“Job” at NJT Looks at a Complex Subject with Nuanced Script, Strong Acting

August 15, 2026 by Michelle Kenyon ("Snoop")

Job
by Max Wolf Friedlich
Directed by Annamaria Pileggi
New Jewish Theatre
August 13, 2026

Kristen Lintvedt, John Contini
Photo by Jon Gitchoff
New Jewish Theatre

The internet and cellphone culture are a mixed bag these days. There are good things and bad things about it, and Job by Max Wolf Friedlich looks at both of them through a nuanced lens. Currently onstage at New Jewish Theatre under the direction of Annamaria Pileggi and featuring stellar performances by Kristen Lindtvedt and John Contini, the play focuses on the “job” in terms of employment rather than the book of the Bible, although as the “Rabbi’s Corner” note by Rabbi Andrew H. Terkel in the program notes, there are some thematic similarities in terms of dealing with suffering. The resulting production is a fascinating look at modern internet culture and the effects of media for good and/or ill. 

The format of Job is a little jarring at times, with starts and stops in the plot, as well as a clever use of sound and lighting designed by Kareem Deanes and Michael Sullivan, respectively. At first, we see patient Jane (Lintvedt) brandishing a gun toward therapist Loyd (Contini) upon their first meeting. After a few brief variations of this meeting, the story gets going, as an awkward session begins, revolving around a public panic incident involving Jane that was caught on video and subsequently went viral online. What ensues first appears to be a fairly run-of-the-mill “boomers vs. gen z” debate about the merits of cellphone and internet culture, along with Jane’s protests about how her incident is absolutely not related to her full-time job as a content moderator for an unnamed large internet-based corporation. Periodically, however, those lighting and sound effects keep popping up at various times in the conversation, lending an ominous air to the proceedings. There are also some flashbacks and/or imaginary scenes that are sprinkled into the narrative, lending a bit of doubt as to what events are true and false. 

The acting also contributes to the overall ambiguous tone of the show, as the narrative tends to go back and forth about who we should trust, and the two excellent local performers convincingly portray the nuances with skill. Lintvedt’s Jane is passionate and initially obsessive, thoroughly convinced that she needs her job, and that what she is doing is necessary and helpful. Contini’s aging-hippie-ish Loyd isn’t so sure, all the while being convinced of the importance of his own job as a trusted therapist who has worked with many high-profile clients. Eventually, however, the tone flips, and then flips again, as Jane launches into a seemingly convincing rant about the importance of cellphone culture, but reveals suspicions about Loyd that seem to have been what have been triggering her strange visions. Both actors are marvelous, with Lintvedt’s Jane’s shifts being entirely credible and Contini’s tone being convincingly cryptic to the point where it’s difficult for the audience to decide what is true or not. The acting also helps to illuminate the cleverness of the script in pointing out the good and bad aspects of modern media culture.

The technical aspects of this production are also stellar. In addition to the aforementioned lighting and sound work, there’s also an excellent unit set by C. Otis Sweezy that captures the spirit of the aging-hippie therapists’ office especially well while also serving as an effective backdrop for the special effects. Michele Friedman Siler’s costumes are also effective in reflecting the personalities of the characters. The production values augment the story and add to the overall ambiguous tone of the story. 

Job is a short show, running at about 90 minutes with no intermission, and that running time and format suits the show well, with no breaks in the action or flow of the conversation. Even with it’s fantasy elements and special effects, it often seems like a real therapy session, albeit a chaotic one. It also contains sensitive subject matter including references to sexual and violent situations. There’s a lot to think about and process here, and I’m not sure if the playwright even has a clear agenda. What he does have, though, is a cleverly constructed script and a showcase for two excellent actors. It’s a must-see from New Jewish Theatre. 

 

Kristen Lintvedt, John Contini
Photo by Jon Gitchoff
New Jewish Theatre

New Jewish Theatre is presenting Job at the J’s Wool Studio Theatre until August 23, 2026

Posted in St Louis Theatre | Tagged , , , , , , | Leave a Comment »

Well-Cast “Extremities” Deals with Difficult Subject Matter with Theatrical Skill

August 11, 2026 by Michelle Kenyon ("Snoop")

Extremities
by William Mastrosimone
Directed by Gary F. Bell
August 8, 2026

Andrew Woodard, Claire Coffey, Lynett Vallejo, Lisa Hinrichs
Photo: Stray Dog Theatre

I didn’t enjoy Extremities at Stray Dog Theatre. That’s not because it’s a bad production. In fact, it’s a very well-done production, with a well-chosen cast and effective, suspenseful staging by director Gary F. Bell. Still, this isn’t the kind of play that boils down to whether you “like” it or not, because the subject matter it deals with is unpleasant to say the least. It’s a show you can admire in a sense, but at least for me, it’s not something I can use the word “enjoy” about. 

