NJT Explores a Family’s Struggle in Poignant, Powerful “Prayer”

April 23, 2026 by Michelle Kenyon ("Snoop")

Prayer for the French Republic
by Joshua Harmon
Directed by Rebekah Scallet
New Jewish Theatre
April 18, 2026

Dave Cooperstein, Bryce A. Miller, Jenni Ryan, Hailey Medrano
Photo by Jon Gitchoff
New Jewish Theatre

Prayer for the French Republic is a long show–running just over three hours with two intermissions. The notable thing about New Jewish Theatre’s current production, though, is that it doesn’t seem that long. The engaging story, well-drawn characters and superb performances make for a riveting production that never drags for one second. Under the direction of Rebecca Scallet and featuring an excellent cast of local performers, it’s a fascinating examination of cultural, political and generational issues that are as relevant as ever today. 

The play follows several generations and branches of one French Jewish family, over two time periods–1944-46 and 2016-2017. The story starts in the more modern time period, narrated by Patrick Salomon (John Wilson), one of two adult children of Pierre (Bob Harvey), who still runs the piano store that has been in family for generations. The other is Marcelle (Jenni Ryan), who is married to Charles Benhamou (Dave Cooperstein), and has two children–the devout Daniel (Bryce A. Miller), and the outspoken, confrontational Elodie (Hailey Medrano). As the family is hosting a distant American cousin, Molly (Lilah Kreis), Daniel comes home from work with a black eye and other injuries, causing the family to examine their own beliefs and attitudes about what it means for a a Jewish family to live in France with anti-Semitism and far-right political movements on the rise. 

Meanwhile, the parallel story follows Patrick and Marcelle’s ancestors, Irma (Kathleen Sitzer) and Adolphe (Bill Stine) as they live through World War II in Paris, worrying about their children who have met different fates as a result of Nazi occupation. The main focus is on their relationship with son Lucien (Adam Flores), who has returned after the war with his son, the teenaged Pierre (Ben Hammock) without Lucien’s wife and daughters. Lucien is evasive about what has happened, but he’s also determined to carry on the family business and encourages Pierre to do the same, while Irma presses him to open up about what has happened to his family.

The script and story are especially well structured, with the two family stories blending together with a believable sense of drama balanced by needed moments of humor, and with credible situations and memorable characters. It’s a story that resonates today as well as being a reminder of the history of the struggles and mistreatment of Jewish people throughout the centuries, and the very real sense of fear and yearning for safety that results from the repetition of that pattern. There are difficult issues raised here, made highly personal in the story, and I’m sure the arguments raised will provoke many thoughts and conversations  among the audience. There are no neat answers, but the situations are raw and real, with thoughtful pacing and direction, and a fantastic cast bringing out all the authenticity and emotion that script and subject matter require. 

The family dynamics are especially well portrayed here, with the excellent Ryan at the center as the caring and conflicted Marcelle, whose love and concern for her family is front and center here. She’s well-matched by a sensitive turn from Cooperstein as the increasingly determined Charles, and also by Wilson as the personable but somewhat cynical Patrick. Miller is also especially likable as the earnest Daniel, who makes a believable connection with Kreis’s kind and idealistic Molly. Medrano is also a standout as the outspoken Elodie, who gets several scene-stealing and thought-provoking moments throughout. Harvey serves as a wise, somewhat grounding presence as the elder Pierre, as well, contrasting well with his younger counterpart, Hammock in a sensitive turn as teen Pierre. Flores is a picture of determination as Lucien, and Stine and Sitzer make a credible, caring couple as Irma and Adolphe. It’s a well-balanced cast, full of energy and palpable emotion in keeping with the poignant tone of the story.

As is usual for NJT, the production values are superb, with David Blake’s set working well at showcasing the same Paris apartment in both time periods, and the use of the piano as a focal point is especially effective. There’s also excellent work from costume designer Michele Friedman Siler in outfitting the cast according to two distinct time periods. Mary Robinson’s sound design and original music add much to the atmosphere, and there are also some memorable singing moments from the cast at various moments. The lighting by Heather Reynolds sets an appropriate evocative tone throughout the story, as well. 

This is a powerful story, with a profound emotional impact. It made me think about other stories I’ve seen or read with similar themes, such as The Diary of Anne Frank, that is referenced in the show and has been performed at NJT in the past. It also calls to mind current debates about anti-Semitism in modern times, the state of Israel and the actions of its government, and the rise of various political movements around the world. There’s much to think about here, and the playwright has not given easy answers, but has portrayed a thoroughly believable family dynamic and memorable, relatable characters. It’s a remarkable production, and probably the quickest three-and-a-half hour play I’ve seen.

