Local Actors’ Shine in STLAS’s Provocative “Doll’s House pt 2”

February 13, 2026 by Michelle Kenyon ("Snoop")

A Doll’s House, Part 2
by Lucas Hnath
Directed by Kelley Weber
St. Louis Actors’ Studio
February 8, 2026

Teresa Doggett, Julie Layton
Photo by Patrick Huber
St. Louis Actors’ Studio

St. Louis Actors’ Studio’s very name features two elements that are especially prominent in the casting of their latest production, Lucas Hnath’s A Doll’s House, Part 2, directed by Kelley Weber. Those elements are “actors” and “St. Louis”, considering the entire cast is made up of notable performers known for their work on the St. Louis stage, and their acting is highlighted particularly well here, in this contemporary sequel to the much performed, talked about, and studied Henrik Ibsen classic, A Doll’s House. Although all the elements of this production are strong, the acting is the highlight, bringing much insight into the characters, their situations, and the issues that this play and its earlier source have raised. 

Nora Helmer (Julie Layton) is famous in dramatic history for walking out a door at the end of A Doll’s House, into an uncertain future for the character and lots of discussion and debate for audiences, readers, and scholars over the last century and a half. This play explores the idea of what would happen if Nora came back, and what effect her return would have on those most impacted by her exit, including her husband, bank manager Torvald (Michael James Reed), and her daughter, Emmy (Claire Coffey), who was a very young child when Nora left. Now, it’s 15 years later, Emmy has grown up and has goals of her own, and Torvald is still feeling the effects of Nora’s exit. There’s also Anne Marie (Teresa Doggett), the Helmers’ housekeeper, who practically raised Nora and, subsequently, Nora’s children. Nora, who has an urgent reason to see Torvald, is hoping to deal with matters quickly and return to the new life she’s built in her time away, but she’s not entirely  ready for the reaction she receives upon her return. Even though she wasn’t expecting a warm welcome, what she does receive is the realization of the impact of her decision, upon her children, the neighborhood, Anne Marie, and especially  Torvald.

The discussions between Nora and the other characters, and particularly between her and Torvald, form much of the drama here. Although the tone is largely darkly comic, there is a great deal of emotion, as well as thought-provoking discussions on the roles of women in society at the time, Nora’s hopes for the future, and the very nature of marriage and what it means to both men and women. The contrasting personalities of Nora and the adult Emmy also provide much to think about, as the two share both profound similarities as well as important differences. Anne Marie also provides much of the emotion and reflection here, as well.

The casting is excellent across the board, and the chemistry and energy between Layton’s Nora and Reed’s Torvald is alone worth the time and cost of admission. Both performers exhibit strong stage presence and emotional energy, from Layton’s determined and idealistic Nora to Reed’s stubborn and scarred Torvald. These two are conducting a master class here, with intense physicality and expression as well. Doggett is also fantastic in an alternately comic and sympathetic performance as the protective Anne Marie. Coffey as Emmy rounds out the cast with a strong characterization that convincingly challenges Nora’s confidence. All four are at the top of their game, and director Weber’s dynamic staging utilizes their talented with remarkable effect.

The look and atmosphere of the play are well maintain by means of Patrick Huber’s detailed but somewhat minimal set, depicting the Helmers’ house as still bearing the effects of Nora’s absence. Huber’s lighting is also excellent, as are the props and sound by STLAS. Doggett’s costumes are stunning, as well, fitting the characters and time period with appropriate style and flair. 

A Doll’s House, Part 2 has a lot to say, and I imagine it will provoke a lot of discussion about the characters and the issues raised, and how it fares as a believable sequel to Ibsen’s classic. I think it works especially well as a showcase for actors, and the actors here don’t disappoint. This is a play for lovers of theatre both classic and modern, and most of all, for appreciators of excellent acting. It’s a tour-de-force all around. 

Julie Layton, Michael James Reed
Photo by Patrick Huber
St. Louis Actors’ Studio

St. Louis Actors’ Studio is presenting A Doll’s House, Part 2 at the Gaslight Theater

until February 22, 2026

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Music, Movement, and Empathy Feature Strongly in the Black Rep’s Well-Cast “Black Feminist Guide”

February 13, 2026 by Michelle Kenyon ("Snoop")

The Black Feminist Guide to the Human Body
by Lisa B Thompson
Directed by Kathryn Ervin
The Black Rep
February 7, 2026

The Black Rep’s reputation for excellent, thought-provoking theatre continues with their latest production, the movement-and-music rich The Black Feminist Guide to the Human Body. I’m not sure exactly what I was expecting when I first went into this play, but the result was an immersive and intensive exercise in empathy, highlighted by well-paced staging and a strong cast. It’s a celebration of culture and humanity, and although it is aimed primarily at Black women and girls,  it features several subjects to which many in the audience will be able to relate regardless of background, as well as providing cultural insight and facilitating education and empathy. 

