“ZM (Zombie Musical)” Entertains with Dark Comedy, Satirical Horror at New Line

October 7, 2026 by Michelle Kenyon ("Snoop")

ZM (Zombie Musical)
Book and Lyrics by Greg Kotis
Music and Lyrics by Mark Hollmann
Directed by Scott Miller and Chris Moore
Choreographed by Livy Potthoff
October 2, 2026

John Lucas, Kenya Devine, Adeline Hudelson
Photo by Jill Ritter Lindberg
New Line Theatre

It’s getting close to Halloween, and in St. Louis that usually means various theatre companies are doing horror shows. This year is no different, with several companies planning horror-themed productions either series, comic, musical, or a combination. At New Line Theatre, it’s comic horror on stage with the American premiere of a show from the writers of Urinetown and Yeast Nation. It’s called ZM (Zombie Musical), directed by Scott Miller and Chris Moore. For the most part, it’s a fun satire with a strong cast and fine score. 

This is a show that takes the Zombie genre and uses it to tell an engaging, darkly funny story that satirizes teen horror films, corporate greed, generation gaps, and more. It starts out in full zombie-apocalypse mode, as zombies are terrorizing a small town and the residents are doing what they can to hide and protect themselves. The focus then turns to a franchise of huge fast food chain Chicken Hutt, where teenage employees Barnabas (John Lucas) and Mercy (Adeline Hudelson) are holed up and singing about the strength of their relationship in the midst of the crisis. Soon they are joined by Lydia Light (Kenya Devine), a nutritionist for Chicken Hutt’s corporate headquarters, who has brought the unconscious child Billie (Leah Connelly), who is the daughter of the head of the company, William Hutt (Jeff Loeffler). Although Billie has been bitten by zombies, she has not “turned”, and Lydia leaves her with Mercy to protect her while Lydia enlists Barnabas to drive her to look for Hutt and confront him about a “correlation” between the zombie outbreak and Chicken Hutt’s popular new sandwich which features a special sauce. In the meantime, Mercy is still at the Chicken Hutt store, where she’s confronted by the creepy Hippy John (Robert Hanson), who has ideas of repopulating the world with Mercy. She’s also joined by her friend Anna (Steph House), who had been separated from her boyfriend, Uriah (Daniel Chioco), who they are presuming has been caught by the zombies. What ensues is a story of zombie terror, greed, and ambition, including a (not exactly necessary) love triangle and a few secrets and twists along the way and the zombies ran rampant and the “heroes” rush to find Mr. Hutt in the seemingly vain hope of stopping the zombie invasion. 

For the most part, although there are sound issues at the beginning that make the first song difficult to understand, this is an entertaining show with a talented cast. It’s cleverly constructed with perhaps one subplot too many, and creates a believable world and memorable characters, particularly Mercy, played with gutsy energy by Adeline Hudelson, and Barnabas, played by Lucas with goofy charm and determination. There are also memorable performances by Connelly as the increasingly mysterious Billie–who has some flashback moments that reveal hints of what’s to come–and Devine as Lydia, who has strong vocals and secrets to reveal. There are also memorable turns from Loeffler who gets a standout moment with “Wrong” in Act 2; House as the determined Anna; Hanson as the creepy Hippy John; along with Bee Mecey and Jacob Brewer as Chicken Hutt corporate employees Julie Hempstead and Junius Hampton. They are also well supported by Chioco as Uriah and Lamarkus Jones in various roles. The ensemble has a great deal of energy, and the zombies especially seem to be having a good time with their roles, with excellent movement and strong choreography by Livy Potthoff in the production numbers. 

Physically, the show looks great, with a simple but effective set by Rob Lippert featuring two revolving set pieces that represent various locations in the show. The lighting by Eric Wennlund is also memorable, helping to maintain the dark, ominous tone that the show demands. There are also excellent costumes by by Madeline Trinity that suit the characters and the theme of the show especially well. The excellent New Line Band, led by music director Jason Eschhofen, performs the score with energy, although at times they can drown out the singers, especially at the beginning of the show. 

Overall, ZM (Zombie Musical) is a fun, clever and satirical show that maintains a dark and creepy but humorous tone throughout. Although it’s not a perfect show, it’s highly entertaining and a good showcase for an excellent cast. Especially if you’re into comic horror, and zombies in particular, this is an ideal show to see for Halloween season. 