Bill Stine, Kathleen Sitzer
Photo by Jon Gitchoff
New Jewish Theatre

New Jewish Theatre is presenting Prayer for the French Republic at the J’s Wool Studio Theatre until May 3, 2026

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“End of the World” Sings, Dances and Satirizes in Whimsical Fashion at Upstream

April 20, 2026 by Michelle Kenyon ("Snoop")

The End of the World Cabaret
by Jura Soyfer, Adapted by Philip Boehm
Music by Paige Brubeck
Directed by Lizi Watt
Upstream Theater
April 17, 2026

Chris Tipp, Amarachi Kalu, John Flack, Sarah Wilkinson
Photo by Patrick Huber
Upstream Theater

At least in terms of the premise, Upstream Theater’s latest production reminds me of the recent film Don’t Look Up, although it was originally written decades earlier. Austrian playwright Jura Soyfer was writing a few years before the beginning of World War II, but many of the themes in his show, The End of the World Cabaret, are surprisingly timely, although not quite as bleak as more modern “end of the world” works tend to be. It’s been adapted by Upstream’s Philip Boehm, and directed by Lizi Watt, featuring a lively cast and stellar (pun intended) production values. 

This is also a musical, with a catchy score by local musician Paige Brubeck of Sleepy Kitty, and beginning with a lively song sung out in space by the Sun (Jane Paradise) and several of the colorfully attired planets, including Mercury (Caitlin Mickey), Venus (Isaiah Di Lorenzo), Saturn (Amarachi Kalu), the erratic Pluto (Ashwini Arora), and Earth (Sarah Wilkinson), who has become “out of step” with the other planets to the point in which the Sun suggests something drastic. After consulting with the Moon (John Flack), the planets enlist a passing comet named Konrad (Chris Tipp) to alter his course and rid the planet of the troublesome humans who live there. As the comet hurtles toward Earth, the perspective shifts to the surface, where the impending apocalypse becomes front page news, and Professor Peep (also Tipp) is charged with inventing a machine to deflect the comet. Peep is earnest and persistent, but the problem is that the various leaders seem more interested in their own reputations and propaganda than actually saving the planet. Of course, there are also enterprising companies and millionaires who exploit the occasion for their own benefit, all the while not seeming to grasp the seriousness of the threat. The tone is satirical and largely comic, but there is an underlying sense of desperation and futility as Peep makes his way around the world in search of someone, anyone, who will help him build his machine. It all seems hopeless, but is it really?

There’s a lot to think about here, and many, many parallels to today that are emphasized in this adaptation, although the overall vibe is also very 1930s in look, style, and attitude. I won’t spoil the ending, but I will say that the show comes across as both a celebration and a criticism of humanity, with their creativity and energy on one level, and self-interest and greed on another. The overall whimsical vibe is carried off especially well in the production design, from Patrick Huber’s colorful and creative set to Max Florida’s scenic painting, Maria I. Straub’s props, and the wonderfully vibrant costumes by Meredith LaBounty and Anabel Weiland that feature both wildly fanciful and period appropriate outfits, as the characters and situations demand. There’s also excellent work from lighting designer Steve Carmichael, contributing to the overall whimsical and increasingly tense tone as the story goes on. Aidan Siliceo-Roman’s sound is also strong, as is Joe Schoen’s music direction and Dawn Karlovsky’s vibrant choreography.

As for the performances, they are fantastic, led by Tipp in a remarkably versatile performance as the determined, increasingly frustrated Peep and as the intrepid, personable guitar-toting comet Konrad. Tipp’s presence, energy, and vocals are highlights, as are the vocals from Mickey in an operatic moments;, Paradise as the Sun and various roles;, Flack as the personable Moon and others; Di Lorenzo as a passionate Venus; Wilkinson in several roles including the melancholy Earth; Kalu and Blindauer also in a variety of roles from planets to performers; and Arora in several roles including a friendly pup and the flighty Pluto.  The entire ensemble works together with enthusiasm and excellent timing, in the general satirical spirit of the show, while also carrying across the more weighty moments when they occur.

The End of the World Cabaret is a show that’s bound to provoke lots of thought and conversation, and the comparison between the 1930s mindset and today’s is especially notable. All the cultural references thrown in add to the laughter, and there’s much to ponder on the nature and worth of humanity as well. It’s a witty, challenging, entertaining production.

Isaiah Di Lorenzo, Caitlin Mickey, Jane Paradise, Patrick Blindauer, Sarah Wilkinson
Photo by Patrick Huber
Upstream Theater

Upstream Theater is presenting The End of the World Cabaret at the Marcelle until May 3, 2026

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Immediacy, Emotion Resonate in Updated “R & J” From Chorus of Fools

April 18, 2026 by Michelle Kenyon ("Snoop")

Romeo & Juliet
by William Shakespeare
Directed by Eric Satterfield
Chorus of Fools, in Collaboration with KTK Productions
April 11, 2026

Zach Pierson, Tia René Williams
Photo by Tress Kurzym
Chorus of Fools

The challenge with Romeo & Juliet is that, as one of Shakespeare’s best-known and most studied plays, it gets performed a lot, so audiences can get tempted to go in not expecting much of a challenge. It’s up to the director, cast, and creative team to come up with a compelling staging, and Chorus of Fools has done that, for the most part, with their latest production directed by Eric Satterfield, which features an updated setting, creative use of music, and a well-realized visual world. It’s also a good showcase for a fine, well-chosen cast. 