The story focuses on Marjorie (Claire Coffey), a single woman who shares a home with two housemates, but she is alone when the play begins. Soon, an intruder, Raul (Andrew Woodard) arrives and attempts to assault her, but she manages to get the upper hand and trap him in the fireplace. Eventually, her housemates Terry (Lisa Hinrichs) and Patricia (Lynett Vallejo) arrive, and a debate ensues about what to do with Raul. The ensuing conversations, in which Raul pleads his own case while the others deliberate, is incredibly uncomfortable to watch. It deals with issues that are still dealt with today, but in a very early 1980s way, showing that the approach to some topics has changed in the past 40 years, but not others. There are also some graphic scenes that can be difficult to watch for some audience members. It’s all well-constructed, and the fact that it makes me so uncomfortable is a “good” thing in terms of playwriting and staging, because it all seems too real in places. Still, it’s hard to watch, at least for me. 

The casting is excellent all around. Coffey as Marjorie is believable in conveying a mixture of anger, fear, and assertiveness, and Woodard is appropriately creepy and wheedling as Raul. Vallejo as the “reasonable” Patricia and Hinrichs as the more timid Terry, who is hiding a secret of her own, are also excellent, and the combination of all four personalities and goals makes for suspenseful drama. There’s also strong work from intimacy/combat choreographer Liss Fischel in lending credibility to some of the more challenging scenes here. 

The set by Rob Lippert is well crafted and somewhat unique. I was given a note with the program explaining the symbolism involved in the “fragmented, broken-wood” set representing fractured emotions and an unstable world. It’s especially effective and adds to the drama. There’s also good work from lighting designer Tyler Duenow and sound designer Justin Been in adding to the overall suspenseful tone of the show, and the costumes by Gary F. Bell suit the characters well. 

Extremities is a thoroughly effective production, but it’s not a pleasant show.  For me, I can admire the craftmanship that goes into a show like this, but it’s not particularly easy to sit through. If you like dark, suspenseful dramas with difficult subject matter, this is the show for you, but if this kind of thing makes you uncomfortable, you may want to avoid this one. It’s certainly an exercise in theatrical boldness for Stray Dog Theatre. 

Claire Coffey
Photo: Stray Dog Theatre

Stray Dog Theatre is presenting Extremities at Tower Grove Abbey until August 22, 2026

Posted in St Louis Theatre | Tagged , , , , , | Leave a Comment »

Heartwarming “Meet Me in St. Louis” Celebrates the City in Style at the Muny

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

Meet Me in St. Louis
Songs by Hugh Martin and Ralph Blane, Book by Hugh Wheeler, Revised Book by Gordon Greenberg
Directed by Maggie Burrows
Choreographed by Sarah Meahl
The Muny
August 7, 2026

Cast of Meet Me in St. Louis
Photo by Phillip Hamer
The Muny

Meet Me in St. Louis has been a recurring tradition at the Muny every few years since 1960. In fact, it was the first show I ever saw at the Muny in 2004, and I saw it again the last time they produced it in 2018. Now, coinciding with the 150th anniversary of Forest Park, the Muny is producing the show again, with some revisions to the book and a new song, as well as some truly dazzling production values emphasizing turn-of-the-2oth-Century fashion and style. It’s a crowd-pleaser, for sure, with a great cast and truly dynamic staging. 

The story, based on a series of stories by Sally Benson, is a fictionalized account of Benson’s childhood in St. Louis, and the staging here emphasizes the idealization of that period, with a marvelous set by Ann Beyersdorfer that utilizes the Muny’s giant stage and turntables especially well, and fabulous video design by Kylee Loera and Greg Emetaz that emphasizes a nostalgic picture-postcard style as the months and seasons change throughout the story. That story follows the Smith family as they deal with various relationship issues and a big change in store for father Alonzo (Colin Donnell), much to the chagrin of his wife, Anna (Patti Murin), and eventually the rest of the family, as Alonzo has been offered a new position at his law firm in New York, which would move the family away from their beloved St. Louis right as the city prepares for the once-in-a-lifetime 1904 World’s Fair. Meanwhile son Lon (Ilan Eskenazi) and elder daughters Rose (Kyla Stone) and Esther (Katerina McCrimmon) deal with romantic entanglements while younger daughters Agnes (Joylin Bass) and Tootie (Lilah Levinson) get up to various forms of mischief with the changing seasons. 

