic silliness, with a result that’s marvelously entertaining. 

The show’s charm is that it doesn’t parody the original source as much recognizing its cult appeal and ramping up the cheesy, campy, nostalgic aspects of it, making for an infectiously hilarious story that celebrates its own silliness while also highlighting the film’s famous soundtrack. It also adds in other hits by ELO’s Jeff Lynne and by Australian composer-producer John Farrar, who wrote many of Olivia Newton-John’s biggest hits. So, in this story of a self-doubting Venice Beach artist, Sonny (Phil Leveling) who meets a literal Greek Muse, Clio/Kira (Shannon Lampkin Campbell) and aims to turn an old theatre into an arts venue and roller disco, we get to hear the film’s hit songs like “All Over the World”, “Magic”, and “Xanadu”, along with ELO classics like “Evil Woman” and “Strange Magic” and Newton-John hits like “Have You Never Been Mellow”. The clever book also features some fun pop-culture jokes and a good deal of meta-humor along with the film’s tale of love, Greek Mythology in the “modern” (1980s) world, music and roller skating. 

The show also features a funny villainous subplot involving scheming Muses Melpomene (Chelsie Johnston) and Calliope (Sarah Gene Dowling) who are out to put a curse on Kira/Clio and providing for some hilariously memorable moments. Also, the older, jaded real estate tycoon Danny Maguire (Scott Degitz-Fries)–who owns the dilapidated theatre and was played by Gene Kelly in the film–is on hand, as he’s sure he’s seen Kira before, many years ago, and seeing her now reawakens memories and feelings of the more idealistic goals he once had. The story of music, magic, and mythology highlights the roller skating in inventive ways as well as featuring some comically marvelous production numbers.

The performers are all invested in this cavalcade of colorful, campy nostalgia, led by impressive turns from Campbell as the perky and persistent Kira and Leveling as the self-doubting, not super bright but charmingly idealistic Sonny. Their chemistry is excellent, making the somewhat silly love story work, and Campbell’s vocals have the tone and power to carry the classic Olivia Newton-John songs of the score. There are also fun performances from Johnston and Dowling as gleefully villainous Muses, along with Degitz-Fries in a dual role as Danny and Greek god Zeus. Degitz-Fries, as the skating consultant, is also especially great on wheels, featuring in some impressive skate-tapping along with Campbell as Drew Mizell as a younger version of Danny in one memorable number. The whole ensemble is excellent and full of energy–including cast members Mateo Bleuemel, Lindsey Grojean, Madison Mesiti, Katie Orr, and Lauren Tenenbaum–playing various roles from Muses to musicians to mythological creatures and members of the ancient Greek pantheon, and everyone is reveling in the good-natured goofiness that brings a lot of heart and humor to some of the most wonderfully wacky production numbers I’ve seen from this company, with memorable choreography by Mike Hodges.

The technical aspects of this show add to the fun, with a somewhat minimal set by director Been that provides a versatile and colorful backdrop for the story. There are also suitably nostalgic and inventive costumes by Colleen Michelson and impressive hair and makeup by Dowling. The well-designed and visually striking lighting by Tyler Duenow also adds to the overall tone of the show, as does the great-sounding band led by music director Leah Schultz, adding an upbeat groove to the pop-disco score. 

Overall, Xanadu at Stray Dog Theatre is a whole lot of fun. I can’t imagine a better way to adapt the original film, which does have a cult following but was widely panned and is very much tied to its time. Highlighting the nostalgia, humor, and heartfelt silliness is certainly the right way to go here, and SDT has done a great job of bringing all that colorful goofiness to the stage. I found myself unable to stop smiling in some of the more over-the-top moments. I would call this a “feel-good” show in the best sense of that term. 