Leah Connelly, Jeff Loeffler, and Cast
Phot by Jill Ritter Lindberg
New Line Theatre

New Line Theatre is presenting ZM (Zombie Musical) at the Marcelle Theater until October 24, 2026

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Empathy and Humor Confront Hate in NJT’s Excellent “Just For Us”

October 7, 2026 by Michelle Kenyon ("Snoop")

Alex Edelman’s Just For Us
by Alex Edelman
Directed by Alan Knoll
New Jewish Theatre
October 1, 2026

Jacob Flekier
Photo by Jon Gitchoff
New Jewish Theatre

New Jewish Theatre has turned into a comedy club for its latest production, Alex Edelman’s Just For Us, directed by Alan Knoll and starring Jacob Flekier as the play’s writer, comedian Alex Edelman. While the show is unquestionably a comedy, it tackles a serious subject with sensitivity and empathy as well as humor. It provides a lot to think about as well as providing a platform for a fantastic solo performance and not a few genuine laughs in this ultimately upbeat story about one man’s choice to confront hatred directly and the effects that confrontation had on him in the process.

Walking into the theatre space for this production truly did feel like being in a comedy club, with Jayson Lawshee-Gress’s set and lighting setting the stage, and tables set up in the front for audience members. There’s also clever staging with use of stools to represent where characters in the narrative are sitting at various times, and the stage provides a great backdrop for Flekier’s amiable, energetic performance. There’s also strong work from sound designer Ethan Foss and costume designer Michele Friedman Siler in setting the overall mood and tone of the show, as we meet a comedian who is about to tell his intriguing, funny story that also has degrees of sadness.

The show, originally performed by Edelman himself in various venues including a Broadway run, has a narrative but also takes several diversions to talk about Alex’s background and upbringing, and particularly his devout Jewish family and the values his parents raised him with and also modeled as Alex grew up. These diversions provide some of the more memorable moments of the show, especially the story about how his family celebrated Christmas one year to support a lonely friend of Alex’s mother’s who had nowhere else to go. There are also a few seemingly unrelated jokes thrown in from time to time, but these get tied into the overall story quite well by the end. 

The main story follows Alex, who has been occasionally harassed on social media by anti-Semitic posters, as he makes a Twitter/X list of the harassers and finds out through that list about a gathering of white supremacists that is coming up soon in Queens; so Alex decides to go. The descriptions of the event are vivid and well-portrayed by the energetic, personable Flekier, as Alex finds himself in an apartment surrounded by a group of white nationalists who share their grievances with one another, including obvious hatred and distrust for Jewish people. Alex describes and portrays several of these people clearly, including Chelsea, whom Alex finds attractive, the suspicious Matt, who calls himself “Cortez” when he introduces himself to Alex, and an older lady who is fond of putting together giant jigsaw puzzles. Through the course of the meeting, Alex is careful to not reveal his Jewish identity, and even manages to attract the admiration of some of the attenders, until inevitably, the truth is revealed and the reactions are not exactly surprising. I won’t reveal too much because I don’t want to spoil, but the fascinating part of the story is its focus on empathy, bringing into play the values with which Alex was raised and talks about in his various anecdotes. It doesn’t downplay the dangers of hatred and anti-Semitism, but it does raise ideas of how to confront such hatred with thoughtfulness and empathy.

At the center of this intriguing, hilarious, and thoughtful show is Flekier’s first-rate performance as Alex. Flekier has fantastic stage presence, energy, and comic timing, making the stories he tells all the more engrossing as the show goes along. It’s a stellar performance by a talented performer who has performed excellently at NJT before, although here he is at his best. It’s a marvelous comic and heartwarming turn.

Alex Edelman’s Just For Us is a fine showcase for a supremely talented performer, well-directed and well-paced. It’s a fascinating show that looks at confronting hatred with empathy, coming across ultimately as an upbeat, optimistic look at the values that Alex learned from his Jewish upbringing. It’s another great show from this consistently excellent company. 

