Cherokee Street Theater’s “Hughes” is a Wild Nostalgic Ride

December 13, 2025 by Michelle Kenyon ("Snoop")

John Hughes Your Own Adventure
Written by Joseph Garner, Chris “Mr.” Jones, Rob McLemore, Suki Peters, and Ben Ritchie
Directed by Suki Peters
Cherokee Street Theater Company
December 11, 2025

Cast of John Hughes Your Own Adventure
Photo by Robert Crowe
Cherokee Street Theatre Company

In the program for their rerun of Cherokee Street Theater Company’s STL Fringe Summer hit show, John Hughes Your Own Adventure, they refer to this as their “love letter to Gen X”. It’s confession time for me, then–I must not be a “typical” Gen Xer, because of all the films listed in the program as the basis for this parody, I’ve seen a grand total of two: The Breakfast Club and  (I think)  16 Candles. I guess I’m not the prime target for this nostalgia-fest, although I do have great nostalgia for the Choose Your Own Adventure books, especially The Cave of Time.  Still, even though I may not have seen all of these films, pop culture osmosis is real, and I’ve absorbed a lot of the references from my generation. My thought is that, if I think this show is a laugh riot (and I do), bigger fans of the films referenced are going to absolutely love it!  

It’s certainly a cleverly constructed show, hosted by John Hughes himself, played with a bit of self-important glibness by Joseph Garner, and the mash-up of his films with the classic “pick your path” format of the book series is remarkably clever. Mr. Hughes sets out the rules, and the story plays out–starting in detention with the five kids from The Breakfast Club–Chris “Mr.” Jones as John Bender, Patience Davis as Allison, Ryan Lawson-Maeske as Andrew, Payton Gillam as Molly Ringwald, and Ted Drury as Anthony Michael Hall. The story starts out as in that situation, but there will be points in which music starts playing and the voice of Stan Davis on the “god mic” presents choices to the audience, who decide their preference through applause. Soon, what starts out as a Breakfast Club parody morphs into a conglomeration of many of John Hughes’s greatest hits, including Ferris Bueller’s Day Off, Weird Science, Home Alone, Uncle Buck, and more. It’s a frantic, fun-filled laugh-fest with clever staging, some fun sight gags (including a character being played by a cardboard cutout), and lots of quick changes.

The staging is crisp and fast-paced, although the look and feel is a little unpolished, which adds to the humor, and the cast is excellent, with great turns from all the players, with standouts including Garner as Hughes, Lawson-Maeske as Andrew and Ferris Bueller, Nicole Angeli as a variety of characters including Edie McClurg, Annie Potts, and Catherine O’Hara, Ben Ritchie as Vernon and others, Brennan Eller as Duckie and Joe Pesci, Rob McLemore as John Candy, and Soupy Allen David as Kevin McCallister. Everyone seems to be having a great time, and the pop culture references, including music from the times, and mentions of other films, are flying fast and furious. It’s a great ensemble all around, and the audience was having a great time when I saw it.

The costumes by Kayla Lindsey are a lot of fun, as well, with great work on sound by Jeffrey Roberts and sound by Bradley Rohlf, as well. The props are also a delight–with kudos to properties mistress Payton Gillam and properties team Stan Davis, Patience Davis, Soupy Allen David, and Abby Lampe. 

Whether you have seen all of these films or not, there’s a lot to laugh about in this raucous comic send-up of all things John Hughes. There are two more chances to see it, so if you’re looking for a 1980’s nostalgia fest and a good laugh, I recommend checking this out.

Cherokee Street Theater Company, in partnership with STL Fringe, is presenting John Hughes Your Own Adventure at the Kranzberg Arts Center until December 14, 2025

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Well-Cast “Legally Blonde” Entertains With Energy and Heart at Tesseract

December 13, 2025 by Michelle Kenyon ("Snoop")

Legally Blonde: The Musical
Music and Lyrics by Laurence O’Keefe and Nell Benjamin, Book by Heather Hach
Directed by Will Bonfiglio
Choreographed by Jo Palisoc
Tesseract Theatre Company
December 7, 2025

Jonathan Hey, Grace Seidel and Cast
Photo: Tesseract Theatre Company

It seems like Legally Blonde: The Musical has only increased in popularity since its Broadway debut in 2007, having been staged all over the world and now becoming popular in regional and community theatres. I’ve seen it twice at the Muny, in large, glitzy productions, and it is generally thought of as a big, glitzy show. Now, Tesseract is staging a scaled-down production that might have a smaller cast than most productions, but is still big in energy and heart, and even bringing out a bit more substance to the show than I’ve seen before.  Featuring a great cast and clever, efficient staging, this is a show that’s as fun as ever, but perhaps even more meaningful.