The staging is dynamic and fast-moving, driven by the fantastic choreography by Sarah Meahl that even succeeds in making set pieces part of the action in fun ways, especially in the show’s famous ‘Trolley Song” led by the excellent, golden-voiced McCrimmon as Esther. McCrimmon is a delight throughout the show, well-matched by Andrew Poston as “boy next door” John Truitt. And speaking of well-matched, real-life couple Donnell and Murin also shine as Alonzo and Anna Smith, displaying strong chemistry and vocals. There’s a great cast all around, with special standouts being young Levinson as the spunky Tootie, Stan Brown as Grandpa Prophater, and Beth Leavel as the family’s maid, Katie, who gets a new song in this production, “That’s Enough of That”, written by Mark Sonnenblick. The entire ensemble shines here, with energetic singing and dancing, backed by a first-rate Muny Orchestra led by music director Paul Byssainthe Jr. 

In addition to the set and video design, the rest of the production values are also spectacular. The lighting by Paige Seber and sound by Joshua Hummel are dazzling, and there’s also a fun pyrotechnic surprise at the end of the show that’s not really a surprise if you’re familiar with the show. The time and place are also well captured by the meticulously crafted costumes designed by Leon Dobkowski and the wigs by Kelley Jordan. It’s a love letter to St. Louis, or at least an idealized past version of St. Louis, but also an optimism about the future and family life at the turn of the 20th Century. 

If you go to the Muny regularly, you’re going to eventually see Meet Me in St. Louis, and just as surely, the show is going to dazzle. It’s an example of Muny tradition, excellence, and energy, and as always, the crowd is going to love it. This visually stunning, postcard-emulating version is true to that tradition, and it’s worth seeing for it’s fast-moving dynamism as well as the truly dazzling production values and bright, energetic optimism. Meeting at the Muny and Meet Me In St. Louis are a match made in grand Forest Park style. 

Cast of Meet Me In St. Louis
Photo by Phillip Hamer
The Muny

The Muny is presenting Meet Me in St. Louis in Forest Park until August 13, 2026

Posted in St Louis Theatre | Tagged , , , , , , , , | Leave a Comment »

“Tenn” at First Run Theatre is a Intriguing Look at a Theatrical Legend

August 1, 2026 by Michelle Kenyon ("Snoop")

Tenn
by Aaron Scully
Directed by Julie George-Carlson
First Run Theatre
July 31, 2026

Dorothy LaBounty, Kelli Rao, Kevin Bailey, Matt Newlin, Charles Huevelman
Photo: First Run Theatre

The first Broadway run of Tennessee Williams’s The Glass Menagerie has become the subject of legend over the years. The show, and particularly Laurette Taylor’s performance, has been the subject of hypothetical “time travel” wishes for years. First Run Theatre’s new production, Aaron Scully’s Tenn, tackles some of those legends in a mild de-mythologizing way, in a well-cast production at the Kranzberg Arts Center under the direction of Julie George-Carlson. It’s an  imaginative effort that seeks to humanize the legends in low-key but intriguing manner.

The play isn’t one story as much as it is a series of vignettes depicting the writing and producing of The Glass Menagerie. Here, we get to know Williams, or “Tenn” (Matt Newlin), and his friends and colleagues, including his agent Audrey Wood (Kelli Rao), director/actor Eddie Dowling (Kevin Bailey), producer Louis Singer (Charles Huevelman), actress Laurette Taylor (Dorothy LaBounty), and Tenn’s creative and romantic partner Donald “Donny” Windham (Kyle Reeves). The story isn’t strictly linear, jumping ahead and back in time as needed, and the pacing is leisurely, for the most part. It’s never dull, but there could be more tension at times, especially at the end of the first act. There’s a lot of fascinating information here, particularly concerning Taylor, and Tenn’s own self-doubts, and the result is entertaining and informative, although it could use a bit more drama at times. 

The cast is uniformly strong, with good ensemble chemistry. All the players inhabit their characters well, with a particular standout being Newlin in an amiable performance as Tenn, bringing out the writer’s insecurities as well as his obvious talent. LaBounty is also memorable in a melancholy turn as the aging, widowed, gin-loving Taylor, making it clear that there’s a great talent amidst the grief and too many martinis. Rao, Bailey, Reeves, and Huevelman also turn out solid performances, lending to the overall tone of the show. 