Jacob Flekier
Photo by Jon Gitchoff
New Jewish Theatre

New Jewish Theatre is presenting Alex Edelman’s Just For Us at the JCC’s Wool Studio Theatre until October 18, 2026

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Impeccably Cast “Appropriate” Makes a Haunting Statement at TWSTL

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

Appropriate
by Branden Jacobs-Jenkins
Directed by Benny Sato Ambush
Tennessee Williams Festival St. Louis
September 24, 2026

Lizi Watt, Jilanne Marie Klaus, Michael James Reed
Photo by Phillip Hamer
Tennessee Williams Festival St. Louis

For the first time, the Tennessee Williams Festival St. Louis’s mainstage play is not by Tennessee Williams.  Branden Jacobs-Jenkins’s Appropriate, is headlining this year’s festival theme of “The Tennessee Effect”, recognizing Williams’s influence on other writers and culture. Jacobs-Jenkins has acknowledged the influence of Williams on his work, and this particular play has a southern Gothic vibe and themes that fit with Williams’s style. This production, directed by Benny Sato Ambush and featuring a stellar cast, has an increasingly disturbing but important theme, and is sure to provoke much thought and discussion.

The story is essentially one large confrontation that plays out over a few days. The Lafayette family is gathering to auction off the ancestral home and belongings of their recently deceased patriarch. Long-estranged brother Franz (Joel Moses), who was known in the family as Frank, arrives unexpectedly along with his much-younger fiancée River (Maggie Newstead-Adams), startling and angering his older sister Toni (Jilanne Marie Klaus), who remembers him as an addict and frequent troublemaker who engaged in some horrific behavior which she thinks may have been a bad influence on her teenage son Rhys (Braden Phillips). Franz is trying to make amends with Toni and their other sibling, Bo (Michael James Reed), who arrives with his wife, Rachael (Lizi Watt), and their kids, 13-year-old Cassidy (Ainsley Hammond) and 8-year-old Ainsley (Aviv Giancola-Poremba). It’s fairly obvious there are tensions in the family already, but when young Ainsley inadvertently discovers some highly disturbing pictures in a book that belonged to his late grandfather, the whole family is driven into an uproar about what to do, with some–especially Toni–being in denial of what the photos imply about her father. From there, the story gets gradually more disturbing, and secrets are revealed and tensions are laid bare.

There’s an overall haunting vibe throughout, as well, enhanced by the excellent lighting by Matthew McCarthy and sound by Mary Robinson. McCarthy also designed the detailed set, effectively bringing the dilapidated old plantation house to the stage. There’s also excellent work from costume designer Abby Pastorello and properties  designer Mikhail Lynn in helping maintain a creepy Southern Gothic atmosphere that’s much in the vein of something Tennessee Williams would have approved. 

The themes here start out dark and get ever darker, spelling out the consequences of generational trauma and years of racial oppression in the American South. The family’s reactions to the various revelations show how they have been affected by their upbringing whether they acknowledge it or not, and the actors all do an excellent job of bringing these complex characters to life, led by Klaus as the bossy Toni, Reed as the conflicted Bo, and Moses as the especially damaged Franz, who all go through the gamut of emotions in realistic, affecting ways. Watt as the protective mother Rachael is also strong, as is Newstead-Adams as the idealistic River, who doesn’t quite know as much as she thinks she knows about Franz. There’s also excellent support from Hammond as the precocious Cassidy, and fine performances from Phillips as Rhys and young Giancola-Poremba in a smaller but pivotal role as Ainsley. The cast does an excellent job of making these difficult and often unlikable characters compelling.

The tension builds with remarkable effect, leading up to a powerful ending that highlights the stellar lighting and sound design, reminding the audience that the issues here are not those of one family, but of the whole country. It’s a profound, highly thought-provoking and not a little disturbing production that is likely to linger in one’s mind after viewing. It’s a bold new step for Tennessee Williams Festival St. Louis, and while it will be good to see more Williams plays on the main stage in the future, this departure is especially profound and memorable. 

Lizi Watt, Joel Moses, Jilanne Marie Klaus, Michael James Reed
Tennessee Williams Festival St. Louis

Tennessee Williams Festival St. Louis is presenting Appropriate at COCA’s Catherine B. Berges Theatre until September 27, 2026

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Riveting “Come From Away” is a Profound Success at Stages

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

Come From Away
Book, Music, and Lyrics by Irene Sankoff and David Hein
Directed by Michael Bello
Stages St. Louis
September 23, 2026

Cast of Come From Away
Photo by Phillip Hamer
Stages St. Louis

When I first saw Come From Away on tour at the Fox in 2019, I mentioned in my review that I thought it would do especially well in regional theatres when the rights became available. Well, now it seems to have become one of the most popular musicals for regional and community theatres, and Stages St. Louis’s latest production is proving just how successful this show can be in a regional setting. With a great cast and strong production values, the show gets its message across effectively, with a profoundly entertaining result. 