Another challenge of this play is that, while it’s certainly a tragedy, it features a notable tone-shift, coming across at first as more of a comedy until escalating tensions turn tragic midway through, darkening the mood for the rest of the story. The story is well-known, with feuding families, forbidden passion, and misunderstandings leading to the ultimate tragic conclusion. It’s a timeless story of how prejudice and lack of communication can lead to devastating consequences. This production from Chorus of Fools, at the new KTK Productions venue at Most Holy Trinity Catholic Church in Old North, updates the proceedings and emphasizes emotion, with an early/mid-2000’s vibe that works well with the portrayals here.

Romeo (Zach Pierson) and Juliet (Tia René Williams) are especially convincing as a pair of young lovers from rival families, who meet and make an instant emotional connection. Pierson also convinces in his attraction despite his initially somewhat flighty portrayal that is in keeping with the story, as he hangs out with buddies Benvolia (Moira Healy) and Mercutio (Rowan Van Horn) and moons about another love interest, Rosaline (Katherine Garrett), until he finally sets eyes on Juliet. Williams, for her part, is an engaging, suitably naive but eager Juliet, and the scenes between her and Pierson are credibly emotional. There are also excellent turns from Healy as the “peacemaker” friend and especially Van Horn as the impulsive, poetically inclined Mercutio. Nikki Pilato has strong moments as Juliet’s devoted Nurse, as well, as do Celeste Genevieve Gardner as Juliet’s belligerant cousin, Tybalt, Mo Moellering and Elizabth Breed Penny as Juliet’s two mothers of contrasting temperaments, the stern Senator Capulet and the conflicted Lady Capulet. LaWanda Jackson also makes a strong impression as Romeo’s religious mentor, Sister Lawrence, and there’s fine work from the rest of the ensemble as well, with notable fight choreography by Moellering and memorable moments especially in the dance where Romeo and Juliet meet and later in the chillingly climactic scene in the Capulet family vault at the graveyard. 

This show’s vibe is consistent, with excellent costumes by Tara Laurel and masks by Vickie Delmas, impressive use of music and moments of excellent singing. Kudos to music director Lexie Johnson and sound designer Eric Satterfield, along with lighting designer Erik Kuhn and prop designer Vickie Delmas. The set by Tara Laurel serves well to set the mood and works well in various different settings, from the masked party, to Juliet’s balcony and bedroom, to the town square, and to the darkness of the graveyard vault. 

Although there are occasional pacing issues and a few minor difficulties with acoustics and understanding lines here and there, for the most part this is a cohesive, well-told story with consistent characterization and a fully realized world. It’s a Romeo & Juliet that’s both immediate and relatable as well as being profoundly tragic in a timeless way. The updated setting works well for the story, and the message comes across with emotion and clarity. It’s another solid production from a promising newer theatre company.

Zach Pierson, LaWanda Jackson
Photo by Eric Satterfield
Chorus of Fools

Chorus of Fools, in collaboration with KTK Productions, is presenting Romeo & Juliet at Most Holy Trinity Catholic Church until April 19, 2026

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WEPG’s “Cellphone” Calls Great Cast Into a Lively Exploration of Life, Death, and Personal Connection

April 18, 2026 by Michelle Kenyon ("Snoop")

Dead Man’s Cellphone
by Sarah Ruhl
Directed by Summer Baer
West End Players Guild
April 10, 2026

Ben Ritchie, Nicole Angeli
Photo by John Lamb
West End Players Guild

A woman and man who have never met sit at nearby tables in an otherwise empty cafe. When the man’s phone keeps ringing and he doesn’t answer, the increasingly annoyed woman decides to go over and find out what’s going on, only to make a surprising and morbid discovery. That’s the setup for Sarah Ruhl’s dark comedy Dead Man’s Cellphone, currently being staged by West End Players Guild under the sharp-eyed direction of Summer Baer. With a great cast, striking production values, and an especially keen sense of timing, this is a play that examines its subject matter with a whimsically dark lens.

The setup isn’t really a spoiler, considering the title. Also, even though Gordon (Ben Ritchie)–the owner of the cellphone–is dead, he does get his chance to speak through the magic of theatre. The woman, Jean (Nicole Angeli) begins answering the frequently ringing phone and soon finds herself drawn into a strange new world involving the Gordon’s family including his distraught and doting mother (Payton Gillam), his somewhat flighty wife Hermia (Lynett Vallejo), and his neglected brother Dwight (Nick Freed), as well as a mysterious “Other Woman” and “Stranger” (also Gillam). As Jean and Dwight share an attraction, the various characters reveal secrets about Gordon that Jean–who feels an increasing obligation to answer the cellphone–isn’t necessarily prepared to deal with. It’s an odd play, with a structure that’s basically linear but sometimes “out of time”, as well, using its sharp wit to explore issues of personal connection, relationships, secrecy, and more. 

The cast is fantastic, with Angeli’s wary but constant Jean being the center around which everything else revolves. Angeli’s connection with Freed’s affable but ostracized Dwight is credible and fascinating. Gillam displays excellent range in her different roles, and Vallejo shows excellent timing in her role as Hermia, and Ritchie as the mysterious Gordon gets his moment to have his say in memorable fashion.  In fact, all of the actors are on top of their game with the timing, which is essential in this show. So many moments depend on pauses between lines, or timing of reactions, to the point in which I was sometimes wondering how the audience reaction would be effected if the timing were different. Baer’s direction is hauntingly precise, and that adds much to the dark, mysterious tone as well as the comedy of the piece. 