The story has become a familiar one–Malibu-raised UCLA fashion student Elle Woods (Grace Seidel) has enjoyed her undergrad years of sorority parties, popularity, and spending time with her upwardly mobile fiancé Warner (Mason Ramsey), fully expecting a proposal. Warner, however, informs her that she’s not “serious” enough to fit into his goals, as he plans to attend Harvard Law School and embark on a career in law and politics. Elle, determined to prove Warner wrong and win him back, applies to Harvard and is accepted, whereupon she soon learns that achieving her goal is going to be a lot harder than she thought. At Harvard, Elle meets Emmett (Kevin Corpuz), her law school mentor, and the two soon form a friendship as Emmett helps Elle adjust to law school and perhaps set her goals higher than “getting the guy back”, while Elle helps Emmett to loosen up and find more fun and style in life. She also makes friends with unlucky-in-love  hairdresser Paulette (Marsiya Miller), helping her learn to be more assertive, while navigating the cutthroat law school atmosphere led by ruthless Professor Callahan (Jonathan Hey), whose law firm offers a prestigious internship for which the students all vie. Soon, they’re enlisted to help in the defense of famous fitness guru Brooke Wyndham (Dawn Schmid), and Elle finds her goals and values tested more than ever. 

It’s a fun show, and not the deepest in terms of themes and message, although this production finds more substance in the material than I’ve seen before. Much of the credit for this meaningful interpretation goes to the cast and director Will Bonfiglio for thoughtful staging and heartfelt performances. There are still the fun production numbers, the memorable characters, and lots of pink, but the characters seem a little deeper in this version, and while still larger-than-life, they’re not quite as over-the-top as in other versions I’ve seen.  The reduced cast size with ensemble members playing various characters as needed also contributes to this approach.

Corpuz’s smoother, almost conversational vocals, and Seidel’s earnest persistence even amid her perky style and fantastic vocals, are among the highlights of this production, and the two have believable chemistry. There’s also a scene-stealing performance from Miller, who exudes likable stage presence as Paulette. There’s also an especially energetic turn from Schmid as Brooke, leading the high-octane “Whipped Into Shape” number with athletic gusto. Other standouts include Natalie Sannes, Lillie Self-Miller, and Evan Lee as Elle’s sorority sisters-turned Greek chorus Serena, Margot, and Pilar. There’s also a fun performance from Katie Orr as Elle’s Harvard classmate Enid, and fine turns from Ramsey as the image-conscious Warner and Aditi Seetharaman as Warner’s new “serious” girlfriend Vivienne. Hey makes a suitable, oily adversary as Callahan, as well, and there’s an excellent ensemble including Ella Drake, Martin Ibarra, Molly Stout, Kyle Rudolph, Loren Goudreau, and Aadi Kadam, all playing a variety of roles as needed.

The physical production is simplified from the usual, but especially efficient in that the black box space at the Marcelle is divided into areas with much of the set decoration along the walls. The set, designed by Brittanie Gunn, consists of the decorated walls and two raised platforms along with a few furniture pieces as needed. This economic approach adds a dynamic element as the pieces are moved around to fit the story, contributing to the overall energy of the show. Carly Uding’s costumes are fantastic, from the pink tones and bright colors of Elle and her UCLA friends to the more subdued Ivy League attire of Harvard, and Sarah Gene Dowling’s wigs also contribute to the overall look and tone with style.  There’s also excellent lighting by Morgan Brennan and sound by Jacob Baxley, as well as a great band led by music director Larry D. Pry, who perform live in a different room, helping the music to not overwhelm the vocals, as can happen so often in this space. 

Overall, this Legally Blonde is as energetic and fun as ever, but it brings even more in terms of substance and heart. It’s another example of Tesseract’s thoughtful approach to staging that’s been apparent in so many of their productions. In the words of one of the show’s most prominent songs, this production is “so much better than before”.

Kevin Corpuz and Cast
Photo: Tesseract Theatre Company

Tesseract Theatre Company is presenting Legally Blonde: The Musical at the Marcelle Theatre until December 21, 2025

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Bread And Wine’s “Christmas Short Play Festival” Brings Festive Spirit in an Inventive Setting

December 13, 2025 by Michelle Kenyon ("Snoop")

A Christmas Short Play Festival
Bread and Wine Theatre Company
December 6, 2025

Bo Hanley, Peter D’Alessio
Haley Clegg, Laura Kyro
Photo by Roger Ottwell
Bread and Wine Theatre Company

Bread and Wine Theatre Company is a newer face on the St. Louis theatre scene, expressing a mission to “create innovative productions that highlight the beauty of a virtuous life”, according to CEO Owen Brown, who also directs one of the plays in their inaugural Christmas Short Play Festival. Held in a somewhat unusual venue, the Historic Sappington House, the festival features five plays and a cast of local performers. It’s an intriguing way to get to “know” a new theatre company while also exploring themes of love, loss, compassion, family–both biological and found, and the passage of time. 

The first and longest play of the evening is by celebrated playwright Thornton Wilder. “The Long Christmas Dinner”, directed by Brown, shows a family holiday gathering over the course of 90 years, starting in the 1840s and ending around 1930. The conceit is that it plays out showing the passage of time as one continuous gathering, starting early in the marriage of Roderick I (Adam Usry) and Lucia I (Haley Clegg), as they share a holiday meal with his mother, Mother Bayard (Bo Hanley). Over the course of the story, the conversation never stops, but characters grow old, get up and leave through a black curtain (apparently symbolizing death), as new characters enter, the family increases and decreases, and characters reflect on changing times and relationships. Much of the story focuses on Lucia and Roderick’s children, since from childhood to older age and played by Pietro D’Alessio as Charles and Laura Kyro as Genevieve, who join their parents and aging Cousin Brandon (Nicholas Urbanowicz), and are later joined by Charles’s wife Leonora (Tara Laurel) and their children Sam (Usry), Lucia II (Clegg), and Roderick II (Urbanowicz); and Cousin Ermengarde (Hanley). Abbey Robinson also appears as a nurse working for the family.  This is a fascinating play with a strong through-line of change and the passage of time. The performances are enthusiastic, with Kyro standing out for a believable portrayal of Genevieve’s growth from childhood to adulthood. The setting in the library building at Sappington House works especially well to set the mood and tone of this production.