The story is really more of a presentation than a plot, as college professor Beatrice “Bea” Free (Velma Austin) works in her home office on a book she’s calling by the same name as the play. She is accompanied by two characters who represent aspects of herself–Cee (Janelle Grace), who represents the body, and Dee Dee (Ricki Franklin), who represents the soul, while Bea herself represents the mind. Bea’s presentation basically tells her own life story and experiences while also emphasizing the importance of various issues that confront Black women from childhood to adulthood, including physical health, dealing with prejudice and the treatment of the wider world, cultural development, and perhaps especially, aging and the issues that particularly effect Black women as they grow older. There are segments about body types, hair, secrets and forgiveness, healthcare challenges particular to Black women, and more. 

The form of the show is more like performance art, with dialogue augmented with dance sequences, recitations, and singing, covering various styles and formats. There’s even a degree of audience participation, as the performers invite viewers up to dance with them, and encourage Black women to contribute their stories on paper. It’s an engaging, entertaining, and heartfelt production, with much to think about and learn. The cast, led by the always excellent Black Rep veteran Austin as Bea, and with strong support from Franklin and Grace. All three work well as a team, carrying the story and message with energy and emotion. The musical elements and movement are also especially memorable, with strong work from composers Dr. Guthrie P. Ramsey and Wayv Wilson, and impressive choreography by Heather Beal.

The set by Reiko Huffman is striking and, along with Denisse Chavez’s lighting and Ahsa-Ti Nu’s sound design and props by Taijha Silas, helps set and maintain the mood and vibe of the story. There’s also fine work from costume designer Marissa Perry. 

Overall, The Black Feminist Guide to the Human Body is a fascinating, well-performed work that has much to say for Black women and girls, as well as others in the audience who will be given an insightful look into this specific perspective. It’s a celebration of culture and experience, as well as a lesson in empathy and understanding. It’s an intriguing and memorable evening of theatre. 

The Black Rep is presenting The Black Feminist Guide to the Human Body at Wash U’s A. E. Hotchner Studio Theatre until March 1, 2026

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Kindness, Connection, and Community Highlight Heartwarming “Primary Trust” at the Rep

February 12, 2026 by Michelle Kenyon ("Snoop")

Primary Trust
by Eboni Booth
Directed by Tyrone Phillips
Repertory Theatre of St. Louis
February 6, 2026

Ronald L. Conner, Gregory Fenner, Alan Knoll
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis’s latest production is a profound theatrical experience. There’s no other way to say it. Primary Trust, the Pulitzer Prize-winning play by Eboni Booth, is being given an artfully crafted, impeccably acted, and expertly designed production at the Rep, thoughtfully directed by Tyrone Phillips and featuring a truly stellar leading performance. It’s a timely play that speaks a lot to issues of connection, community, mental health, and overall kindness and understanding. 

This is a story that wears its emotion on its sleeve, as 38-year-old Kenneth (Gregory Fenner) narrates the story of his life and daily routine, set in the fictional Rochester suburb of Cranberry, New York. Kenneth tries to keep the mood upbeat as he talks about his relationship with his mother, who died when he was young, and his longtime job at a bookstore run by the friendly Sam (Alan Knoll), and his daily visits to Happy Hour at local tiki bar Wally’s, where a succession of waiters (all played by Kierra Bunch) greet him and serve their signature Mai Tai cocktails. He seems relatively satisfied with his routine of working and hanging out at Wally’s with his best friend, Bert (Ronald L. Conner)–who isn’t exactly what you might think. Soon, events transpire which push Kenneth out of his comfort zone, as he finds himself needing a new job and friendly new Wally’s server Corinna (Bunch) suggests he apply at a local bank, Primary Trust, that’s in need of tellers. Kenneth is nervous in the interview, but the bank manager, Clay (Knoll) takes a liking to him, and Kenneth soon finds himself in a rapidly changing new environment where he discovers new talents and interests and has to face some uncomfortable truths about himself and the routine to which he had been accustomed. 