The physical production is strong, as well, with an excellent set designed by Brad Slavik and painted by Rachel St. Pierre, consisting of both furniture pieces and three large backdrop pylons that turn to show different backgrounds. The scene changes are a bit long at times, occasionally disrupting the flow of the show. There’s also good work from lighting designer Mike Gasparich and sound designers Addie McGrath and Lili Holland, as well as costume designer Lauren Smith Beardon, contributing to the overall 1940’s atmosphere of the story. 

Tenn is a fascinating story, told in a low-key manner that could occasionally use a little more in the way of dramatic tension. It’s episodic, but the order of the “episodes” makes sense in the overall telling of the tale. There’s a lot of fascinating information here, and it’s a good effort of bringing these theatrical legends down to earth a bit. It’s running for one more weekend, and it’ worth checking out while you still can. 

Matt Newlin, Cast and Crew
Photo: First Run Theatre

First Run Theatre is presenting Tenn at the Kranzberg Arts Center until August 9, 2026

Posted in St Louis Theatre | Leave a Comment »

Delightful “Guys & Dolls” is a Timeless Hit at Stages

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

Guys & Dolls
Music and Lyrics by Frank Loesser, Book by Jo Swerling and Abe Burrows
Directed by James Monroe Iglehart
Choreographed by Lindsay Joy Lancaster
Stages St. Louis
July 29, 2026

Sam Harvey and Cast
Photo: Stages St. Louis

Guys & Dolls is a seamless show, when I think about it. It’s a Broadway classic, certainly, but it’s also almost impossible to get wrong, considering how well it’s put together. I’ve seen a few productions of this show over the years, and I’ve also been struck with how open it is to interpretation by the actors and crew, but it still holds together with the Damon Runyon flair that’s intended. At Stages St. Louis, their current production is a fine example of creativity and faithfulness to the source material blending together into a colorful, delightful package, with a great cast directed by James Monroe Iglehart and fantastic dancing choreographed by Lindsay Joy Lancaster. 

The story is well known if you’ve seen it. It’s one of the rare shows I’ve seen that has four equal leads, and they are all “types” without being caricatures–gamblers Nathan Detroit (Matthew Schatz) and Sky Masterson (Sam Harvey) and their “dolls”, nightclub dancer Miss Aidelaide (Katerina Papacostas) and “mission doll” Sarah Brown (Lindsay Roberts Green). Their stories drive the majority of the plot, but the cast is also peppered with memorable characters such as Benny Southstreet (Wesley J. Barnes), Nicely-Nicely Johnson (Tamar Greene), and visiting gambler Big Jule (Zoe Vonder Haar), among others. The trick is that these are colorful characters, but they’re also recognizably human. It’s a broad comedy, but with some real emotion there as well.

The show is so well constructed that it’s difficult to do wrong, but it’s versatile enough that doing it right can look different from production to production. This one is bright, colorful, and vibrantly energetic, with excellent dance sequences choreographed by Lancaster that liven up the story and contribute to the overall atmosphere. In addition to the colorful set by Ann Beyersdorfer, there are also vividly designed costumes by Tim Kent, eye-catching lighting by Sean M. Savoie, and sound by Breanna Fais. The wigs and hair design by Paige Stewart also contribute to the overall evocation of the time and place. There’s also an excellent orchestra bringing these classic tunes to life, led by music director Dolores Duran-Cefalu. 

As for the cast, they’re uniformly excellent, led by the four leads who are all marvelous. Schatz is hilariously in a state of bewilderment as Nathan, who’s looking for a place for his crap game and trying to hold on to Aidelaide at the same time. Papacostas, for her part, is sensational, giving us an Aidelaide with real pathos as well as humor. Harvey is smooth and slick as Sky, leading the “Luck Be a Lady” number with style and energy, and he’s well-matched by Lindsay Roberts Greene as the determined, golden-voiced Sarah. These four form the heart of the show, but they’re back up by a stellar ensemble, with standouts including Tamar Greene as the personable Nicely-Nicely Johnson, who leads a rollicking “Sit Down You’re Rockin’ the Boat”, and a memorable title song along with the also excellent Barnes. Vonder Haar also standouts as commanding Chicago gangster Big Jule, getting some great comic moments, and John Flack is endearing as Sarah’s protective grandfather, Arvide Abernathy. The whole cast is well-defined and energetic, making for a thoroughly well-defined and entertaining production. 