I like when productions at this venue change up the usual staging, and this show does that well, with seating on three sides and the main staging area being away from the stage in the basement of Union Avenue Christian Church. Baer’s set, colorfully painted by Morgan Maul-Smith, is an abstract space surmounted by a dangling mobile, making for a whimsical setting for the strange and sometimes disturbing events of the play. The lighting by Renee Sevier-Monsey and sound by Bryn McLaughlin–featuring well-chosen use of music–works well with the tone and mood of the story. Liz Henning’s costumes and Gabrielle Lynn’s props also contribute to the overall quirky air of the show.

Dead Man’s Cellphone is the first play by Sarah Ruhl I’ve seen, even though I’ve heard of this playwright before. This thoughtful, darkly comic production makes me more interested in checking out more works by Ruhl. At WEPG, it manages to be alternately creepy, chilling, humorous, and oddly hopeful. It’s a particularly strong showcase for a talented local director and first-rate cast.

Payton Gillam, Nick Freed, Nicole Angeli
Photo by John Lamb
West End Players Guild

West End Players Guild is presenting Dead Man’s Cellphone at Union Avenue Christian Church until April 19, 2026

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SDT’s Energetic “9 to 5” Highlights Nostalgia, Enthusiastic Cast

April 8, 2026 by Michelle Kenyon ("Snoop")

9 to 5 the Musical
Music and Lyrics by Dolly Parton, Book by Patricia Resnick
Directed by Justin Been
Choreographed by Michelle Sauer and Sara Rae Womack
Stray Dog Theatre
April 4, 2026

Mara Bollini, Sarah Polizzi, Janelle Gilreath Owens and Cast
Photo: Stray Dog Theatre

I’m still not convinced 9 to 5 needed to be a musical. A hit comedy film from 1980 featuring the talents of Lily Tomlin, Jane Fonda, and Dolly Parton, the story was brought to the stage seemingly as a reason for the beloved Parton to write a musical score. And the score is probably the best part of 9 to 5 the musical, which also gets to serve as the showcase for its cast and especially the three leads, who are are notably excellent in Stray Dog Theatre’s latest production, directed by Justin Been. Still, the script doesn’t land quite the way the movie’s did (even though it’s written by the same author), although SDT’s cast and crew certainly try their best, and make for a crowd-pleasing production. 

I saw this show a few years ago, in a well-produced version from another local theatre company, and while I enjoyed it, for the most part, it didn’t make a strong case for why this show needs to exist in the first place. My thoughts about SDT’s production are along the same lines, although the cast and production values are certainly energetic and bring out much of the comedy of the piece. There are even featured video segments featuring Dolly Parton herself that add to the nostalgic air that seems to be the aim of the show now that its setting is almost 50 years in the past. There’s a vibrant production design featuring a colorful and versatile set by Rob Lippert, memorable costumes by Colleen Michelson and wigs by Sarah Gene Dowling, eye-catching lighting by Tyler Duenow and projections by Justin Been, energetic choreography by Michelle Sauer and Sara Rae Womack, and a fantastic band led by music director Mal Golden. Still, the overall impact of the show is different now, taking a lot of the “bite” out of the sharp satire from the film and playing out more as a “remember when” sort of story that majors on nostalgia, although the overall story majors on women who struggle to be taken seriously in the workplace and male co-workers who are largely sexist ogres, especially the boss, the selfish and scheming Franklin Hart (Joel Garrett Brown).

The story is mostly the same as the film, following three different women–longtime employee and management candidate Violet Newstead (Jennelle Gilreath Owens), “Backwoods Barbie” secretary and object of the boss’s lust Doralee Rhodes (Sarah Polizzi), and recent divorcee and workforce newbie Judy Bernly (Mara Bollini), who all have their various difficulties trying to succeed at their company, Consolidated. Among the obstacles is the obnoxious Hart along with his lovestruck assistant Roz (Laura Lee Kyro) and the general “boys club” office environment. There’s also an added love interest for Violet named Joe (Cole Guttman) who works in accounting and turns up from time to time, but isn’t given a lot to do. The plot essentially follows the film’s story, but with singing, dancing, and production numbers. 

The cast is strong, especially for the three leads. Owens projects the right degree of determination and competence as Violet, Bollini is especially adept at the comedy as the gutsy but green Judy, and Polizzi excels at playing a “Dolly Parton-type” without expressly imitating Parton. There’s also a memorable turn from Kyro as the lovesick Roz, who comes across as somewhat pathetic here, especially considering how sleazy Hart is, played with energy by Brown. There are fine turns by Josh Heffernan as Doralee’s devoted husband Dwayne and Gutmann making the most of an underwritten role as Joe. There’s also an enthusiastic ensemble who make the most of the energetically choreographed production numbers starting with the well-known title song. 