The tone of the show is largely comic, but with a strong undercurrent of pathos, as Kenneth deals with anxiety, loneliness, and an increasingly obvious need for connection and understanding. Kenneth is the show’s center and heart, with the characters around him representing a sense of welcome and kindness that he obviously needs. It’s a thoughtful, brilliantly scripted and characterized ode to the increasingly common crisis of connection in modern society, as well as touching on issues of mental health, found family and a need for a sense of purpose in life. 

The cast is first-rate, led by a truly remarkable portrayal by Fenner of the likable, insistently upbeat but struggling Kenneth. Fenner brings an amiable relatability and palpable sense of urgency to Kenneth as he navigates the rapidly changing realities of his world. There’s humor, sensitivity, and warmth to Fenner’s performance. The rest of the cast lends excellent support, with special kudos to Bunch for portraying a wide variety of waiters and bank customers with impressive versatility, as well as the personable Corinna. Knoll is also strong as important “boss” characters Sam and Clay, and Conner makes a great “sounding board” for Kenneth as the supportive Bert.  There’s also excellent musical accompaniment from composer and onstage musician Jermaine Manor.

The world of the play is meticulously crafted and presented through means of the whimsical and creative set by Sotirios Livaditis, cleverly representing the “upside down town” that Kenneth inhabits, especially at first. There’s also excellent work from lighting designer Jason Lynch and sound designer Connor Wang in maintaining the overall atmosphere of the story. The costumes by Shevaré Perry are also well-suited to the characters and tone of the production. 

The Rep has had an excellent season so far, but this is my favorite of their mainstage shows. Primary Trust is such an insightful, well-scripted, and ultimately uplifting show. I can see why it won a Pulitzer Prize. And at the Rep, the casting–and especially the fantastic Fenner–couldn’t be better. This is a play not to be missed.

Gregory Fenner, Ronald L. Conner, Kierra Bunch
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis is presenting Primary Trust until March 1, 2026

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Intrigue, Scheming, and Humor Meet in Twisty, Entertaining “Deathtrap” at SDT

February 10, 2026 by Michelle Kenyon ("Snoop")

Deathtrap
by Ira Levin
Directed by Gary F. Bell
Stray Dog Theatre
February 5, 2026

Victor Mendez, Stephen Peirick, Anne Vega
Photo: Stray Dog Theatre

Deathtrap is a play about playwrights, about fast-developing twisty plots, and about murder. It was a smash hit on Broadway and was made into a movie. It has also become a staple of community and regional theatres everywhere. Now, it’s Stray Dog Theatre’s first show of 2026, bringing energy and a talented cast to the stage in a darkly comic, impeccably designed production directed by Gary F. Bell that entertains and keeps the audience guessing throughout its fairly long running time. 

The story begins as celebrated  crime thriller playwright Sidney Bruhl (Stephen Peirick) sits at his desk in his well-appointed converted-barn study, telling his wife Myra (Anne Vega) about a new play he’s been sent by an aspiring young playwright who had attended a workshop led by Sidney. The play, according to Sidney, is sure to be a hit, and Sidney–who hasn’t had a hit in a long time and is struggling to find inspiration for another–muses about the lengths he might go to regain his fame and reputation. He might even be tempted to kill for this new play, called Deathtrap. Of course he’s not serious, he tells the increasing nervous Myra. Or is he? Then, he invites the young man, Clifford Anderson (Victor Mendez) over to talk about the play, starting a series of twists and turns that steers the plot into a variety of surprising directions, also involving a psychic neighbor, Helga ten Dorp (Liz Mischel), and Sidney’s lawyer, Porter Milgrim. It’s a witty script cleverly constructed to be sharply self-referential, following these sharply drawn characters in all sorts of intricately plotted directions.

The cast here is game for the challenge of this long, heavily plotted and occasionally physically demanding story. Peirick is convincing as the sharp-tongued Sidney, even with his somewhat odd accent. Peirick brings an energetic physicality to his role and displays a believable, occasionally combative connection with both Mendez’s determined, ambitious Clifford and Vega’s anxious Myra. Wassilak lends solid support as lawyer Porter, and Mischel makes the most of the quirky, scene-stealing role of Helga, commanding attention whenever she appears. All of the players work well with one another and handle the plot intricacies with alacrity, conveying the conniving energy and wit that the plot requires, even though the pacing could be a little sharper at times, and the play’s long running time becomes apparent especially in the middle of Act 2.