Guys & Dolls is a classic for a reason, and Stages is proving that with its well put-together, thoroughly vibrant production currently running onstage at the Kirkwood Performing Arts Center. It fits into that space especially well, and entertains with song, dance, laughs, and a good deal of heart. It’s a “Musical Fable” for the ages, and well worth checking out. 

Katerina Papacostas, Matthew Schatz, Lindsay Roberts Greene, Sam Harvey and Cast
Photo: Stages St. Louis

Stages St. Louis is presenting Guys & Dolls at the Kirkwood Performing Arts Center until August 23, 2026

Posted in St Louis Theatre | Tagged , , , , , , , , , | Leave a Comment »

Energetic “Ain’t Too Proud” is a Crowd-Pleaser at the Muny

July 29, 2026 by Michelle Kenyon ("Snoop")

Ain’t Too Proud: The Life and Times of the Temptations
Book by Dominique Morisseau, Music and Lyrics from The Legendary Motown Catalog
Directed by Marcia Milgrom Dodge
Choreographed by Rickey Tripp
The Muny
July 28, 2026

Steve Rosen, Nick Rashad Burroughs, Elijah Ahmad Lewis, James T. Lane, Jawan M. Jackson and Daniel Yearwood
Photo by Phillip Hamer
The Muny

The Muny is currently presenting its premiere production of Ain’t Too Proud: The Life and Times of the Temptations, featuring the songs and story of the legendary Motown group. As directed by Marcia Milgrom Dodge and choreographed by Rickey Tripp, the show is an entertaining, informative look at the group’s ups and downs and a celebration of their famous music catalog, along with other Motown hits. With strong production values and a strong cast, it’s definitely a crowd-pleaser. 

The show, based on a memoir by founding member Otis Williams (James T. Lane), is narrated by Otis and follows the group from its earliest days until the present day, focusing mostly on the five “classic Temptations”–Otis, Paul Williams (Daniel Yearwood), Melvin Franklin (Jawan M. Jackson), Eddie Kendricks (Elijah Ahmad Lewis), and David Ruffin (Nick Rashad Burroughs). It follows their early days in Detroit through their rise to fame, and struggles with interpersonal issues and the changing music scene, especially in the 1960s and 70s. It’s an entertaining showcase of the group’s hit songs and style, with strong production values, although the first act seems a little long at times. Mostly, it’s about the music, and the hit songs like “My Girl”, “Ain’t Too Proud to Beg”, “Papa Was a Rolling Stone” are highlighted with energy and enthusiasm. The show also features hits by the Supremes (Candice Marie Woods, NaTonia Monét, E. J. Hamilton) and others.

The cast is strong, led by Lane in a personable performance as Otis Williams. Burroughs is also a standout vocally as David Ruffin, and Jackson is especially memorable as Melvin Franklin. There are also strong turns from Galen J. Williams as Motown executive Berry Gordy, Tyler Hardwick as Smokey Robinson, and Steve Rosen as the group’s manager, Shelly Berger. There’s also a strong ensemble, bringing style and energy to the music and evoking the style of the times especially well. Rickey Tripp’s vibrant choreography is also a highlight, as is the Muny orchestra led by music director Darryl G. Ivey. 

Technically, the show features a memorable set design by Edward E. Haynes Jr., reflecting the changing times well and filling the vast Muny stage with style. There are also excellent video projections by Kevan Loney, although the lighting by Rob Denton tends to be a little dark at times. The costumes by Gail Baldoni–based on original designs by Paul Tazewell–are vivid and stylish, and the sound by Joshua Hummel is excellent, for the most part.

Overall, Ain’t Too Proud is a lively, entertaining show celebrating a legendary Motown group with memorable performances that highlight a legendary catalog of hit songs. It fills the Muny stage with energy and a strong cast vibrant style. If you’re a fan of the Temptations and Motown in general, this is the show for you. 