Cast of Xanadu
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre is presenting Xanadu at the Tower Grove Abbey until April 27, 2024

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Outstanding Performances, Raw Emotion Highlight the Rep’s Intense “August”

Posted in St Louis Theatre, tagged , , , , on March 27, 2024| Leave a Comment »

August: Osage County
by Tracy Letts
Directed by Amelia Acosta Powell
Repertory Theatre of St. Louis
March 22, 2024

Claire Karpen, Yvonne Woods, Henny Russell, Ellen McLaughlin
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

The Pulitzer Prize-winning caustic comedy-drama August: Osage County is the latest offering from the Rep, and it’s a stunning one. Already a well-known play, this intense portrait of a dysfunctional family in crisis is full of biting humor, over-the-top emotions, and deep tragedy, all brought to the staging with crisp pacing and excellent direction by Amelia Acosta Powell, and featuring a truly stellar cast with no weak links. It also features some truly dazzling production values, including a house you may even want to live in.

This is a story a lot of people can relate to, I think, because all families have their drama and tensions, even if they are not necessarily as extreme as those of the Westons, the large, frequently contentious Oklahoma family featured in this story. As the play begins, celebrated poet and aging patriarch Beverly Weston (Joneal Joplin) is explaining his situation to Johnna (Shyla Lefner), a young, even-tempered Cheyenne woman that he is hiring to be the family housekeeper and caretaker, against the wishes of his ailing and volatile wife, Violet (Ellen McLaughlin), who is suffering from mouth cancer and is also addicted to various painkillers. Soon, Beverly goes missing, and the family is forced to come together, including their three adult daughters, including the eldest, Barbara (Henny Russell), who travels from Colorado with her professor husband, Bill (Michael James Reed) and moody teenage daughter, Jean (Isa Venere). Middle daughter Ivy (Claire Karpen) lives locally but feels neglected and demeaned by her caustic mother, and youngest daughter Karen (Yvonne Woods) shows up later along with her creepy fiancé, Steve (Brian Slaten), seemingly ignoring his increasingly suspicious behavior. Also in the mix are Violet’s opinionated sister, Mattie Fae (Astrid Van Wieren) and her affable husband, Charlie (Alan Knoll), along with their son Little Charles (Sean Wiberg), who is constantly berated and belittled by his mother. The local sheriff, Deon (David Wassilak) is leading the search for Beverly, and brings back memories for former high school prom date Barbara. What ensues is a tale of remembrance, regret, dysfunctional relationships, crushed hopes and dreams, substance abuse, and occasional violence and inappropriate behavior on a multitude of levels. 

Very few of the characters are truly likable, but some are more sympathetic than others, and anyone who has had family drama will likely find something to relate to. What rings the most true in this production is the relationship between the three very different adult sisters, and their love-hate relationship with their often sharp-tongued mother. There’s also a believable build-up of tension as the family assembles and attempts to have a formal dinner, with many harsh revelations to follow. The pacing is brisk, even for this especially long play, so that there are no dull moments, and the cast is energetic with impressive cohesion and sometimes combative chemistry.

McLaughlin as Violet gives a powerhouse performance, making this difficult character compelling even as she is unapologetically vicious and caustic. Still, the depth is there, as with most of the characterizations here. Nothing is too over-the-top, even with a larger-than-life character like Violet, and with the also excellent Russell as Barbara, who finds herself matching wits with Violet and holding her own. There are also strong turns form Karpen as the often-overlooked Ivy, and Woods as the somewhat clueless, defensive Karen. Venere as the sometimes surly Jean, and Reed as the exasperated Bill are also impressive, as are Van Wieren and Knoll as the somewhat mismatched Mattie Fae and Charlie, along with Wiberg as the browbeaten but well-meaning Little Charles. Slaten, as the sleazy Steve, and Wassilak, as the helpful Deon, round out the superlative cast that brings every bit of energy and emotion to this intensely dramatic and sometimes wickedly funny script.

In a technical sense, the Rep always has great production values, but they take them to the next level this time, with a set by Regina Garcia that represents a large, well-furnished house to the point where it seems invitingly real. There’s also excellent, detailed costuming by Sonia Álvarez that suits the characters well in keeping with the setting and tone of the show. The lighting by Xavier Pierce and sound by Amanda Werre, along with  music composed by Avi Amon, also adds to the overall atmosphere of the play.