9 to 5 was a hit film, and the musical received mixed reviews on Broadway. It’s certainly a crowd-pleaser, and a showcase for Parton’s music and the well-cast three leads at Stray Dog Theatre. It has its fun moments, but it still doesn’t convince me that this movie needed to be a stage musical. Still the cast and crew make the most of this larger-than-life nostalgia fest. Especially if you’re a fan of the film, it’s worth checking out. 

Cast of 9 to 5 the Musical
Photo: Stray Dog Theatre

Stray Dog Theatre is presenting 9 to 5 the Musical at Tower Grove Abbey until April 25, 2026

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Education and Master-Class Acting Highlight Orange Girls and STLAS’s Stellar “Half-Life”

April 8, 2026 by Michelle Kenyon ("Snoop")

The Half-Life of Marie Curie
by Lauren Gunderson
Directed by Nancy Bell
The Orange Girls and St. Louis Actors’ Studio
April 3, 2026

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

The latest production from St. Louis Actors’ Studio is a collaboration with a company I had heard of, but hadn’t seen because they had disbanded before I started reviewing theatre in St. Louis. The Orange Girls’ semi-reunion is well-chosen, considering the focus of the latest production of the achievements, challenges, and deep friendship of the women featured in Lauren Gunderson’s well-structured The Half-Life of Marie Curie. Thoughtfully directed by Nancy Bell and featuring some truly stunning production designs, this show highlights a terrific cast and two important figures in the history of women in science. 

The story, set mostly in 1912, focuses on renowned, widowed Polish-French scientist Marie Curie (Meghan Baker), who is in the midst of a scandal involving her affair with a married French scientist. Hounded by the press, Curie is soon visited by her close friend, British engineer and mathematician Hertha Ayrton (Michelle Hand), who invites Curie to join her at her remote seaside cottage in England to avoid the press attention. Curie eventually agrees to go, bringing with her a glowing vial of radium–the element she discovered–that she keeps in her pocket. During her stay at Ayrton’s cottage, the two women engage in discussions and debates involving women’s suffrage–a passionate cause on Ayrton’s part–their relationships with their late husbands, the treatment of women in science, double standards involving men and women in affairs, and more. It’s a fascinating look at a close female friendship as well as the struggles of women to be seen as equals in the scientific field, and in society in general, as well as the wonders and dangers of new scientific discoveries, and the fragile nature of life itself, represented by the recurrent ticking of a clock.

The production is well-measured and remarkably well cast, featuring two of the three Orange Girls founders, Baker and Hand, at their best. Baker’s Curie is at once thoughtful, reticent, and determined, while Hand’s Ayrton is fiery and assertive while also being intensely loyal and encouraging. The two make a great team, bringing much relatability and warmth to their bonding moments, especially in a both hilarious and profound sequence in which the two share a bottle of whisky. The historical and biographical elements of the story are woven expertly into the relationship moments, making for a realistic and engaging portrait of a deep friendship as well as a snapshot of a moment in history. 

In addition to the fantastic cast and pacing, the production design is simply fantastic, with a striking “picture frame” style set by Patrick Huber that highlights a beautiful backdrop painting by Andy Cross as an homage to German painter Anselm Kiefer’s Für Gregory Corso. Denisse Chavez’s lighting is also remarkable, highlighting the set and the shifting moods and tensions of the story, and Kristi Gunther’s sound provides that recurring tick, the hiss of arc lights, and more in lending an air of authenticity to the proceedings. There’s also wonderfully detailed work from Teresa Doggett on the stylish and period-appropriate costumes, and from Maria I. Straub-David on props design. It’s an expertly designed production that brings the audience into the characters’ world and times, as well as into their minds and feelings with vivid intensity.

The Half-Life of Marie Curie is a profoundly fascinating production. Featuring a welcome reunion of a celebrated St. Louis theatre company and highlighting the works and relationships of brilliant and determined women, it’s a show that educates while it entertains. It’s also a master-class in acting from its two leads. It’s a must-see production from STLAS and the Orange Girls. 

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

The Orange Girls and St. Louis Actors’ Studio are presenting The Half-Life of Marie Curie at the Gaslight Theater until April 19, 2026

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“Rosencrantz & Guildenstern” Philosophize and Hold Attention in STLSF and Albion’s Fascinating Collaboration

March 30, 2026 by Michelle Kenyon ("Snoop")

Rosencrantz & Guildenstern Are Dead
by Tom Stoppard
Directed by Tom Ridgely
St. Louis Shakespeare Festival in Association with Albion Theatre
March 29, 2026

Mitchell Henry-Eagles, Ryan Omar Stack
Photo by Phillip Hamer Photography
St. Louis Shakespeare Festival

The St. Louis Shakespeare Festival has grown a great deal over its lifespan, and now it’s bigger than ever. While, as always, they will be staging their “main event” in Shakespeare Glen later this year, they’ve also added a new production to their repertoire this season. Teaming up with the always excellent Albion Theatre, the festival is taking to the Kranzberg Arts Center to stage Rosencrantz & Guildenstern Are Dead, playwright Tom Stoppard’s absurdist riff on Hamlet, here directed by Tom Ridgely and featuring a strong cast and excellent staging that emphasizes the theatrical to profound effect.