Cast of Ain’t Too Proud: The Life and Times of the Temptations.
Photo by Phillip Hamer
The Muny

The Muny is presenting Ain’t Too Proud: The Life and Times of the Temptations in Forest Park until August 2, 2026

Posted in St Louis Theatre | Tagged , , , , , , , , , | Leave a Comment »

Well-Cast “Sweeney Todd” Chills and Thrills at Fly North Theatricals

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

Sweeney Todd: The Demon Barber of Fleet Street
Music & Lyrics by Stephen Sondheim, Book by Hugh Wheeler
Directed by Colin Healy
Fly North Theatricals
July 18, 2026

Jennelle Gilreath Owens, Chandler Spradling
Photo by Julie Merkle

I’ve seen Sweeney Todd done as a big show with a large cast and lavish production values, and also as a smaller show with a tighter budget, and it has worked in both of those situations because of a great cast and meticulous direction. Fly North Theatricals is going the “small” route with their latest production, and once again, it works, all because of thoughtful direction by Colin Healy and an excellent, well-chosen cast and crew that does justice to the script and Stephen Sondheim’s celebrated score.  It’s also been made to fit ideally into the relatively small space at Fly North’s theatrical home, Greenfinch Theater & Dive. 

Anyone familiar with this show will know it has a dark and creepy tone, and the subject matter is not for all ages. I won’t spoil too much, but I would say this is for older teens and up, age-wise. It follows the titular barber, Sweeney Todd (Chandler Spradling) as he returns to London after years of exile in Australia, seeking revenge on the sinister but outwardly pious Judge Turpin (Ken Haller), who is now raising Sweeney’s daughter, Johanna (Isobel Ramsey). The kind young sailor Anthony (Dereis Lambert), has helped Sweeney and soon meets Johanna and becomes instantly smitten. Meanwhile, Sweeney returns to his old place of residence and meets pie shop owner Mrs. Lovett (Jennelle Gilreath Owens), who is down on her luck making “The Worst Pies in London”. While Sweeney tries to restore his reputation as a barber and seeks to settle his score with the judge and his accomplice the Beadle (Matt Ingram), he and Mrs. Lovett soon discover a gruesome way of going into business together. Meanwhile, a mysterious Beggar Woman (Rachel Bailey) keeps turning up and unsettling those around her. 

That’s about all I can recount without spoiling. It’s a dark and chilling tale, with some carefully placed humor to balance the mood, and an intricately constructed score with clever lyrics and a bit of a Victorian air in keeping with the setting. The demands on the cast are great, and this cast rises to the challenge well. Spradling and Owens are especially strong, with Spradling’s brooding energy and booming voice especially ideal, and Owens’s comic timing and vocals equally excellent. The chemistry between these two is commendable, and duets like “A Little Priest” bring down the house. Lambert and Ramsey are also strong as secondary couple Anthony and Johanna, both in stage presence and chemistry, and in marvelous vocals. Speaking of vocals, Ingram as the Beadle is especially strong in this area, standing out in the “Parlor Songs” sequence in Act 2 especially. There are also strong turns from Haller as the creepy Judge Turpin and Crispin Shininger as Tobias, a young man that Mrs. Lovett takes in. Bailey, as the Beggar woman, is also a standout, and there’s also a strong ensemble backing the leads and lending excellent vocals to the mix. 

Technically, the Greenfinch space is a bit of a challenge, but I’ve seen it used very well before, and the set design here, by Colin Healy, Bradley Rohlf, and Lauren Perry, works well. The use of white curtains in some sequences is especially effective, as well as a rolling staircase piece. There’s also marvelous lighting by Healy and Perry that heightens the dark tone of the show. Jen Blum-Tatara’s costumes suit the characters well, and there’s also an excellent band led by music director Stephen Schermitzler. My only major issue with the show is in sound, since there are several moments in which it is difficult to make out the words to the songs over the music. I could still follow the show because I know it well, but I’m wondering how difficult it would have been for those who aren’t as familiar with the songs. I’m hoping this aspect of the show will be improved as the run continues.

Overall, despite the one quibble with the sound, this Sweeney Todd is a chilling, well-acted and well-sung success. It manages to keep the tone right throughout, and features a truly fantastic cast. It also makes the most of its space at the Greenfinch and brings the audience close to the action, adding to the creepy tone of the production. It’s an impressive showing from a great cast and crew. 

Isobel Ramsey, Dereis Lambert
Photo by Julie Merkle
Fly North Theatricals

Fly North Theatricals is presenting Sweeney Todd: The Demon Barber of Fleet Street at Greenfinch Theater & Dive until August 9, 2026

Posted in St Louis Theatre | Leave a Comment »

Crowd-Pleasing “Newsies” Seize the Day at the Muny

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

Disney’s Newsies
Music by Alan Menken, Lyrics by Jack Feldman, Book by Harvey Fierstein
Directed by Denis Jones
Choreographed by Richard J. Hinds
The Muny
July 18, 2026

Cast of Disney’s Newsies
Photo by Phillip Hamer
The Muny

Disney’s Newsies is back at the Muny, having previously played there in 2017. I hailed that previous production as being ideally suited for the Muny’s space, and this latest production is no different. Newsies is a big, energetic show that does well with a larger cast, as well as the Muny’s youth ensembles. This latest edition features great production values and an excellent cast across the board, all fitting well on the Muny’s enormous stage. 