The rest of the plays range from the very short to about 20 minutes in length, ending with a poignant if slightly over-the-top production of Dan Neidermyer’s adaptation of O. Henry’s classic “The Gift of the Magi”, directed by Travis Pfeifer. Michael Cox and Livy Potthoff are endearing as newlyweds Jim and Della, who struggle to find gifts for each other as they prepare to celebrate their first Christmas as a married couple. Bruce Jehling also appears in two roles, as Jim’s boss and as a shopkeeper.

The festival also features Cox in the title role of “Bosco’s Xmas” by Carol W. Berman, also directed by Pfeifer. This is a very short sketch about a cat, memorably played in a physically animated performance by Cox, who is seeking “revenge” by attacking his family’s Christmas tree. 

The remaining two plays are directed by Chandler Spradling. “The Last Mall Santa” by Michael Cox features Jodan Matt-Zeitler as Pete, a melancholy mall Santa who is reflecting on his time in this role, as his mall is undergoing difficult times and is about to close. The staging is clever here, as we see Pete interact with various toys that slide in from offstage, “playing” the roles of children who visit Santa. Pete grows sadder and more discouraged until his final visitor appears, this time played by a real child and aptly named Hope (Riley Shelembauer). It’s a poignant look at changing times and seasons, and the importance of hope.

“Baked Alaska” by Kelli Lynn Woodend features a group of guys from a rehab facility–Jeb (John Emery), Vigil (Connor Malone), and Clementine (Matt-Zeitler) being taken on a shopping trip by Freida (Hannah Lindsey) to buy Christmas gifts for their kids. It’s a little rough around the edges, but the message of kindness in hard times comes through clearly, making for a memorable sentiment. 

The location and seating arrangement adds much in the way of intimacy to the proceedings here, and although some of the performances are uneven, the Christmas spirit–in various forms–is palpable. It’s an intriguing look at a new theatre company with potential. I’m curious to see what else they bring in the future. 

Bread and Wine Theatre Company is presenting A Christmas Short Play Festival at the Historic Sappington House until December 13, 2025

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Outrageous Comedy, Strong Performances Highlight the Rep’s Self-Referential “Emma”

December 13, 2025 by Michelle Kenyon ("Snoop")

Emma
by Kate Hamill
Based on the Novel by Jane Austen
Directed by Tracy Brigden
The Repertory Theatre of St. Louis
December 5, 2025

Cast of Emma
Photo by Jon Gitchoff
The Repertory Theatre of St. Louis

Jane Austen’s Emma is a classic that’s been adapted many times for various media, including more straightforward adaptations as well as updated re-imaginings such as the movie Clueless. The latest production at the Rep, adapted by Kate Hamill and directed by Tracy Brigden, isn’t a full-fledged reinvention, but it certainly has fun with the source material in terms of tone and style, and also in interpretation, with a decidedly 21st century take on the novel’s themes. It’s an inventive, energetically staged, slapstick-comic production that looks great and features some truly hilarious performances and moments.

Some streamlining is understandably necessary in adapting a book for the stage, and this show does a bit of that in terms of settings, events, and some characters who are given slightly different backstories than their novel counterparts. The basic story is the same, though, concentrating on wealthy young Emma Woodhouse (Adelin Phelps), who is pleased with herself after the wedding of her friend and former governess (Kathryn A. Bentley) to kindly neighbor Mr. Weston (Michael James Reed). Emma takes credit for setting the pair up, so she sets out to play matchmaker for her new protege, the young, socially awkward and less financially advantaged Harriet Smith (Lize Lewy) in hopes of finding her a “better” match than humble groundskeeper Robert Martin (Ryan Omar Stack), to the discouragement of her longtime friend Mr. Knightley (Louis Reyes McWilliams), who is doubtful of Emma’s motives and of her efforts’ potential benefits for Harriet. Of course, hijinks and hilarity ensue, as Emma’s efforts to match Harriet with the somewhat silly local vicar Mr. Elton (Jack Dryden) have unintended consequences, and more misunderstandings and presumptions lead to even more predicaments involving Mr. Weston’s long-absent son Frank Churchill (also Stack), the loquatious Miss Bates (Nancy Bell) and her much-lauded niece, Jane Fairfax (Maggie Newstead-Adams). It’s all quite fast-paced and over-the-top comic, which is hilarious and excellently timed, and the constant sparring/flirtation between Emma and Knightley is played up with delightful effect, and all the characters are given moments to shine as the story plays out in raucous, highly entertaining fashion.

The setup has been given a modern twist in that it’s all very meta, with Emma narrating the story and talking directly to the audience throughout the play, and at various moments reminding us that it’s a play based on a novel. Also, some themes that are implied in the novel and have been pointed out by scholars over the years have been given a much more direct interpretation here–saying the quiet parts out loud, so to speak. For instance, Emma’s mischief being attributed to the idleness of a pampered rich lady who isn’t allowed to do much else becomes a major theme of this version, and Mrs. Weston is given much more of a role as a voice of reason in this adaptation, as well as Harriet’s journey toward finding her own voice apart from Emma’s. It’s a feminist twist that’s not out of place because it is suggested in the novel, but the themes are stated much more openly here. It all works well, considering the energy and enthusiasm of the cast, the wittiness and intelligence of the script, and the clever staging and direction.