The story follows the residents of the town of Gander, Newfoundland, on and following September 11, 2001, on which the town’s airport became the emergency landing place for many airplanes that were grounded as a result of the horrific events of that day. The show follows how the town responded to the sudden need, as well as showing the experiences of some of the plane passengers that found themselves stranded in a strange place for a few days. Among the stories featured are that of Gander resident Beulah (Zoe Vonder Haar) and plane passenger Hannah (Rheaume Crenshaw), who form a friendship while Hannah is waiting for news of her NYC firefighter son. There’s also the story of ASPCA worker Bonnie (Leah Berry), who makes it her mission to care for the various animals on the planes; as well as Englishman Nick (Jamie LaVerdiere) and Texan Diane (Amy Blake), who meet and form an attraction while stranded in Gander; and also the story of pilot Beverley (Aléna Watters), who loves to fly but is dealing with the tragedy of planes being used as weapons. Other stories highlight how the residents and passengers work together and how the passengers are bewildered by the kindness of the Canadian strangers. The songs are a blend of folk-influenced tunes and traditional musical theatre, with a highlight being the “Prayer” moment which uses the hymn “Prayer of St. Francis” to excellent effect. 

The cast is fantastic, led by Vonder Haar repeating her role from the Muny’s 2025 production, along with her equally excellent frequent scene partner Crenshaw as Hannah, who gets a moving solo musical moment with “I am Here”. Berry as Bonnie is also excellent, as are Kilty Reidy as the town’s mayor, Claude, and Cara Palombo as rookie TV reporter Janice. LaVerdiere and Blake are a treat in their scenes as Nick and Diane, and Watters has memorable presence as Beverley, including the standout song “Me and the Sky”. Nikita Burshteyn and Albert Jennings are also excellent as two bickering boyfriends both named Kevin. There’s a strong ensemble all around, bringing much energy and heart to the overall proceedings.

Michael Bello’s direction and Kyli Rae’s musical staging are also to be commended, along with the first rate production values. Anne Beyersdorfer’s detailed set is the most elaborate I’ve seen in this show, and it works remarkably well. There’s also marvelous lighting by Sean M. Savoie, sound by Max Silverman, and costumes by Catherine Lovejoy that add much to the overall vibe of the show. There’s also a terrific onstage band led by music director Jacob Carll. 

Considering the important story it tells and its ultimately uplifting message of kindness in the midst of tragedy, as well as how well the show is put together, it makes sense to me that it has become so popular with theatres of all sizes across the country. At Stages, the production is full of energy, music, and emotion, as well as truly memorable performances and stunning production values. It’s a fitting closing show for a a fantastic 2026 season. 

Cast of Come From Away
Photo by Phillip Hamer
Stages St. Louis

Stages St. Louis is presenting Come From Away at the Kirkwood Performing Arts Center until October 18, 2026

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STLAS’s “Mercy Seat” Explores Relationship Tension, Moral Dilemmas at a Tumultuous Time

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

The Mercy Seat
by Neil LaBute
Directed by John Pierson
St. Louis Actors’ Studio
September 13, 2026

Kelley Schnider, Franklin Killian
Photo by Patrick Huber
St. Louis Actors’ Studio

St. Louis Actors’ Studio is starting their new season with a play set against the backdrop of one of America’s greatest tragedies, but its focus is more intimate. Looking at a relationship between a man and woman affected by the tragedy, Neil LaBute’s The Mercy Seat draws into focus issues of moral dilemmas, human nature, and the consequences of owning up to the truth. It’s a well-constructed script that serves as a showcase for two first-rate performances. 

The story takes place in New York City on September 12, 2001. Abby (Kelly Schnider) returns to her apartment after running out for what groceries she could find, finds a stunned Ben (Franklin Killian) sitting on the couch, ignoring a perpetually ringing cell phone. We learn that these two have been having an affair for some time, Ben is married with kids, and both apparently worked at the World Trade Center, but were not there for the attacks because they were at Abby’s place for a rendezvous. What ensues is a 90-minute back-and-forth conversation about an idea Ben has to take advantage of the tragedy for their benefit, and Kelly’s hesitance to go along with the plan. It’s a well-structured script that reveals much about the characters of both Ben and Abby throughout, raising the perpetual questions of why these two are even together in the first place, and whether they will really go through with what Ben is proposing.