The story, inspired by a real newsboys’ strike in New York City in 1899, follows a group of “newsies” who sell papers to support themselves. When Joseph Pulitzer (Michael Park) raises the prices the newsies pay for papers, newsies’ leader Jack Kelly (Jack Roden) calls for a strike. Joined by newcomer Davey (Bryce Williams), Davey’s little brother Les (Jaron Bentley), Jack’s friend Crutchie (Nolan Almeida) and more, the newsies attract the attention of the city and aspiring reporter Katherine (Kayla Pecchioni), who is attracted to Jack and has a secret of her own. Together, the newsies strive to be heard, gathering allies along the way including Vaudeville entertainer Medda Larkin (Anastacia McCleskey), while Pulitzer does what he can to foil their strike. Meanwhile, a lot of singing and athletic dancing ensues. 

This is a fun show, with likable characters and a clear villain, and lots of dancing–spinning, leaping, tapping, and more. The score is memorable, with lots of “anthem” type songs and a few catchy ballads along the way. The cast the Muny has assembled is excellent, doing justice to the material, and led by Roden in a dynamic, charismatic performance as Jack Kelly. He works especially well with the equally excellent Pecchioni as the persistent Katherine and standout Williams as the earnest, intelligent Davey. There are also memorable performances from young Bentley as Les, McCleskey as the kindly Medda, and Park as the greedy Pulitzer, as well as Almeida in an endearing performance as Crutchie. The leads are supported by an excellent ensemble, including an energetic youth ensemble all displaying the requisite energy and enthusiasm in the show’s many production numbers. The energy is infectious, judging by the crowd reaction at the performance I saw. 

The production values are spectacular, with a fantastic set by Tijana Bjelajac that utilizes the large Muny stage well, as well as all of its features including the turntable. The projection design by Caite Hevner is also excellent, supporting the set design well and contributing much in the way of period atmosphere. There are also eye-catching costumes by Emily Rebholz. The lighting by Paige Seber and sound by Joshua Hummel also work to contribute to the overall energetic vibe of the show. There’s also astounding choreography by Richard J. Hinds, adding much to the overall energy of the show. Special note goes to the superb Muny Orchestra led by music director Annbritt duChateau, which more than does justice to Alan Menken’s excellent and catchy score. 

With productions like this, I can understand why Disney’s Newsies has become so popular. It makes the most of its assets–characters, dancing, period flavor and a first-rate score–and appeals to the audience with style. It’s a splendid addition to the Muny’s 2026 season, and I wouldn’t be surprised if it comes back again in a few years. 

Bryce Williams, Jack Roden, Jaron Bentley, Kayla Pecchioni
Photo by Phillip Hamer
The Muny

The Muny is presenting Disney’s Newsies in Forest Park until July 22, 2026

Posted in St Louis Theatre | Tagged , , , , , , , , , , | Leave a Comment »

Midnight’s Engaging “Wakey Wakey” Features Strong, Thoughtful Performances

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

Wakey Wakey
by Will Eno
Directed by Ellie Schwetye
The Midnight Company
July 16, 2026

Joe Hanrahan
Photo by Joey Rumpell
The Midnight Company

The Midnight Company’s latest production is a short but thoughtfully staged intimate look at one characters ponderings on life and mortality. Starring Midnight’s artistic director Joe Hanrahan and directed by Ellie Schwetye, this is a show that doesn’t really have a plot, but there’s a lot to think about. It’s also clever in its use of audience interaction. 

Hanrahan’s character is billed as “Guy”, and it’s not entirely clear if that’s his name or a generic description. The truth is, he doesn’t need a name, since many of his reflections are universal and can apply to almost anyone. He starts the show sleeping in a wheelchair, and when he wakes up he isn’t entirely sure it’s time to start his presentation. He then proceeds to go through a series of reflections and questions about life and what it means, including remembering important events and people, and challenging the audience to do the same. Late in the show, as Guy has become a little more agitated, Rachel Hanks appears as Lisa, a calming presence who states that she’s there to help. As the play winds down, it soon becomes more clear what’s going on, but I won’t spoil that part.