The cast is wonderful, led by Phelps’s somewhat wacky turn as the determined, increasingly frustrated Emma and by Lewy’s brilliant comic performance as the endearingly awkward and increasingly bold Harriet. The scenes between these two are among the highlights of the production, as are the scenes between Phelps and the also excellent McWilliams in a charming turn as Knightley. There are also memorable performances from Bentley as the wise Mrs. Weston, Bell as the friendly chatterbox Miss Bates, Newstead-Adams as the softspoken and mysterious Jane Fairfax, and Dryden in a hilarious turn as a somewhat unhinged Mr. Elton. There are also a number of impressive dual roles, led by Reed as the charming Mr. Weston and anxious Mr. Woodhouse, who extols the virtues of gruel at every opportunity. Stack is also excellent as the charming but evasive Frank Churchill and the earnest Robert Martin, and Olivia Balicki seems to be having a lot of fun as the besotted Mrs. Elton and the cranky, mostly mute Mrs. Bates. The ensemble energy is frantic and well-timed, adding much to the overall comic value and tone of the story.

Visually, this production is particularly striking, with a pop-up postcard style set by Margery Spack and Peter Spack that utilizes a turntable to change scenes and is surrounded by floral accents that suggest the countryside setting of the story. Jason Lynch’s lighting adds to the mood with style, as well, as does the memorable soundtrack by composer and sound designer John Gromade. There are also marvelously detailed period costumes by Dottie Marshall-Englis, and energetic choreography in the dance scenes by Sam Gaitsch. 

This is an Emma with energy, style, and substance. The characters are lively, the setting is vibrant, and the tone is upbeat and modern while also retaining the flair and style of Regency England. While it’s not exactly a holiday play, its energy and atmosphere make it a fitting show for the season at the Rep. 

Lize Lewy, Adelin Phelps
Photo by Jon Gitchoff
The Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis is presenting Emma until December 21, 2025

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Stellar Cast Flies High in SDT’s Poignant, Visually Impressive “Superhero”

December 11, 2025 by Michelle Kenyon ("Snoop")

Superhero
Music and Lyrics by Tom Kitt, Book by John Logan
Directed by Justin Been
Choreographed by Sara Rae Womack
Stray Dog Theatre
December 4, 2025

Jabari Boykin
Photo: Stray Dog Theatre

Superhero is a musical by celebrated composer Tom Kitt and playwright John Logan that played a short Off-Broadway run in 2019. Now, Stray Dog Theatre is taking this lesser-known show and giving it an entertaining staging at its Tower Grove Abbey venue that seems just the right size for this small-but-memorable show about relationships, love, loss, and superpowers. Although the show itself isn’t perfect, under the direction of Justin Been and featuring a terrific cast and impressive effects, it’s flying high and packing a strong emotional punch.

The story follows teenage aspiring comic artist Simon (Jabari Boykin) and his mother, college English professor Charlotte (Sarah Gene Dowling), who are both still dealing in their own ways with grief two years after the death of husband-and-father Mitch in a tragic accident. Living in a city apartment that they moved to after the accident, Simon is still struggling to find his place at his school and in the neighborhood, and spends much of his time drawing and writing comic book stories–a love of which he shared with his late father. Meanwhile, Charlotte is dealing with career struggles as well as a new flirtation with mysterious neighbor Jim (Aaron Fischer), who Simon suspects of being more than a simple bus driver. Simon is clearly wanting a father figure, as well, and encourages the relationship between Charlotte and Jim, even though both adults have their reservations despite their mutual attraction.  He also has a crush on classmate Vee (Lindsey Grojean), agreeing to work with her on a project for school. As the story goes on, secrets are revealed, relationships are challenged, and grief is explored as the tale builds to a dramatic, ultimately poignant conclusion.

The story itself is intriguing, and the cast is first-rate, but the structure has some issues, especially in that the tension takes a little too long to come to a peak, to the point where it seems like there’s almost too much drama all at once, with not much time to come down to earth and reflect on the lessons learned. 

Still, the characters are engaging, especially as led here by the impressively talented young Boykin and SDT veteran Dowling, who are both fantastic and believable as a mother-son pair. Both have strong voices as well, and carry much of the dramatic weight with strong, believable portrayals. Fischer is also strong as the conflicted, mysterious Jim, who has memorable moments with both Charlotte and Simon. Grojean as Vee is also likable and memorable, and there’s a strong turn from Todd Garten as sympathetic landlord Vic, with good support from Justin Bouckaert, Kevin Hester, and Maggie Nold in smaller roles. The score has echoes of Kitt’s well-known other work, Next to Normal, as well as a bit of an homage to John Williams’s iconic Superman film score, and a few standout songs well-sung by the excellent cast.

The visual world of this production is achieved with expert creativity and flair by means of Rob Lippert’s multi-level life-meets-comic-book set and Justin Been’s truly stunning projections that are enhanced by Tyler Duenow’s lighting to achieve a more comic book look at key moments. The special effects are out of this world, as well, and Colleen Michelson’s costumes suit the characters well and fit perfectly into the well-realized world of the show. There’s also an excellent band led by music director/keyboardist Mallory Golden.