The acting is what brings the drama here. The two leads are especially well chosen, with Killian painting a complex but not exactly likable portrait of a somewhat self-absorbed Ben, who seems to automatically assume Abby will go along with his idea despite her reasonable objections. Schnider is also excellent as the highly conflicted Abby, who clearly loves Ben but is realizing things about him that she’s not too happy with. The conflict and interplay between these characters is the play, essentially, and setting it around 9/11 brings out even more tension and drama knowing that a bigger crisis is going on “out there” while these two deal with their own issues and dilemmas. It’s an intriguing idea, and the setting serves as a way to reveal the truth of these characters’ inner motives in an immediate, intense way. 

The scene is set well, with Patrick Huber’s detailed set and excellent lighting providing an air of authenticity to the time period and situation, as do Teresa Doggett’s well-designed costumes. There’s also strong work from sound designer John Pierson, who also directed the show with thoughtfulness and excellent pacing. The show uses the space at the Gaslight Theater particularly well, serving as an ideal backdrop for the confrontation that ensues. 

This isn’t a long show, but a lot happens in 90 minutes, and the characters are well-drawn an especially well portrayed. It’s not easy to like Ben particularly, but that makes sense the way the story plays out. It’s an intriguing story featuring two strong performers, and a good start to STLAS’s new season. 

Franklin Killian, Kelly Schnider
Photo by Patrick Huber
St. Louis Actors’ Studio

St. Louis Actors’ Studio is presenting The Mercy Seat at the Gaslight Theater until September 27, 2026

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The Black Rep Stages Powerful, Emotional “Color Purple”

September 16, 2026 by Michelle Kenyon ("Snoop")

The Color Purple
Book by Marsha Norman
Music and Lyrics by Brenda Russell, Allee Willis, and Stephen Bray
Directed by Daniel Bryant
Choreographed by Heather Beal
The Black Rep
September 12, 2026

Kelvin Roston, Jr., Angela Wildflower, Adrienne Spann, Brian McKinley
Photo by Arieona Phillips
The Black Rep

The Color Purple, based on Alice Walker’s celebrated novel, has been filmed, made into a musical, and filmed again as a musical. The musical is currently resonating with audiences as the first show in the Black Rep’s 50th season, directed by Daniel Bryant. Featuring a stellar cast and memorable production values, this is a production that leans into the emotion of the story and its characters. I’ve seen this musical before twice, and I’ve been impressed both times, but this one might just top them all. 

The story, set in the first part of the 20th Century in Georgia, follows Celie (Angela Wildflower), who grows up in a difficult situation, abused by her father and forced to give up her newborn children. She’s also forced to marry Mister (Kelvin Roston, Jr.) who treats her badly and wanted to marry her sister Nettie (Morgan Taylor), who he eventually drives away when she refuses his advances. Celie is timid and fearful at first, but she meets influential people who help her to learn to stand up for herself, including the bold Sophia (Adrienne Spann), who marries Mister’s son, Harpo (Brian McKinley), and outgoing singer Shug Avery (Alexis J. Roston), to whom Celie becomes especially close. Over the years, Celie is able to find her own path and voice, influencing the lives of those around her, as well.

The story covers a lot of themes, including life for Black Americans in the South, and the systemic racism and sexism that causes much hardship for Celie and others. There are also more uplifting themes of friendship, love, and finding your own path despite various troubles. It also features some topics that are probably best reserved for mature teens and up. It’s a highly emotional, often poetic story that follows one woman’s path amid suffering toward finding her purpose. 

The cast is universally excellent, led by Wildflower in a fantastic, complex performance as Celie, growing into the character obviously and convincingly as Celie matures from a young, timid girl to a bolder, more confident woman. Her vocals are also spectacular, particularly in the show-stopping “I’m Here” in Act 2. There are also strong performances from Kelvin Roston, Jr. in a particularly complex portrayal of Mister, as well as Alexis J. Roston as the outgoing, amorous Shug. Spann is also a standout as the bold Sophia, matched well with McKinley’s Harpo, who also has convincing chemistry with Tyler White’s ambitious Squeak, Harpo’s occasional girlfriend. There are fine performances, as well, from Anita Jackson, Amber Rose, and Olivia Neal as a trio of Church Ladies who serve as something of a Greek Chorus, commenting on the action of the story. There’s also a strong ensemble full of energy and backing up the leads with enthusiasm and strong dance moves choreographed by Heather Beal. 