One of Stoppard’s more well-known plays, this is also among the best known of the “retell a familiar literary work through the eyes of side characters” genre, especially among theatrical works. I hadn’t seen the play before this production, but I read it in high school drama class, after we read Hamlet. I didn’t remember it well, because high school was longer ago than I sometimes realize, but I remembered the general vibe. As always with plays, though, seeing it live is even better than reading, and seeing this very wordy play brought to life with well-defined characters and fully realized performances makes it all the more entertaining, and thought-provoking. It helps the audience to be familiar with the plot of Hamlet, and some knowledge of absurdism also helps, but there’s still a lot here to think about regardless of prior knowledge.

This show keeps its theatricality on full display, and it begins with the audience being ushered in through a see-through plastic curtain, which stays up for the first segment of Act 1, as Rosencrantz (Mitchell Henry-Eagles) and Guildenstern (Ryan Omar Stack) play a coin-flipping game and ponder the nature of probability. They can’t quite remember what they’re supposed to be doing in the royal court of Denmark, but they vaguely remember being sent for and they make their way there, meeting a traveling theatre troupe on the way. This is, of course, the same group that features in Hamlet, but they have more to do here. The lead Player (Jeff Cummings) becomes something of a recurring foil/provocateur for Rosencrantz and Guildenstern, and the players add much to the humor and sense of inevitability of the story. Our “heroes” soon part with the players (to meet again–and again–later), and end up at Elsinore, where various characters and events from Hamlet weave in and out of their story, including Claudius (Eric Nenninger), Gertrude (Joy Christina Turner), Ophelia (Danielle Bryden), Polonius (Lynn Berg), and Hamlet himself (Sean C. Seifert), only here, the goings on of the “parent play” are like passing moments that must occur, while our bewildered duo still wonder what to make of their roles, their obligations, and their very identities. 

If you know the events of Hamlet, you sort of know where this is going, but we see everything from a new angle, including moments only talked about in the source play. The focus is much more on being and pondering than doing, although there is a fair amount of action especially in the third act, and it seems to pose a general question throughout of “who is in charge, anyway?” Even our leads don’t know for sure, nor do they always seem to know which one of them is which. Still, they are a personable pair, and the looming conclusion takes on a tragic air as the ship on which they find themselves makes its way across the sea. 

The actors are well chosen, and the pacing is just right–not too fast and not so slow as to drag. The two leads, Henry-Eagles and Stack, present relatable if bumbling characters that take the audience along on their existential journey with determination and moments of wit and charm. They make a memorable pair. Cummings as the Player is also a force, with an obvious theatrical air that works to entertain and challenge. The rest of the performers also acquit themselves well, with standout moments from Seifert as a recognizable but somewhat bewildering Hamlet, Nenninger as a commanding Claudius, and India Eddy as a somewhat reluctant young player named Alfred. The whole ensemble is cohesive and energetic, and all are worthy of kudos. In addition to those already mentioned, they include Tiélere Cheatem, Bryn McLaughlin, and Mason Ramsey. 

The technical aspects of this production are in keeping with the whole theatrical tone of the show, which features fourth-wall breaking, meta references, and acknowledging that an audience is present. The audience walking through “backstage” to get to their seats is just the beginning, and the whole set-up uses the Kranzberg black box space to its fullest potential. The set, lighting, and props by Katherine Stepanek and sound by Amanda Werre contribute much to this overall air of being at, and also in, a play. Olivia Radle’s costumes are also cleverly designed and detailed, in keeping with the spirit of this play as well as Hamlet. There’s also excellent work from fight coordinator Bart Williams and intimacy coordinator Nikki Green.

If you love Shakespeare, and especially Hamlet, as well as having a bit of philosophical bent and a fondness for absurdism, this is a show for you. It’s a good starting point for exploring experimental aspects of theatre and connections between Shakespeare and contemporary drama. It’s also an excellent showcase for a magnificent cast. It’s a great new venture for the St. Louis Shakespeare Festival. No wonder all the performances are sold out (but there is still a waiting list)!

Cast of Rosencrantz & Guildenstern Are Dead
Photo by Phillip Hamer Photography
St. Louis Shakespeare Festival

St. Louis Shakespeare Festival, in association with Albion Theatre, is presenting Rosencrantz & Guildenstern Are Dead at the Kranzberg Arts Center until April 11, 2026

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Bread and Wine’s “Babette’s Feast” Entertains with Energy and Heart

March 28, 2026 by Michelle Kenyon ("Snoop")

Babette’s Feast
Conceived and Developed by Abigail Kileen, Written by Rose Courtney
Adapted from the Short Story by Isak Dinesen
Directed by Owen Brown
Bread and Wine Theatre Company
in Collaboration with KTK Productions
March 27, 2026

Deborah Roby, Michelle Yoder, Sonya Valentine
Photo: Bread and Wine Theatre Company

Bread and Wine Theatre Company is producing their latest production, Babette’s Feast, in a new venue at Holy Trinity Catholic Church in Old North, in collaboration with KTK Productions, who have worked to renovate the church’s basement for their new theatre space. The production fits the space well, featuring an enthusiastic cast and striking musical elements, making for an entertaining and emotional story of generosity and grace in the midst of asceticism and interpersonal conflict.