Superhero is, for the most part, a thoroughly absorbing musical and emotional adventure. Its especially strong cast is a particular highlight. For comic book fans, or for anyone interested in checking out a newer show that you may not have heard of, this is an excellent opportunity. 

Sarah Gene Dowling, Aaron Fischer
Photo: Stray Dog Theatre

Stray Dog Theatre is presenting Superhero at Tower Grove Abbey until December 20, 2025

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Audience Howls With Laughter at NJT’s Cleverly Staged “Baskerville”

November 28, 2025 by Michelle Kenyon ("Snoop")

Ken Ludwig’s Baskerville: a Sherlock Holmes Mystery
by Ken Ludwig
Directed by Nisi Sturgis
The New Jewish Theatre
November 20, 2025

Nick Freed, Bryce A. Miller, John Wilson, Alicia Revé Like
Photo by Jon Gitchoff
New Jewish Theatre

It may be based on an iconic mystery series and its characters, but there’s no mystery about the appeal of Ken Ludwig’s Baskerville: a Sherlock Holmes Mystery, as staged at The New Jewish Theatre under the direction of Nisi Sturgis. With clever staging, a sharp script, brisk pacing, and an excellent, enthusiastic cast, this tale of intrigue and mystery on the moors of Victorian England has its audience howling with laughter. The appeal is enhanced by great production values, and some fun audience participation gags. 

The story is framed in a similar way to the popular comedic staging of Patrick Barlow’s adaptation of  John Buchan’s The 39 Steps, but based on the even more well-known stories of celebrated detective character Sherlock Holmes (Nick Freed) and his intrepid assistant, Dr. Watson (Bryce A. Miller).  This one is based on the classic story The Hound of the Baskervilles, in which the two are enlisted to help on case involving a murder on the moors bordering a country estate, as the proprietor has been killed in a manner that mirrors an old legend in the Baskerville family, involving a giant, ferocious dog. Watson narrates the story, and takes the principal role, although Holmes still figures prominently, and three performers billed as Actor One (Sean C. Seifert), Actor Two (John Wilson), and Actress One (Alicia Revé Like) each play a variety of roles as the story takes the crime-solving duo from the streets of London to the Devonshire countryside on a caper that involves old legends, romance, sinister plots, murder, and all kinds of intrigue.

Like The 39 Steps, this story has been framed as a comedy, with much of the humor coming from the multi-casting elements and quick pacing, along with a clever script that covers all the familiar beats of a Holmes story but streamlines it to emphasize comic elements and provide many elements to showcase the versatility of the performers.  It’s a fun show, and I’ve seen an excellent production in St. Louis before, a few years ago. At NJT, what stands out this time is the audience participation element, as well as several self-referential and “breaking the Fourth Wall” moments that add much hilarity to the proceedings. The cast members are kept on their toes by the pacing, and they handle the workout with much energy and quick thinking, resulting in a  hilarious evening of suspense and riotous laughter, with a haunting gothic-styled backdrop of dramatic music and excellent production values. 

The creepy, haunting, suspenseful tone of the proceedings are greatly enhanced by means of a marvelously versatile and deceptively simple set by Reiko Huffman that consists of quick-change set pieces and various movable elements on wheels, all painted and styled in suitable Victorian fashion. And speaking of fashion, Michele Friedman Siler’s costumes do a great job of outfitting the characters, working well with fast character changes, and maintaining the 19th Century mood and style. There’s also strong work from lighting designer Katherine Stepanek, keeping the tone dark and haunting while making everything clearly visible to the audience and in keeping with the heightened comic tone.  There’s also a memorable soundtrack and music designed and composed by Victoria Deiorio, recreated with flair for this production by Ethan Foss.

The cast that has been assembled here is nothing short of fantastic, led by Miller in a charming turn as the determined and often bewildered Watson, who is essentially the heart of this story. Freed is also effective and thoroughly credible as the mysterious but almost infuriatingly competent Holmes, and this duo’s interactions form much the humor here, although the three support players carry much of that weight as well. Miller also has easy rapport with Wilson’s most prominent character, the amiable Texan heir to the estate, Sir Henry Baskerville, who also has excellent moments with Like as the conflicted Beryl, with whom Sir Henry becomes smitten. Wilson also excels in his other roles, such as the grumpy Detective Lestrade, and Siefert and Like each play a variety of characters with enthusiasm and distinction, with Siefert as the mysterious Jack Stapleton and supportive Dr. Mortimer, and Like memorable as the sympathetic Beryl and persistent young Cartwright, who helps Holmes on the case in London. There’s so much energy in this show, and the rapport the performers have with one another and with the audience contributes to the overall enjoyment here, with a few wardrobe mishaps being covered well and adding to the humor to the point in which it’s not entirely clear if they really were mishaps or if they were planned. The building suspense and overall gothic tone is well-maintained by the cast as well, providing much in entertainment value.

“Entertaining” is a great word for the overall experience here. That, and “fun”, for the audience and apparently for the cast as well. I also appreciate the staging with the audience divided and the performance area in the middle, which is a format this company has used before to excellent effect. For Sherlock Holmes fans, I think this show would be especially appealing, although there’s enough broad appeal for anyone. It’s a good way for NJT to end their season with a flourish, and a roar of laughter from their audience. 