This is a highly emotional, precisely directed, superbly acted production of August: Osage County that makes the most of its three-and-a-half hour running time. With some unsettling and difficult subject matter, it’s not for all ages, but it’s a challenging and remarkable work of theatre. In terms of sheer dramatic quality, it’s the Rep at its best.

Cast of August: Osage County
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis is presenting August: Osage County until April 7, 2024

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Albion’s “Molly Sweeney” is a Fascinating, Well-Cast Character Study

Posted in St Louis Theatre, tagged , , , , , on March 23, 2024| Leave a Comment »

Molly Sweeney
by Brian Friel
Directed by Robert Ashton
March 16, 2024

Paul Gutting, Maggie Wininger, CJ Langdon
Photo by John Lamb
Albion Theatre

Albion Theatre’s latest production highlights the work of one of Ireland’s most celebrated modern playwrights. Brian Friel, known for Dancing at Lughnasa among other works, has experimented a bit with format for the sake of concentrating on character in the intriguing Molly Sweeney, which features three characters describing the same series of events, but without ever directly interacting. At Albion, in a riveting, deliberately paced production directed by Robert Ashton, these characters and the highly thought-provoking subject matter are brought to life with compelling depth and energy.

The play’s title character, Molly (Maggie Wininger) is an independent, optimistic woman in her early 40s who has been blind for most of her life, having lost her sight as a very young child; until she meets and marries Frank (CJ Langdon), an amiable and charming man who has spent his life pursuing one adventurous “cause” after another. The research-minded Frank becomes determined that Molly would be able to regain at least some of her sight through surgery. The surgeon they consult, Mr. Rice (Paul Gutting) is a once-celebrated professional who has experienced several personal setbacks. Upon being presented with Molly’s case, Rice sees an opportunity not only to help her, but also to possibly reinvigorate his career. All three characters tell the story after the fact, each from their own individual perspective. This structure allows the audience to examine the characters and the situation with a slightly heightened focus, adding some weight to the philosophical ideas and practical implications as we see them talk about the events both as ideas and as reality. Also, the fact that we never see the characters interact lends to the exercise of imagining how they would do so, allowing especially for examination of Molly’s and Frank’s marriage from a more detached perspective. 

While there is very little in the sense of “action” in this play, the performances of the talented cast members provide much in the way of drama, so that even though the play is talky, it’s never boring. The story is able to personalize weighty issues concerning the nature of perception–visual vs. tactile, and the effects of integrating these means of gaining information–through these vividly drawn characters. The actors here are more than up to that task, with Wininger’s Molly going through a credible transformation as she portrays her experiences and recollections of growing up, as well as the unexpectedly devastating effects of the operation. Langdon is  personable and energetic as Frank, and at once it’s easy to see why Molly would be attracted to him, while also seeing why they might not be such a good fit as a couple. Gutting, as Rice, is also excellent, with a somewhat “matter-of-fact” telling of his story while also keeping a compelling air of mystery.

The energy and flow of this play is driven by these three powerful performances, and the staging is paced well, with the setting and technical elements providing a suitable backdrop for the storytelling. The set by Eric Kuhn is simple and effective, aided by strong lighting by Eric Wennlund and sound by Ashton. Tracey Newcomb’s costumes fit the characters well, adding detail to their characterizations.

Molly Sweeney is a fascinating play, in structure, story, characters and philosophical concepts. It’s one of those plays than can leave viewers asking “what would I do?” It’s well worth a look, and a whole lot of thought. 