The story is told in flashback, as narrated by the cast. While the titular Babette (Deborah Roby) eventually becomes a central figure, we don’t meet her until after a somewhat involved prologue setting up the story’s main event. We meet a devout religious community in a small Norwegian mountain town, led by a strict but loving Dean (Cole Wright) who has two daughters, Martine (Sonya Valentine), and the musically gifted Phillipa (Michelle Yoder). We see how Martine is courted by a young visitor named Loewenheilm (Michael Cox), who later reappears as a General (Charlie Labitska). Philippa, for her part, meets and takes singing lessons from renowned French opera singer Achille Papin (Ben Smith), with who she shares an attraction, but these relationships both end as the sisters choose to stay in their austere life and community. Years later, Babette appears on their doorstep, cast out from Paris and sent with a recommendation letter from Papin, who mentions that “Babette can cook”. She becomes the sisters’ housekeeper and carries herself with a determined air, eventually becoming well known in the village.  After more years pass, something happens that allow Babette to make an elaborate offer that both intrigues and frightens the sisters and the town, but eventually leads to much revelation and truth. 

It’s a fascinating story, originating as a short story by noted Danish author Isak Dinesen that was made into an acclaimed 1987 film. The stage version is well-structured and collaborative, with most of the players playing several roles, with the exception of the sisters and Babette. The narration is fairly easy to follow, except for a few of the moments in which the cast speaks in unison, which can sometimes be difficult to understand, and some of the acoustics make some dialogue difficult to hear at times. For the most part, though, the story flows well, and the characters are memorable, led by Roby’s determined Babette, who exudes a palpable blend of confidence, determination, and integrity. Valentine and Yoder are also convincing as the sisters, with Yoder’s excellent singing a particular highlight of the production. The rest of the players (also including Madeline Trinity, and Mary Elsa Henrich) fill out the story with enthusiasm and energy, and with memorable turns from Cox in various roles and Smith for his also impressive vocals. It’s a long production–almost two hours with no intermission–but the thoughtful direction and cast energy holds the audience’s attention without dragging.

The set by Tara Laurel works well on the slightly high stage, and Laurel’s costumes are appropriate to the period and setting, suiting the characters well. There’s also notable work from lighting designer Megan King and music director Nathan Wamsley. The production also included eye-catching Irish dancing from Lucy Marie and Pippa Gutting from St. Louis Irish Arts, although its inclusion in a story set in Norway and featuring no Irish characters seems a bit odd. 

Babette’s Feast is structured almost like a folk tale or poem, and it raises fascinating questions of asceticism and piety vs. generosity and indulgence, and how those concepts fit with religious devotion and community flourishing. The concepts of grace and generosity are well-embodied, and there’s much to think and talk about here. It’s also a delightfully musical show, featuring  both classical singing and congregational hymns. It’s an entertaining offering from the still relatively new Bread and Wine Theatre Company.

Cast of Babette’s Feast
Photo: Bread and Wine Theatre Company

Bread and Wine Theatre Company is presenting Babette’s Feast in collaboration with KTK Productions at Holy Trinity Catholic Church until March 29, 2026

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Soul Siren’s “Robbin” Intrigues and Educates with Strong Leading Performances

March 28, 2026 by Michelle Kenyon ("Snoop")

Robbin, From the Hood
by Marlow Wyatt
Directed by Cameron Jamarr
Soul Siren Playhouse
March 21, 2026

Brandon Avila, Jayous Celestine
Photo: Soul Siren Playhouse

Soul Siren Playhouse has taken the stage at the .ZACK with their latest thought-provoking production, playwright Marlow Wyatt’s Robbin, From the Hood, directed by Cameron Jamarr. A look at class differences, corporate greed and exploitation, along with persistence and ambition in the struggle for economic advancement, this show features memorable characters, a well-chosen cast and impressive projections and sound, along with a fascinating if not entirely believable story, and some clunky staging. 

The story focuses on high school student Robbin Woods (Joyous Celestine), who lives with her grandfather, Percy (Don McLendon) in a small apartment in a struggling neighborhood. She and her best friend and classmate Juan Rodriguez (Brandon Avila) are excited about having been accepted to a summer job training program at mega-corporation Kennedy Global. There, they meet executives Margaret (Chrissie Watkins) and Kyle (Jeremy Thomas), who have differing opinions about taking them on as well as investing in the poorer neighborhoods of the city. Robbin and Juan initially thrive, but some complications arrive. On the home front as Robbin deals with the onset of dementia for Percy, and his estrangement from his son (Robbin’s uncle) Charlie (Trials Davis), who is in prison; while at the office, Robbin’s ambition gets her noticed, but eventually a new situation arises that calls her standing into question, also leading to potential conflict with Juan. I won’t say much more, but I will say that the title’s reference to Robin Hood isn’t a coincidence, and some characters aren’t what they initially seem. 