Another star of this production is Rob Lippert’s marvelous set, with all its excellent attention to detail and working especially well in establishing the setting, as well as reflecting Sidney’s personality and profession so clearly. Gary F. Bell’s costumes suit the characters well while also affectively evoking the time and place. There’s also excellent mood-setting work from sound designer Justin Been and lighting designer Tyler Duenow, adding much to the overall suspenseful and darkly comic tone of the proceedings. 

Overall, while it could tighten up the pacing a bit in places, Deathtrap‘s strong cast and production values make this show work. It’s funny, surprising, and thrilling at turns, and sometimes all at once. It’s a memorable effort to start of the new year at Stray Dog Theatre.

Liz Mischel, David Wassilak
Photo: Stray Dog Theatre

Stray Dog Theatre is presenting Deathtrap at Tower Grove Abbey until February 21, 2026

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Excellent Cast, Timing Make for Much Hilarity in Upstream’s Fast-Paced “Ostrich”

January 26, 2026 by Michelle Kenyon ("Snoop")

Myth of the Ostrich
by Matt Murray
Directed by Jane Paradise
Upstream Theater
January 23, 2026

Wendy Renée Greenwood, Jenelle Gilreath Owens, Pamela Reckamp
Photo by Patrick Huber
Upstream Theater

Myth of the Ostrich is a fast-paced comic play by Canadian playwright Matt Murray that Upstream Theater’s artistic director Philip Boehm decided to stage after seeing a production in Warsaw, Poland. Fittingly, the show is part of Upstream’s season themed “When Worlds Collide”, which applies both to Boehm’s discovery of the play and its plot. Directed with a perceptive eye toward pacing and characterization by Jane Paradise, the show features excellent timing and a first-rate cast that brings life and much laughter and heart to a plotline that, while not exactly unique, highlights empathy and insight in the midst of the riotous laughter. 

The basic setup isn’t new–it’s the familiar formula of disparate characters from different backgrounds being brought together and each learning something about one another and about themselves. Here, we meet Holly (Wendy Renée Greenwood), a writer from Boston and single mom who is struggling with her latest project.  She’s suddenly interrupted by an unexpected visit from Pam (Jenelle Gilreath Owens), who is seeking to meet Holly, since Pam’s son Evan has been spending a lot of time with Holly’s kid, and Pam’s snooping in her son’s room has led her to believe they’re more than just friends. Holly, who knows Evan well but hasn’t met Pam, is surprised when the Wisconsin-transplant and very “traditional”, devout Catholic Pam reveals that she doesn’t know quite as much as she thinks she knows. While Holly tries to deal with the communication mix-ups, her brash best friend Cheryl (Pamela Reckamp) shows up, bearing “treats” and full of crass stories and language that make the already nervous Pam even more uncomfortable, and makes the situation even more awkward for Holly.  Soon, while it’s been heavily implied that  Cheryl’s baked goods are more than just ordinary snacks, Pam–who has been craving sugar after having cut it out of her diet for two weeks–hasn’t picked up on the hints, and is tempted to try one. What ensues is an energetic blend of physical comedy, awkwardness, revelations, and surprising bonding moments that demonstrate the importance of empathy and communication while also providing memorable characters and outrageous laughter from start to finish. 

The cast is simply fantastic. All three characters are perfectly cast. Greenwood, as Holly, is the most “down to earth” of the three, portraying Holly’s gruff-but-caring personality with admirable restraint, as much of the character’s personality is revealed in reacting to the others’ more over-the-top moments, while also trying to maintain composure. Reckamp is a hoot as the crass and mischievous Cheryl. Her bond with Holly is obvious from the beginning, portraying a credible friendship, and the contrast with Owens’s initially more stuffy, naive Pam adds to much of the play’s humor. Owens is a scene-stealer as Pam, providing a layered characterization that rises above stereotypes, revealing a loneliness to Pam’s character–and increasing frustration with her unseen lawyer husband–to whom she talks on the phone–as well as more surprises and a marvelous flair for physical comedy as the story plays out. All three performers work together well, displaying strong ensemble energy and enthusiasm, as well as excellent timing, adding much humor as well as believable emotion as the story moves on to a somewhat abrupt but essentially satisfying conclusion.

The atmosphere of the play is well-maintained by means of Patrick Huber’s detailed, “lived-in” set and Michele Friedman Siler’s excellent costumes, which suit the characters ideally. There’s also strong work from sound designer Ellie Schwetye, and lighting designer Denisse Chavez. Although there was an announcement prior to opening that there was some trouble with the lights, whatever the issue was didn’t detract from the show or the overall atmosphere and mood. There’s also admirable work from dialect coach Lauren Roth, as the Wisconsin and Boston accents sound credible and consistent. 