Sean C. Seifert, Alicia Revé Like
Photo by Jon Gitchoff
New Jewish Theatre

The New Jewish Theatre is presenting Ken Ludwig’s Baskerville: a Sherlock Holmes Mystery at the J’s Wool Studio Theatre until December 7, 2025

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First Run Explores Relationship Drama in Promising New “Deposition”

November 21, 2025 by Michelle Kenyon ("Snoop")

Deposition
by Amy Hanson
Directed by Taijha Silas
First Run Theatre
November 15, 2025

Abbie Thornton, Nachalah “Catie” Duclerne, Amie Bossi, Deb Dennert, Ryan Lawson-Maeske, Bill Burke
Photo: First Run Theatre

First Run Theatre’s latest premiere production, Deposition, explores a fractured relationship from various sides. With clever use of flashbacks and fantasy sequences, the show presents an intriguing look at the end of a marriage as well as repeated patterns in the husband’s relationships. Although the production itself has its ups and downs, for the most part this is an intriguing and promising new work featuring several memorable performances.

Acrimonious divorces are the fodder for many popular stories, from Kramer vs. Kramer  to Divorce Court and more, spanning genres from comedy to drama to “Reality TV” and beyond. This show, currently being staged at the Kranzberg Arts Center under the direction of Taijha Silas, seems to be largely in the vein of “dramedy”, with serious moments punctuated with some sharp humor. The story follows long-married couple Jackson Fields (Bill Burke) and his soon-to-be ex-wife Lucy Fields (Ami Bossi), who are working with their attorneys (Deb Dennert as Lucy’s lawyer, Ryan Lawson-Maeske as Jackson’s), with famous writer Jackson hoping to be able to reach a settlement before the case can come to trial. Lucy, however, apparently has other plans, hoping to raise issues of patterns in Jackson’s behavior and relationships, and she is obviously angry and hurt. The set-up is fairly straightforward, taking place in a law firm conference room, but there are clever conceits that help to tell the story beyond the basic “he said, she said” bickering. Through the use of flashbacks and fantasy sequences, a more clear picture of the roots of this fractured relationship are explored, especially from Jackson’s point of view.

It’s an intriguing character exploration, although there are a few elements that could be worked on. For instance, I understand the “double casting” convention in which characters from Jackson’s past are played by actors who also play characters involved in the deposition, like the Court Reporter/Young Lucy (Abbie Thornton), Jackson’s Attorney/Young Jackson, Legal Assistant/Zadie Martin (Nachalah “Catie’ Duclerne), and Guardian ad Litem/Suki (Carmen Russell), but some of the legal characters–especially the Guardian ad Litem–aren’t given much to do and come across as plot devices more than characters. Also, while the lead characters have intriguing moments, the focus here is primarily on Jackson, which isn’t a problem in itself although Lucy’s character isn’t quite as developed as it could be.

The flashbacks and fantasy sequences are the real highlight here, especially a scene later in the play that features Jackson’s first wife Suki and former student Zadie. This scene is the best moment for Burke’s self-centered but occasionally charming Jackson, and also highlights strong performances from Duclerne as Zadie and especially Russell–the biggest standout in the cast–in a scene-stealing role as Suki, whose appearance is powerful and revelatory, carrying much of the show’s emotional weight. There’s also a fine performance by Dennert as Lucy’s attorney, and Bossi does well with the difficult, somewhat underwritten role of Lucy, although both of these performers have moments of muffed lines that I hope will be improved as the performances continue. Lawson-Maeske is impressive in a versatile turn as Jackson’s smarmy lawyer and as the younger Jackson in a flashback, well-matched with Thornton as the younger Lucy in the early days of their relationship. 

The set by Brad Slavik is fairly basic, but effective, with a realistic recreation of a law-office conference room and a set-off area to the side where most of the flashbacks take place. The lighting by Joel Wilper is especially effective in the fantasy sequences, and there’s also fine work from sound designer Jen Ciavarella. Tracey Newcombe’s costumes outfit the characters well, suitably reflecting their personalities. 

For the most part, Deposition is a cleverly structured story that held my attention more than I had expected, since I often tend to find divorce dramas depressing and overdone. This one finds angles for intrigue and character exploration that can be further developed with some more work, although this production from First Run is a fine showcase with a good cast. Although some of the characters–especially Jackson–aren’t especially likable, this play has done a good job of making them interesting. It’s a work in progress, but with strong potential. 

Carmen Russell, Bill Burke
Photo: First Run Theatre

First Run Theatre is presenting Deposition at the Kranzberg Arts Center until November 23, 2025

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Upstream’s “Orchard for Chekhov” is a Bittersweet, Thoughtful Showcase for Strong Cast

November 14, 2025 by Michelle Kenyon ("Snoop")

An Orchard For Chekhov
by Pedro Brício
Translated by Steven K. Smith
Directed by Philip Boehm
Upstream Theater
November 8, 2025

Sally Edmundson, J. Samuel Davis
Photo by ProPhotoSTL.com
Upstream Theater

Upstream Theater’s mission of bringing thought-provoking plays from around the world to St. Louis is continuing with their latest production, An Orchard for Chekhov, by Brazilian playwright Pedro Brício, translated by Steven K. Smith and directed by Philip Boehm. This intriguing show examines the relationships between fantasy and reality, the arts and the harsh realities of life, along with culture clashes and familial struggles. Featuring a strong cast led by two especially memorable performances, it’s an intriguing, thoughtfully staged show.