The look and atmosphere of the show is well realized through Tim Jones’s excellent, evocative unit set and Michael Sullivan’s marvelous lighting which utilizes colors especially well, including the titular purple. The costumes by Jarrod Barnes are well-crafted and styled to the period, and there’s also excellent work from sound designer Justin Schmitz and props maker Mikhail Lynn. The ensemble is backed by a strong and vibrant band, as well, led by music director Jermaine Manor. 

The Color Purple is a stirring, highly affecting musical that’s sure to leave a strong impression on its audiences, as judging by the reactions I witnessed the night I saw it. It’s a well-cast, character-driven show that evokes its themes and time period with substance and emotion. It’s possibly the best production of this show I have seen, and I highly recommend checking it out while you can. 

Cast of The Color Purple
Photo by Arieona Phillips
The Black Rep

The Black Rep is presenting The Color Purple at Washington University’s Edison Theatre until September 27, 2026

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Energetic “Little Women” Delights and Captivates at the Rep

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

Louisa May Alcott’s Little Women
Adapted by Lauren Gunderson from the Novel by Louisa May Alcott
Directed by Delaney Piggins
The Repertory Theatre of St. Louis
September 11, 2026

Amira Danan, Kristen Lintvedt, Marcia Pizzo, Andrea San Miguel, Addison Foote
Photo by Jon Gitchoff
The Repertory Theatre of St. Louis

Little Women is supremely adaptable. It’s been made into at least four films, several TV series, and a few theatrical adaptations, including a Broadway musical. Louisa May Alcott’s story is so beloved that it’s never gone out of print, as pointed out in the adaptation by Lauren Gunderson that is now playing at the Rep, under the direction of Delaney Piggins. As staged in this lively, perfectly cast production, it’s easy to see why the story is so popular. It has memorable, relatable characters and themes that still resonate over 150 years after the novel was originally published. At the Rep, this adaptation is full of energy, humor, heart, and drama, and it’s a sheer delight from start to finish. 

This version of the story has an intriguing framing device. It begins by focusing on Alcott herself (Andrea San Miguel), and her family, who are the inspiration for the story, including the sisters she names Meg (Amira Danan), Beth (Kristen Lintvedt), and Amy March (Addison Foote), who along with their mother, Marmee (Marcia Pizzo) make comments to “Lou”–as Alcott is known–about her story as it plays out, and Lou becomes Jo March. The characters also narrate the story at times as if reading from the book. Through the experiences of Jo and the close-knit March family, we also get to meet next-door neighbor boy Laurie (Jack Lancaster), who develops a strong attachment to Jo; and Laurie’s tutor John Brooke (Adam Poss), who becomes Meg’s suitor. Poss also turns up later as the kindly Professor Friedrich Bhaer, who befriends and develops an attachment to Jo later in the story. 

The story is structured impressively well, with the relationships and characters all being given enough time to develop and grow. The sisterly relationships–with all their love, tensions and struggles–are extremely realistic and relatable. The romances make sense and the sadder moments are given just the right amount of weight. The performances are stellar, starting with San Miguel’s fierce, passionate portrayal of Lou/Jo, who is the center of the story without being a detriment to the other characters. Danan as the more prim, “ladylike” Meg is also excellent, as are Lintvedt as the more timid, fragile, music-loving Beth and Foote as the artistic, impulsive Amy. All of these performers age well into their roles as the years go by in the story, as well. There are also strong performances from Pizzo as the loving Marmee and the bossy Aunt March; Lancaster as the devoted, emotional Laurie; and Poss in the roles of two very different suitors who both show strong chemistry with their romantic partners. 

This is simply a marvelous version of Little Women! Everything is so well done, from the acting to the pacing, to the use of music, to the wonderful production values that keep it vibrant and relatable while also credibly conveying the sense of time and place, as well as the themes of growing up, the changing roles of women in society, sisterly bonds and tensions, and more. The set by Ann Beyersdorfer is beautifully realized, and the costumes by Kotryna Hilko are remarkably detailed. There’s also excellent work from lighting designer Paige Seber, sound designer Amanda Werre, wig designer Will Vacari, choreographer Sam Gaitsch, music supervisor Kristen Lintvedt, fight director Paul Steger, and intimacy director Frankie Ferrari. 