This is a fun show, with lots of outrageous comedy, as well as real credible connections and emotion. It’s not an all-ages show, with strong language, drug references and frank talk about sex, so that’s worth keeping in mind. Myth of the Ostrich is ultimately a character driven, energetic show that addresses some timely issues and serves as an excellent showcase for a truly great cast.

Jenelle Gilreath Owens, Wendy Renée Greenwood
Photo by Patrick Huber
Upstream Theater

Upstream Theater is presenting Myth of the Ostrich at the Marcelle Theatre until February 8, 2026

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“Mrs. Krishnan’s Party” Is a Festive Cultural Celebration Hosted by the Rep

January 17, 2026 by Michelle Kenyon ("Snoop")

Mrs. Krishnan’s Party
by Jacob Rajan and Justin Lewis
Directed by Justin Lewis
Indian Ink Theatre Company at Repertory Theatre of St. Louis
January 16, 2026

Kalyani Nagarajan, Justin Te Honihana Pokaihau Rogers
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

The Rep is hosting a party, and it’s a lot of fun. As the latest entry is their Steve Woolf Studio series, the company is playing host to New Zealand’s Indian Ink Theatre company, who have brought their lively, colorful and energetic Mrs. Krishna’s Party to St. Louis with energy, style, and a good deal of heart. There’s also food, and if you like Indian food, this should be a treat in more ways than one. 

This is more of an immersive experience than a simple play. The audience members get to choose their seating, from “Inner Circle” to “Cheeky” to “Wallflower” depending on how much they want to be included in the action, as there’s quite a pervasive audience-participation element to the show. The guests are all seated by James (Justin Te Honihana Pokaihau Rogers) and introduced to the setting–an Indian grocery store in New Zealand, where James is hosting a party celebrating the Hindu harvest festival of Onam, as a surprise for his landlady and shop owner Mrs. Krishnan (Kalyani Nagarajan). James, dressed in an elaborate costume in keeping with the story behind Onam, is also an aspiring DJ, and shares his festive playlist with the guests. When it comes to the surprise, Mrs. Krishnan doesn’t take it well, at least initially, as she’s waiting for her son to fly in from out of town, and she also has a busy shop to run, although she’s been considering selling it so that she can move back to India. The enthusiastic and upbeat James encourages Mrs. K to get into the spirit of the party, and she gradually comes around, as the two soon start cooking a festive meal and explaining what Onam is about. As the evening plays out, we soon learn more about Mrs. K and her backstory, as well as why James lives with her, and her relationships with her son, her late husband, a mysterious “friend” who keeps calling her on the phone, and more. It’s a fun, humorous, and occasionally poignant look at life, family, loss, and perseverance, as well as a celebration of Indian culture, heritage, and food.

The leads are simply fantastic, full of energy and lively embodiment of their immensely likable characters. Nagarajan and Rogers are also especially adept at going with the “flow” of the store, as frequent audience interaction–and involving audience members directly in the story–creates many opportunities for improvisation. Both performers shine in these moments, and throughout the show, with Rogers in a vivacious, amiable turn as the young, somewhat aimless but still optimistic James, and Nagarajan in a fully-realized turn as a hardworking widowed mother with a heart for her family and tradition but who is also dealing with the effects of past tragedy and hardship. The interplay between these two characters–and between them and the audience–are a true highlight of this vibrant, fun production. They also manage to cook a (vegetarian, gluten-free) meal onstage–imbuing the air with the wonderful smells of Indian cuisine–as the story plays out.

The studio space has been adapted ideally for the party setting, which is supposed to be in the back room of Mrs. Krishnan’s shop. The industrial look and well-placed party decorations work well for creating and maintaining the DIY festive vibe, with set design by John Verryt. Jane Hakaraia’s lighting and Lia Kelly’s sound also add much to the atmosphere, and the fun touches like colorful scarves and balloons handed out to the audience add to the festive tone. There’s also excellent costume design by Fiona Nichols, reflecting the festive tone and celebration of culture, and also suiting the characters appropriately. 