The play is led by a truly dynamic and richly characterized performance by Sally Edmondson as Alma Duran, a well-known stage actress who is between jobs and has come to stay with her daughter Isadora (Jocelyn Padilla) and son-in-law Otto (Aaron Orion Baker) in their small apartment in Rio de Janeiro. Alma, who is hoping to soon star in a production of Anton Chekhov’s The Cherry Orchard, has taken on a young theatre student, Lalá (Sarah Wilkinson) in order to make some money while she’s between roles. As physician Isadora and police captain Otto deal with issues in their relationship, and Isadora worries about her mother’s health, the future of Alma’s upcoming production comes into doubt, and Alma finds herself wandering the grounds of her daughter’s building, where she meets a mysterious man (J. Samuel Davis) who claims to be Chekhov himself, and despite Alma’s initial skepticism, the two form a friendship, giving Alma some hope while the rest of the characters–and especially Isadora–continue to worry about her. What ensues is a blend of comedy and drama with hints of tragedy, kind of like The Cherry Orchard, and–in the hands of the excellent cast and direction–an ideal acting showcase for its leads.

As previously mentioned, Edmundson gives a marvelous, well-rounded performance as Alma, balancing humor and drama well and making the most of the dialogue with her deep, melodious voice. Alma is the heart of this story, and Edmundson makes the most of that fact with a likable, relatable turn as an aging performer looking to maintain her career and her theatrical vision. Davis is also a joy as Chekhov, who may be a vision or an impostor or a figment of Alma’s imagination, but whatever he is, his chemistry with Edmundson is delightful, and his presence drives important aspects of the plot. These two are the biggest standouts, but the rest of the cast is also strong, although the part of Isadora seems a bit one-note, although that seems to be more of a writing issue, and Padilla makes the most of the role. Baker is memorable finding the sympathy in the troubled Otto, and Wilkinson has a fine turn as the hopeful young talent, Lalá, coming across as both passionate towards her goals and compassionate toward Alma and her family. 

The creative team does an excellent job of creating the world of the show, as well, with Patrick Huber’s vivid set credibly creating the vibe of an urban beachfront condo development, and Jamey Pearson’s scenic painting,  Steve Carmichael’s lighting and Kristi Gunther’s sound help further the mood and setting. There’s also excellent work from costume designer Michele Friedman Siler in outfitting the characters appropriately, especially in the stylish flair of Alma’s outfits, which say a lot about her character and personality. Kudos also go to samba consultant Márick Starick, as the dance elements add much to the overall atmosphere of show.

Overall, while there are a few issues involving the interweaving of some of the plots and communicating of some background information, An Orchard for Chekhov is a fascinating, well-characterized play with a first-rate leading performance. It explores aspects of Brazilian culture as well as life in the theatre, and themes from Chekhov that parallel the main story. It may be helpful to read or see The Cherry Orchard before seeing this play, or at least read a synopsis. Again, I can’t say enough about the quality of the performances here, especially Edmundson and Davis. It’s a master-class in acting, as is fitting for a show about theatre. 

Sarah Wilkinson, Jocelyn Padilla
Photo by ProPhotoSTL.com
Upstream Theater

Upstream Theater is presenting An Orchard for Chekhov at the Marcelle Theatre until November 23, 2025

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STLAS’s “Search for Signs” Finds Energy and Heart in Excellent Solo Performance

November 13, 2025 by Michelle Kenyon ("Snoop")

The Search for Signs of Intelligent Life in the Universe
by Jane Wagner
Directed by Wayne Salomon
St. Louis Actors’ Studio
November 7, 2025

Michelle Hand
Photo by Patrick Huber
St. Louis Actors’ Studio

The Search for Signs of Intelligent Life in the Universe started out as a celebrated Broadway showcase for famed television star Lily Tomlin. Debuting in 1985 and written by Tomlin’s longtime partner/collaborator and now wife Jane Wagner, the show received excellent reviews and won awards for both Tomlin and Wagner. At St. Louis Actors’ Studio, this show is being staged now with a celebrated local performer as its headliner,  featuring the remarkably versatile talents of Michelle Hand, under the strong direction of Wayne Salomon, it’s fairly easy to forget this show was written with a different star in mind. Although there are certainly dated references that tie it to its original time, Hand makes the role her own and brings out the sensitivity and humor of the cleverly constructed script.

Playing a variety of characters in a series of cleverly interconnected vignettes, Hand is a marvel of comic and dramatic versatility. Introducing the show as upbeat New York City “bag lady” Trudy, she introduces the theme, as Trudy lets the audience in on a little expedition in which she is involved, escorting a group of unseen extraterrestrials on a step of their cosmic mission to find evidence of intelligent life. As Trudy recounts her exploits, we get to meet a series of other NYC denizens of various classes, ages, and stations in life, from the teenage Agnus Angst, to upscale socialite Kate, to ditzy Chrissy, to opinionated “working girls” Brandi and Tina, to a trio of feminist friends–Lyn, Edie, and Marge–as Lyn reminisces about their friendship, lives, and activism at a pivotal moment in her life.