Maggie Wininger, Paul Gutting, CJ Langdon
Photo by John Lamb
Albion Theatre

Albion Theatre is presenting Molly Sweeney at the Kranzberg Performing Arts Center until March 31, 2024

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“Queens” Entertain with Energy, Southern Humor at New Line

Posted in St Louis Theatre, tagged , , , , , , , , , on March 7, 2024| Leave a Comment »

Sweet Potato Queens
Book by Rupert Holmes, Music by Melissa Manchester, Lyrics by Sharon Vaughn
Based on the Bestselling Books of Jill Conner Browne
Directed by Scott Miller and Tony L. Marr Jr.
Choreographed by Tony L. Marr Jr.
New Line Theatre
March 1, 2024

Mara Bollini, Talichia Noah (standing), Ann Hier Brown, Victoria Pines
Photo by Jill Ritter Lindberg
New Line Theatre

Sweet Potato Queens seems at once like an ideal show for New Line Theatre as well as being a bit of a surprise, since it’s focused to a degree on promoting a real organization. The danger with a show like this is that it could come off as a schmaltzy TV movie or commercial. Still, the show doesn’t really come off as a marketing pitch especially as staged by New Line, with its focus on strong characterization and vocals, with vibrant costuming and some over-the-top moments, with an emphasis on Southern style and humor, with particular focus on being a source of encouragement and bonding for women. 

The Sweet Potato Queens are real, with many chapters around the world, but they were begun in 1982 by Jill Conner Browne, played here by Talicia Noah. Browne has written a series of books over the years expounding the SPQ philosophy, and this show is essentially a combination of an origin story and a testimonial, expounding on Browne’s philosophies while explaining how the SPQ movement began, featuring some representative characters that Browne meets and inspires, including three women all named Tammy (Mara Bollini, Ann Hier Brown, and Victoria Pines), along with a waiter named George (Aarin Kamphoefner) who forms a bond with these women, along with other important figures in Browne’s life such as her Mama (Bethany Barr), her Daddy (Kent Coffel), and her husband Tyler (Jeffrey M. Wright). As Jill, who has recently left her stable-but-boring job at Sears, ponders what to do with her life and how to pursue a career as a writer, she deals with her personable but evasive unemployed husband’s efforts to find a job, Mama’s nagging to go back to Sears, and listens to advice from Daddy to “Do What Makes Your Heart Sing”. She also finds herself hanging out at the local Chinese restaurant and encouraging the Tammies and George to do likewise, while Too Much Tammy (Brown) deals with body image issues and her relationship with food, Floozie Tammy (Bollini) tries to find a healthy balance in her relationships with men, and Flower Tammy (Pines) deals with an abusive marriage, while George deals with the struggles of being a gay man in what can be a restrictive and isolating Southern culture. Meanwhile, Tyler continues to be mysterious and secretive, and Jill wonders whether or not the frequent rumors about his apparent philandering ways are true. 

The story features a score of mostly upbeat songs, some of which are contagiously catchy (such as the maybe too-oft-reprised “Do What Makes Your Heart Sing), and others not as memorable. The overall message of “sisterhood” and empowerment is communicated with a Southern flair and bright, colorful costumes by Zachary Phelps that are inspired by the original SPQ outfits, as well as more toned-down but realistic outfits for the “origin story” scenes. There’s also a bright, abstract runway-type set by Rob Lippert that is reminiscent of a 1970’s game show with its bold colors and complimented by Matt Stuckel’s vibrant lighting. The set painting and construction look better in the pictures than in person, though, coming across as kind of rough around the edges up close. Marr’s choreography is energetic and fun, and the band led by music director Dr. Tim Amukele provides a good soundtrack for the story and performers. 

The performances are strong across the board, with Noah making an ideal and personable narrator/protagonist as the determined Jill. Noah has a strong voice, as well, and her co-stars also shine in the vocal department, with the always-great Coffel a standout as Daddy; Bollini, Brown, and Pines all getting their moments to shine as the Tammys; and Wright making the most of his somewhat annoying character as Tyler. Barr also has excellent comic moments as Mama, including the standout song “Sears”, and Kamphoefner gives an amiable performance as George. The group numbers are memorable, as well, for the most part, although it can be difficult to decipher the lyrics sometimes when everyone is singing at once. 

Overall, Sweet Potato Queens at New Line is an entertaining, energetic, in-your-face ode to female empowerment, even though there is a bit of stereotyping where men are concerned. This strikes me as the type of story that some may relate to more than others, but at New Line, the enthusiastic performers put their all into this tale full of over-the-top, occasionally raunchy Southern humor with a few well-placed moments of poignancy along the way. It’s an enjoyable evening with a memorable cast. 