Little Women is a beloved classic no matter how many times you’ve read it or how many films or dramatic adaptations you’ve seen. Lauren Gunderson’s adaptation is particularly insightful and vibrant, and the production onstage now at the Rep is sure to delight all ages. It’s a timeless classic made all the more immediate, and it’s truly a must-see performance. 

Andrea San Miguel, Jack Lancaster
Photo by Jon Gitchoff
The Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis is presenting Louisa May Alcott’s Little Women until September 27, 2026

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“Confetti Kids” at SATE Finds Relationship Drama in Environmental Crisis

August 22, 2026 by Michelle Kenyon ("Snoop")

Confetti Kids
by Aurora Behlke
Directed by Kristen Strom
SATE 
August 20, 2026

Nicole Angeli, Tia René Williams
Photo by Joey Rumpell
SATE Ensemble Theatre

SATE, one of my favorite theatre companies in St. Louis, is presenting a world premiere production at the Chapel arts venue. Confetti Kids by Aurora Behlke, directed by Kristen Strom, takes a real life story that has affected the St. Louis area and envisions a family drama in the midst of it. It’s a compelling story with intense drama, as well as humor and heart. It also serves as an excellent showcase for superb local actors. 

The story follows Dr. Rachel Graves (Nicole Angeli), a single mom, nuclear scientist and former college professor, and her teenage daughter, Maya (Tia René Williams), who is going through some personal struggles leading up to her high school prom. Rachel is distracted, however, by her own personal issues, and by the fact that she is giving a presentation at a PTA meeting at Maya’s school on the night of the prom. Rachel grew up in the area, as well, and so she has some personal ties to her subject matter at the presentation–the Coldwater Creek nuclear waste contamination in North County. Rachel is also hiding a personal secret from Maya that her friend and physician Daniel (Adam Flores) and one of Maya’s teachers, Vera (Hailey Medrano) urge her to reveal. Rachel, however, is stubborn, and if she’s going to do this presentation, she’s going to do it her own way, regardless of looming consequences about which she’s in perpetual denial. Meanwhile, Maya tries to contact her mother on prom night, only to have to leave voicemails and texts, wondering what exactly is going on. 

The script is clever and fascinating, creating a credible personal story connected to a known environmental catastrophe. The format is non-linear, following Rachel’s presentation but hopping around between other times to show the lead-up to the meeting, Maya’s issues with her friends and Rachel about prom preparations, Rachel’s own personal history, and more. There’s also effective use of video and projections by Eric Satterfield that help to educate about the overarching issues as well as the highly personal relationship story that spans generations in Rachel’s family. I did find a little bit of trouble with Rachel’s continuing denial of her need to reveal her secret, which seems to be dragged out a bit long, but the resolution works reasonably well and leads to a mostly satisfying ending. 

The acting makes the show especially engaging, with the relationship between Rachel and Maya front and center. As Rachel, Angeli is compelling and seemingly eternally stubborn, which can be frustrating although Angeli makes the stubbornness entirely credible. As Maya, Williams is believable as well, understandably presenting the teenage angst leading up to prom. The relationship between mother and daughter is especially credible, as well. There’s also excellent support from Flores as Rachel’s concerned friend and doctor, Daniel, and Medrano as Maya’s young, activist teacher, Vera. It’s a strong cast all around, although Daniel isn’t given a lot to do at first and initially comes across as just nagging, but Flores handles the role well, and he is given more to do later. 

The scenic design by Erik Kuhn helps frame the story well, with various set pieces that can be moved around as needed. There’s also excellent work from lighting designer Theresa Comstock and sound designer Ellie Schwetye, especially in the scenes toward the end involving confetti. Yes, there is real confetti–a lot of it, and it creates a fun element in the story. There’s also strong work from costume designer Kayla Lindsay and videographer Brian Dooley. 

Confetti Kids is a compelling story taken from a “headline news” topic made personal. It’s educational as well as being a relationship drama, with some moments of humor to balance out the intensity. It’s another excellent ensemble show from SATE. 