It’s an intriguing story with an important message of class struggles, corporate greed, and the importance of family bonds, but the structure is a little confusing at times, and the ending is a bit too abrupt. Also, the staging might work better on a unit set with designated “office” and “home” areas, because as it is, the staging requires so many scene changes that it affects the flow and length of the play, which runs nearly two hours without intermission. The cast is excellent, however, especially Celestine as the likable and determined Robbin, Avila as the equally determined and upbeat Juan, and McClendon as the loving but increasingly confused Percy. Woods does well in a smaller role as Charlie, and Watkins and Thomas are solid in their parts as the conflicted and conflicting Margaret and Kyle. 

The set by Bradford Rolen is especially effective in the home scenes, representing the small apartment well, but the office scenes don’t quite seem grand enough for as big, glitzy, and initially intimidating as Kennedy Global is supposed to be. The videos and projections by Jamarr are stunning, however, and add much to the overall impact of the story. There’s also good work on the sound by Jamarr and Rolen on costumes and props, making for an especially believable transition for Robbin and Juan into the corporate world. 

Overall, this is a thought-provoking, characterful story that effectively highlights the lead characters’ plight, although it could use a bit of restructuring to make it a little more coherent, and some of Robbin’s, Margaret’s and Kyle’s actions especially seem implausible in parts. Also, the .Zack space still has sightline issues that can detract from the overall audience experience. Still, for the most part, Robbin, From the Hood makes for an intriguing, educational evening of theatre.

Trials Davis, Don McClendon
Photo: Soul Siren Playhouse

Soul Siren Playhouse is presenting Robbin, From the Hood at the .ZACK until March 29, 2026

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The Rep’s “Ring of Fire” is a Celebration of Music and a Complex Life

March 28, 2026 by Michelle Kenyon ("Snoop")

Ring of Fire: The Music of Johnny Cash
Written by Richard Maltby, Jr., Conceived by William Meade
Directed by Kate Bergstrom
The Repertory Theatre of St. Louis
March 20, 2026

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

The Repertory Theatre of St. Louis’s latest production is a celebration of a man and his music, with the music taking the lead. Ring of Fire: the Music of Johnny Cash has been done at the Rep before, although this version, directed by Kate Bergstrom, seems a bit more dramatically focused, although music is still the star, with an excellent cast who all play instruments and make this “life of a musician” retrospective especially compelling, along with the show’s focus on talented but flawed individual who made the music. 

The show, featuring a cast of six players includes two “Johnny Cash” figures–the older Johnny (Kurt Zischke), who serves as the primary narrator; and the younger “J.R” (Andrew Frace), who figures in much of the developing story of Cash as a rising young performer. The production uses music to tell a fairly streamlined story of Cash’s life and career, featuring his parents (Zischke and Kim Blanck), his first wife, Vivian (Blanck), and most prominently his second wife, June Carter Cash (Caitlin McKechney), as the older Cash looks back on his life and personal choices. All along, the music is there, setting the mood and underscoring the story, as the musicians play expertly, including Eric Scott Anthony as Marshall and Ryan Guerra as Luther–Cash’s bandmates. It’s a story of hardship, love, and loss; aspiration, failure, and success; redemption and hope, all with the soundtrack of Cash’s classic hits like “I Walk the Line”, “Folsom Prison Blues”, “I’ve Been Everywhere”, and “Ring of Fire”, along with some country classics and traditional hymns. 

The music is the star, as I wrote, but the cast is simply magnificent as well, doing justice to the songs and overall spirit of musicianship and perseverance in trials. Zischke and Frace are both excellent as the older and younger versions of Cash, both managing to sound a lot like the singer in his different ages and eras. Frace especially gets the swagger and tone of the young Cash just right, as well as the stage presence, and Zischke has the right air of gravity and occasional melancholy as the older Cash looking back on his life. Zischke also has some fun moments early in the show as Cash’s father, paired with the personable and equally strong McKechney as Cash’s mother. McKechney is also ideally cast as June, managing to look and sound a lot like the real June, while playing a variety of instruments with dexterity and style and displaying believable chemistry with both “Johnnys”.  Blanck is also strong musically, especially on the fiddle, as well as getting a poignant moment as the neglected Vivian singing the heartbreakingly genuine “I Still Miss Someone”. Anthony and Guerra round out the cast with their superb musicianship, likable presence, and seemingly boundless energy. While the story itself isn’t exactly a thorough biography, it’s mostly about feelings, memories, and music, and all the players work well together getting that spirit across with flair.

In a technical sense, the show is simply and solidly staged, with an effective unit set by Scott C. Neale that reflects Cash’s farming roots and the traditions of country music. It’s all well lit by lighting designer Jayson Lawshee-Gress, with strong work by sound designer Amanda Werre, as well. The cast is outfitted with impressive country style by costume designer Renee Garcia, and there’s a bit of energetic country choreography by Taavon Gamble.

Overall, Ring of Fire is immensely entertaining, even if it is more concert than play. It should especially appeal to fans of traditional country music, and especially Johnny Cash. It’s certainly a crowd pleaser, and a highly enjoyable evening of musicianship, energy, and emotion in celebration of an imperfect but irreplaceable country music legend.

Andrew Frace, Kurt Zischke
Photo by Jon Gitchoff
The Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis is presenting Ring of Fire: The Music of Johnny Cash at the Loretto-Hilton Center until April 12, 2026

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