Aarin Kamphoefner (center) and cast of Sweet Potato Queens
Photo by Jill Ritter Lindberg
New Line Theatre

New Line Theatre is presenting Sweet Potato Queens at the Marcelle Theatre until March 23, 2024

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“Fly” at the Black Rep is a Compelling, Personal Tale

Posted in St Louis Theatre, tagged , , , , on February 21, 2024| Leave a Comment »

Fly
by Joseph L. Edwards
Directed by Joseph L. Edwards
The Black Rep
February 17, 2024

Joseph L. Edwards
Photo by Keshon Campbell
The Black Rep

Fly, currently running at the Black Rep, is a one-man show in several senses of the term, featuring a solo performance by its writer, who also directed. This is Joseph L. Edwards’ vision, and it’s a compelling look into one Black man’s reflections, and response to the wider experience of being Black in America. It also features some striking production design and clever effects that add to the overall theatrical sensibility of the story.

It’s a short play, running at about 80 minutes, and although Edwards is the sole performer, leading figure “Fly” Lewis isn’t the only character in the show, as Edwards plays a variety of roles as Fly tells his story on a rooftop in Brooklyn, awaiting a celestial event that’s supposed to happen later that night. As Fly tells his own story of growing up, and of living his life in New York City, he reflects on his own struggles as well as those of people he has known–such as family members and his childhood best friend–and people he meets. There are also voiceovers of news broadcasts and reactions of neigbhors in his building, as Fly prepares a sort of shrine as he readies himself for the transformation that he expects to happen as the cosmic event arrives. 

This is an intensely personal piece, as Edwards portrays through a series of distinctive characters the everyday aspirations of Black people, as well as the obvious and more subtle injustices they face in society, and particularly in America. There’s a good deal of humor here, but also some real moments of poignancy and tragedy, all portrayed in with vivid energy by Edwards, who gives a remarkably affecting performance, showing the presence and charisma that gives this play its dramatic center, playing a whole cast of characters with convincing energy.

The technical aspects of the play are also impressive. No designers are credited in the program , but the co-technical directors are Christian Kitchens and Kaylie Carpenter. The overall look and atmosphere of a Brooklyn rooftop is impressively realized, with all the varied objects that Fly produces to contribute to his shrine, adding depth to the overall story.

This is a show Edwards has performed in many different places throughout the years, and the reason for its longevity is fairly clear. Fly is at once a highly individualized story and a depiction of a more universal quest for hope in a difficult world. It’s a timely, vividly portrayed story with a strong central performance. 

The Black Rep is presenting Fly at Washington University’s Hotchner Theatre until March 10, 2024

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Relationships Are in Focus In WEPG’s Engaging “Evening of One Acts”

Posted in St Louis Theatre, tagged , , , , , , , , , , , , , , , , , , on February 17, 2024| Leave a Comment »

An Evening of One Acts
Directed by Carrie Phinney and Renee Sevier-Monsey
West End Players Guild
February 10, 2024

Jane Abling, John Reidy
Photo by John Lamb
West End Players Guild

The latest production from West End Players Guild isn’t one play, but seven. An Evening of One Acts presents a series of short plays on the broad theme of relationships, most of them of the romantic variety. It’s an intriguing, entertaining evening featuring an enthusiastic cast and fairly simple production values. Here are some brief thoughts:

“A Sunny Morning”
by Serafin & Joaquin Alvarez Quintero

The focus of this play, set in Spain, is on an older woman, Dona Laura (Jane Abling), and an older gentleman, Don Gonzalo (John Reidy) who meet by chance as Laura sits on a park bench to feed the birds, and Gonazalo looks for a place to rest as his usual bench is occupied. He reluctantly joins Laura on her bench, and the two strike up an initially bristly conversation. As they begin to talk more amicably, they both soon realize that maybe they’re not strangers, after all. This is a bittersweet story that features two memorable performances and strong chemistry, along with some fine supporting work from Lesa Bush and Kurt Knoedelseder as the respective caretakers/companions of Laura and Gonzalo.