 

Adam Flores, Nicole Angeli, Tia René Williams, Hailey Medrano
Photo by Joey Rumpell
SATE Ensemble Theatre

SATE is presenting Confetti Kids at the Chapel until August 26, 2026

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“Something Rotten!” Entertains in Shakespearean Style at the Muny

August 19, 2026 by Michelle Kenyon ("Snoop")

Something Rotten!
Book by Karey Kirkpatrick and John O’Farrell
Music and Lyrics by Wayne Kirkpatrick and Karey Kirkpatrick
Directed by Rob Ruggiero
Choreographed by Parker Esse
The Muny
August 18, 2026

Jacob Dickey, Matt Doyle, WIll Burton and Cast
Photo by Phillip Hamera
The Muny

The Muny is closing out its 2026 season with a trip to the Renaissance, for the hilarious, Shakespearean musical comedy Something Rotten!, directed by Rob Ruggiero and choreographed by Parker Esse.  Having seen it twice before–one bigger production and one small–I was looking forward to seeing what the Muny could do with it on its giant stage in Forest Park. The result is, as expected, a laugh riot, with lots of humor and a good deal of heart as well. With a strong cast and the Muny’s typically fantastic production values, this show is a sure crowd-pleaser that draws lots of laughs and audience enthusiasm. 

The story, after an intro from a Minstrel (DeMarius  R. Copes) takes us to Elizabethan England, where brothers Nick (Matt Doyle) and Nigel Bottom (Will Burton) head up a theatre troupe, but they are having trouble finding their next hit play due to constant competition from star playwright William Shakespeare (Jacob Dickey), who seems overly interested in what the brothers produce. Nick, desperate to support his family including wife Bea (Bryonha Marie) and impending baby, finds a soothsayer named Nostradamus (Jen Cody)–not that one, but his niece–to find out what Shakespeare’s biggest hit play is going to be, along with what “the next big thing” in theatre will be. This leads Nick on a path to producing a flashy show to the frustration of poet Nigel, for whom the idea “just doesn’t sound right”. Nigel, for his part, has fallen for Portia (Elizabeth Teeter), a young Puritan woman who also loves poetry, to the great disappointment of her sanctimonious father, Brother Jeremiah (Lara Teeter). While the brothers try to work out their differences and Shakespeare schemes, much hilarity ensues leading up to the production of Omelette: The Musical. 

It’s a fun show. What’s especially good about it is that it works no matter the size of the cast or company, and it works just as well with flashier production values as it does on a more modest budget. It’s just funny, and funny goes a long way. The Muny’s production is obviously a bigger one, with a lavish set by Edward E. Haynes Jr. that takes the audience to a slightly cartoonish version of Renaissance England, as well as excellent costumes by DW, based on the original Broadway designs by Gregg Barnes. There’s also catchy lighting by Rob Denton, strong sound by Joshua Hummel, and memorable video design by Camilla Tassi. The orchestra is also excellent, doing justice to the fun score and led by music director Anne Shuttlesworth.  It’s a big, bright energetic show with brisk pacing and a load of hilarious jokes.

The cast is first-rate, as well, led by likable performances from Doyle and Burton as Nick and Nigel. Burton is especially a standout as the sensitive, creative Nigel, and his scenes with the equally excellent Elizabeth Teeter as Portia are a highlight. Marie is strong as the feisty Bea, as well, and Dickey brings a scheming energy and rock-star like quality to Shakespeare. Cody is also a scene-stealer as Nostradamus, showing off excellent physicality and comic timing. The leads are backed by a top-notch ensemble, as well, with fun moments from Adam Heller as Shylock, Lara Teeter as the dour Brother Jeremiah, and Copes as the clear-voiced Minstrel, along with a large ensemble of villagers, actors, and more. It’s an energetic troupe, executing Parker Esse’s vibrant choreography especially well. 

Something Rotten! is, simply put, a whole lot of fun. It’s great to see it make its Muny debut with such a large, vibrant production and such a strong cast and crew. If you love Shakespeare and musical theatre, like I do, it’s sure to be a special treat. All the musical insider jokes make for a special treat, as well. It’s a marvelous way to close out the Muny season. 

Casst of Someting Rotten!
Photo by Phillip Hamer
The Muny

The Muny is presenting Something Rotten! in Forest Park until August 23, 2026

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“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

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