The setting is primarily the mid-1980s, and the show reflects this setting in both subject matter and format, often reminding me of a television sketch show, and some references I had to look up, because although I was a teenager in 1985, a lot has happened in terms of trends and attitudes since then. I imagine younger audiences might have a bit of a struggle understanding some references, although the general themes here are still relatable, featuring timeless themes like finding one’s purpose in life, the goals and roles of women, friendship, parent-child relationships, and more.

The language is sharp and engaging, and the plots are cleverly woven together, but what especially makes this show work is its star. Hand is simply brilliant, likable, and convincing, adept at both comedy and drama, and able to present the various distinct characters convincingly. I’m especially impressed by how Hand is able to conduct conversations between characters and switch roles seamlessly, as well as projecting a strong likable presence across the board, with all the characters but especially in the two most prominent portrayals, the eccentric Trudy and the conflicted but still hopeful Lyn. It’s a tour-de-force for the consistently excellent Hand, who is already a consistent, award-winning performer so I was expecting a strong performance, and she certainly delivers. 

The technical aspects of this show are almost deceptively simple, but work especially well in highlighting Hand’s fantastic performance. Patrick Huber’s simple set and colorful lighting, along with Andy Cross’s vibrant scenic painting provide an ideal backdrop for the story. There’s also strong work from costume designer Meredith LaBounty, who provides a simple but memorable outfit for Hand, along with some fun accessories.  The show works especially well in STLAS’s smaller space at the Gaslight Theatre, even more bringing Hand’s talents to the forefront.

The Search for Signs of Intelligent Life in the Universe is a show I had heard of before, but had associated primarily with Lily Tomlin. This thoughtful production at St. Louis Actors’ Studio has changed that association for me, or at least added to it. Michelle Hand is an ideal lead, and her performance is well worth seeing. I think people who remember New York in the 1970’s and 80’s might especially enjoy the show, although younger audiences will have Hand’s superb performance to enjoy, and just might get a useful history lesson. 

Michelle Hand
Photo by Patrick Huber
St. Louis Actors’ Studio

St. Louis Actors’ Studio is presenting The Search for Signs of Intelligent Life in the Universe at the Gaslight Theater until November 23, 2025

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Powerful “Brothers Size” at the Rep Takes Stage with Strong Acting, Fluid Movement

October 28, 2025 by Michelle Kenyon ("Snoop")

The Brothers Size
by Tarell Alvin McCraney
Directed by Jacqueline Thompson
Choreographed by Kirven Douthit-Boyd
The Repertory Theatre of St. Louis
October 24, 2025

Nic Few, Christian Kitchens
Photo by Jon Gitchoff
The Repertory Theatre of St. Louis

The Brothers Size is unique, while at once being both specific and universal. The newest show in the Rep’s Steve Woolf Studio Series, this haunting, lyrical play tells a story of mythic scope, that is also highly personal, gritty, and challenging. It’s also a wonder of acting, movement, and stagecraft. 

The play, which is part of a trio of works by playwright Tarell Alvin McCraney, follows two brothers living in Louisiana–the older, Ogun (Nic Few), and the younger Oshoosi (Christian Kitchens). Ogun, a mechanic who owns an auto shop, is focused on work and duty, while Oshoosi–who has recently been released from prison–is full of dreams and nebulous plans, which only increase Ogun’s concern for him. There’s also Elegba (Donald Jones Jr.), a friend of Oshoosi’s from prison whose presence further unsettles Ogun while tempting Oshoosi to more risky aspirations and actions. It’s a story of multiple issues on different levels–familial, interpersonal, cultural, and societal, and a growing sense of unsettling inevitability about what’s going to unfold. 

It’s a gritty, intense tale, taking a mythic structure combining elements from the West African Yoruba belief system with occasional Christian references and a general overarching spiritual tone, told in a form that combines elements of music and dance to heighten the overall “cosmic struggle” theme and atmosphere. Music and sound by composer Tre’von Griffith and smooth, flowing choreography by Kirven Douthit-Boyd combine expertly to help tell this story and emphasize the emotion and conflict. There’s also powerfully effective lighting by Jayson M. Lawshee and memorable costume design by Kristie C. Orsi that works to help define the characters and further the story and themes. The staging, in the round with no concrete set, is almost deceptively simple,  working to powerful effect as director Jacqueline Thompson’s pacing builds the tension and sense of motion in the story.

The cast is fantastic, led by a strong turn by Few as the devoted but strict Ogun, and Kitchens as the restless, more carefree Oshoosi. Few has a powerful stage presence and credible sense of love and exasperation with his brother. Kitchens brings a sense of youthful energy to Oshoosi that adds relatability to his recklessness. These two also present a believable, affecting brotherly relationship. Jones is also a strong presence as the enigmatic, ineffable Elegba, and all three players are excellent in movement and energy, exhibiting a fluid energy that propels the drama. 

There are a lot of weighty issues dealt with in this show, and some strong language and topics that aren’t for all ages. It’s an important story in terms of human struggle, as well as highly specific to the characters and their situation, and intensely personal. It also features a host of local talent on the creative team, which is great to see. The Brothers Size is a play that will make audiences think, as well as feel. It’s a profound experience of theatre.

Donald Jones Jr., Nic Few, Christian Kitchens
Photo by Jon Gitchoff
The Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis is presenting The Brothers Size until November 16, 2025

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