Hanrahan is the show, essentially. His characterization is likable and engaging, if a little mixed up at times, and his interactions with the audience seem natural and engaging. He easily carries the majority of the show’s approximately one hour running time, aided by some fun projections designed by Zac Grimm. Hanks is also excellent, adding to the drama and working well with Hanrahan’s character. There’s also excellent work from director and sound designer Schwetye, lighting designer Tony Anselmo, and costume designer Liz Henning to help set and maintain the contemplative mood of the show. 

Wakey Wakey is like a conversation and a thought exercise rolled into one. Its focus on one relatable central character–with eventual help from another, calming presence–makes it fascinating. It works especially well in the small space at the Chapel. It’s not a long play, but there’s a lot to think about here, and while there is some humor, for the most part its a solemn reflection. If you’re up for examining life and mortality, and experiencing some excellent performances, it’s worth checking out.

Rachel Hanks, Joe Hanrahan
Photo by Joey Rumpell
The Midnight Company

The Midnight Company is presenting Wakey Wakey at the Chapel until August 1

Posted in St Louis Theatre | Tagged , , , , , | Leave a Comment »

Well-Cast “Jagged Little Pill” at Tesseract Highlights Music, Story with Energy

July 15, 2026 by Michelle Kenyon ("Snoop")

Jagged Little Pill
Lyrics by Alanis Morissette, Music by Alani Morissette and Glen Ballard, Book by Diablo Cody
Directed by Brittanie Gunn
Choreographed by Ella Drake and Ruben Medina
Tesseract Theatre
July 11, 2026

Cast of Jagged Little Pill
Photo: Tesseract Theatre

Although I’m somewhat familiar with Alanis Morissette’s music, I’m not an avid fan, so Jagged Little Pill as a musical isn’t something I was necessarily eager to see. Still, as staged by Tesseract Theatre under the direction of Brittanie Gunn, it does more than serve as a vehicle for Morissette’s music. It tells a fascinating tale featuring relatable characters played by a first-rate cast, creating a believable world and thought-provoking situations. 

The story has a lot going on, especially for one family all at the same time, but it’s theatre so for the most part, it works. Mary Jane Healy (Loren Goudreau) prides herself in her organization skills and her family, especially her oldest son, Nick (Stephen Henley), who just got into Harvard. Second child Frankie (Kinya Kairigi) frequently feels like second best, both as an adoptee and as an activist for causes her mom doesn’t seem to approve of. Dad Steve (Kevin O’Brien) is a workaholic who also feels like Mary Jane doesn’t give him much attention anymore. Also, at school, Frankie meets new student Phoenix (Jabari Boykin) and is attracted, much to the chagrin of her longterm friend/romantic partner Jo (Milo Garlich). Also, Nick finds himself in a dilemma when he witnesses something highly disturbing at a party involving his friend Bella (Lauren Tenenbaum). The events involve various issues that may be disturbing to some viewers, including frank talk about sex and sexuality, as well as violence and drug addiction. 

Even with so much going on, the characters are developed well, and the Morissette songs–including some new ones–are incorporated credibly into the story. The acting and singing is strong all around, although some sound issues occasionally make the lyrics difficult to discern. The cast is great, led by Goudreau in a strong turn as the perfectionist Mary Jane, who finds herself in a struggle she couldn’t predict, and Kairigi as the determined Frankie, who finds herself in the middle of a love triangle while also competing for her parents’ attention. Henley is also strong as the “perfect son” Nick, and Garlich is especially strong as Jo, getting to sing the well-known “You Oughta Know” with ferocity and strength. Tenenbaum, as Bella, is also excellent, and the ensemble is also strong, with energy and good vocals, executing the memorable choreography by Ella Drake and Ruben Medina with enthusiasm and style. 

The look of the show works well for the story and tone, with a fantastic, versatile set by Todd Schaefer that utilizes movable set pieces to excellent effect. There’s also great work by lighting designer Kevin Bowman and sound designer Phillip Evans. There’s also a great band led by music director Leah Schultz, doing justice to the hard-driving Morissette soundtrack. 

Jagged Little Pill is a well-told story, for the most part, and it’s fascinating from start to finish, with well-defined characters and great performances. It’s a treat for Morissette fans, especially, I would think. It’s another excellent musical from Tesseract. 

Cast of Jagged Little Pill
Photo: Tesseract Theatre

Tesseract Theatre is presenting Jagged Little Pill at the Marcelle until July 26, 2026

Posted in St Louis Theatre | Tagged , , , , , , , , , | Leave a Comment »

Older Posts »