Mrs. Krishna’s Party is a well-paced, especially well-cast show with energy and emotion, as well as being an effective lesson in history and culture that many in the audience might not know about. There’s also great food, handed out after the show. It’s unique experience, and the audience seemed to have a great time when I saw it. I’m still not exactly thrilled about the Rep’s hosting tours, but this one is a memorable showcase for a little-known (in the USA) Indian-focused theatre company based in New Zealand. Kudos to all involved, although knowing the next studio show is also a tour makes me hope even more that the Rep will focus more on locally-produced shows in the future. 

Justin Te Honihana Pokaihau Rogers and Audience
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis is hosting Indian Ink Theatre Company’s production of Mrs. Krishnan’s Party as part of the Rep’s Steve Woolf Studio Series until February 8, 2026

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The Black Rep’s “Dance on Widow’s Row” Entertains with Dark Comedy, Strong Cast

January 17, 2026 by Michelle Kenyon ("Snoop")

The Dance on Widow’s Row
by Samm-Art Williams
Directed by Ron Himes
The Black Rep
January 10, 2026

Velma Austin, Denise Thimes, Margery Handy, Tiffany Tenille
Photo: The Black Rep

The Black Rep is starting out the new year with dark comedy and a quartet of mysterious, scheming widows and their trepidatious suitors. Samm-Art Williams’s The Dance On Widow’s Row, directed by Ron Himes, explores relationships and aspirations with a sitcom-like flair and a memorable cast. Story and pacing-wise, it has its ups and downs, but this cast and crew make the most of the show and bring a host of larger-than-life characters and a great deal of laughter to the stage at WashU’s Edison Theatre.

The story follows four women who live on an upscale street in Port Town, NC nicknamed “Widow’s Row” by the locals because so many widowed women live there. The four featured here–led by the determined Magnolia (Denise Thimes)–have all been widowed at least once, and most more than once. Magnolia, twice widowed and looking for a new man, has invited her friends Simone (Velma Austin) and Lois (Margery Handy), and frenemy Annie (Tiffany Tenille) to a party at her home in which she has also invited some eligible local bachelors–Deacon Hudson (A.C. Smith), Newly Benson (Ron Himes, standing in for J. Samuel Davis), and Randolph Spears (Isaiah Di Lorenzo), with hopes of making romantic connections and also to dispel gossip and superstition that keeps men from wanting to date women who live on their street. All the women have their stories and secrets, with insinuations about what may or may not have happened to their late husbands, and the widows’ roles in those deaths. Also, the men have varying degrees of eagerness and/or fear in approaching the evening. The dynamics between the characters and the various clues as to underlying motives form the basis for much of the comedy.

The differing personalities also serve as a source for much of the humor, with the more sophisticated-minded Magnolia, the fame-focused actress Simone, the scheming Lois, and the initially stuffy, churchy Annie confide, clash, and conspire; while the optimistic Deacon, the nervous Newly, and the over-eager Randolph navigate their interactions with the various women. While the dialogue is sharp and well-structured, sometimes the timing seems a bit off, with beats between scenes being a bit longer than they should be, and some of the plot points can be a bit convoluted, but for the most part, it all plays out as some kind of fast-paced, ominously-toned sitcom, and all the players are on board with well-realized comic performances. 

Thimes, Austin, and Handy are an especially strong trio, as the bond between their characters is made obvious in their portrayals. They each display strong comic timing and memorable characterizations. Tenille also has some strong moments as the initially stuffy but surprising Annie, but also comes across as a bit young for the role. There are also fine performances from the men, with Smith as a suave, even-tempered Deacon–who has a strong connection with Magnolia; Di Lorenzo in a hilarious turn as Randolph; and Himes in an impressive role as a fill-in who comes across as if he were meant to play the role all along. There’s a great deal of energy and ensemble connection here, and all the performers display presence and commitment to their roles. 

The set by Tim Jones is richly appointed in keeping with the upper-class setting of the show, and the characters are all suitably outfitted by costume designer Brandin Vaughn in memorable garb that suits their personalities. There’s also fine work from lighting designer Sean Savoie and sound designer Kareem Deanes. It’s all in keeping with the general sitcom-like tone of the play.

Overall, The Dance on Widow’s Row is a lively way to continue the Black Rep’s season, and to start off the new year with a memorable, characterful vibe. It’s also a good showcase for some of the Black Rep’s “regular” performers. It’s a sharp and darkly humorous take on life, love, friendship and romantic competition. 

Denise Thimes, A.C. Smith
Photo: The Black Rep

The Black Rep is presenting The Dance on Widow’s Row at Washington University’s Edison Theatre until January 25, 2026

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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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