“Post Its (Notes on a Marriage)”
by Paul Dooley & Winnie Holzman

The staging of this play is simple, as an unnamed couple (Mike DePope, Amie Bossi) sit on either side of the stage, reading a series of Post-It notes, essentially telling their story from their first date to their eventual marriage and life together. There are some fun moments here, as well as moments of poignancy, featuring understated but compelling performances.

“The Spot”
by Steven Dietz

I’m not entirely sure how this play fits with the overall “relationship” theme, since this is essentially about a political campaign commercial, and the heavy “spin” that Roger (Reidy), who is in charge of the campaign, is encouraging. The “spot” focuses on a woman, Betsy (Shawntay “Tay” Vaughn), who will be endorsing Roger’s candidate, although Roger has doubts about her appeal to voters, as he’s constantly asking his assistant Nelson (Knoedelseder) to check the poll numbers for various topics. Roger is much more impressed with Gloria (Bush), who assists one of his staff members, but who seemingly fits Roger’s “ideal”, while Betsy grows increasingly uncomfortable with Roger’s manipulations, as his staff members Chumley (DePope) and Wagner (Michael Monsey) grow more anxious. This is sharp satire that seems especially timely in an election year, with strong performances all around, although again, I don’t really see where it fits with the overall theme of the evening. 

“Left to Right”
by Steven Dietz

Another play by Dietz, this one has something of a confusing structure, as two married couples sit at a table, having a series of conversations in pairs, changing positions when a bell rings. Bossi as Angie, Bush as Dee, Reidy as Ron, and Knoedelseder as Scott are each hiding their own secrets that they are trying not to reveal to their spouses, but as the conversations continue, it’s not always clear what the characters know and what they don’t. The performers do a good job with the overall timing, but this story can be a little difficult to follow.

“Controlling Interest”
by Wayne Rawley

This play features a clever twist, as a “business meeting” turns out to be not quite what it first seems to be. Jack (Reidy), Brad (Monsey), David (DePope), and Steven (Kurt Knoedelseder) are prepare to negotiate with Ashley (Vaughn) and Bethany (Abling) concerning the serious and daunting issue of “boys liking girls”. This is a fun concept, even though it indulges in stereotypes for the sake of much of its humor. The performances and pacing are especially energetic here. 

“Surprise”
by Mark Harvey Levine

This is perhaps my favorite play of the set, with a clever premise and strong characterizations. Even though it’s not very long, DePope, as Peter–a psychic who can only see two minutes into the future–and Bossi as Whitney, his increasingly exasperated girlfriend, are convincing and exhibit excellent timing. The two are sharing a contentious date at a restaurant, as sympathetic server Esther (Vaughn) has a surprise in store for Peter. The script is well-constructed, and the performances are strong across the board.

“There Goes the Neighborhood”
by Marjorie Williamson

The final entry for the evening features a nosy woman, Eleanor (Abling) spying on her new neighbor, as her husband, Richard (Knoedelseder) humors her ramblings and assumptions. As Eleanor’s “concerns” about the hairdresser who has moved next door grow more and more elaborate and absurd, it becomes clear that a  revelation is coming about Eleanor herself, as well as Richard, which adds a new level of absurdity to Eleanor’s attitude along with a creepy twist. This is a clever concept, well played by Abling and Knoedelseder.

Technically, the staging is simple, with fine work from Sevier-Monsey on lighting and Mary Beth Winslow on sound, as well as props design by Anna Blair. It’s something of a minimalist presentation, with the focus mostly on the actors and the energetic staging. The plays range from sweet to the thought-provoking to disturbing, making for an intriguing evening of theatre.

 

Shawntay “Tay” Vaughn, Kurt Knoedelseder, John Reidy, Mike DePope, Michael Monsey, Jane Abling
Photo by Carrie Phinney
West End Players Guild

West End Players Guild is presenting An Evening of One Acts at Union Avenue Christian Church until February 18, 2024

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