The Black Rep’s “Eubie!” is a Dynamic, Melodic Tribute to a Musical Legend

May 10, 2023 by Michelle Kenyon ("Snoop")

Eubie!
Music by Eubie Blake
Conceived and Originally Directed on Broadway by Julianne Boyd
Directed by Ron Himes
Choreographed by Heather Beal and Vivian Watt, with Tap Choreography by Robert Crenshaw
The Black Rep
May 5, 2023

Cast of Eubie!
Photo by Phillip Hamer
The Black Rep

Eubie Blake was a composer and musician who made a big impact in the entertainment world, especially in terms of representation for Black performers, artists, and audiences. A few of his songs have endured as classic jazz/pop standards. Here in St. Louis, the Black Rep is paying tribute to Blake in staging the lively, memorable revue Eubie! Featuring a strong cast and impressive choreography, the show is a fitting tribute to Blake, as well as a memorable introduction for those who may not be as familiar with his work. 

For me, this show is an educational experience. I had heard of Eubie Blake, and particularly his song “I’m Just Wild About Harry” and his 1921 musical Shuffle Along, that was the source for a “making of” Broadway Production a few years ago. The majority of his work was new to me, however, and this revue, with its excellent singing, dancing, and presentation, is an ideal further introduction. There isn’t a story here, really. Essentially, the show sets songs by Blake and his collaborators in a number of routines, most of which have a glitzy 1920s style and mood, performed on a simple, versatile set by Tim Jones that features an Art Nouveau style flourish, with excellent stylized lighting by Jasmine Williams, vibrant costumes by Marc W. Vital III, and backed by a first-rate band led by musical director and pianist Joe Dreyer. 

The choreography, by Heather Beal and Vivian Watt, with tap choreography by Robert Crenshaw, is spectacular, and Crenshaw is a standout performer in the cast, wowing the audience with a series of athletic tap routines and strong stage presence on songs like “I’m Just Wild About Harry” (along with Evann De-Bose, Samantha Madison, and Tamara PiLar) and “Hot Feet”. The cast also features  DeAnté Bryant, Serdalyer Darden, Venezia Manuel, Carvas Pickens, and J’Kobe Wallace, with Taijah Silas as an understudy.  All the cast members get their moments to shine, either as individuals or in group performances. Other notable moments include De-Bose’s heartfelt “Memories of You” and Boyce’s “Craving for That Kind of Love”. The ensemble singing and dancing is uniformly strong, with strong harmonies and a great deal of energy. 

Overall, Eubie! is an entertaining, highly engaging production that captures the early 20th Century atmosphere and musical style especially well. Even though it doesn’t have a plot, it tells a story–of a composer and of the times in which he lived–through music and dance. It’s a memorable conclusion to the Black Rep’s 2022-2023 season. 

Cast of Eubie!
Photo by Phillip Hamer
The Black Rep

The Black Rep is presenting Eubie! at Washington University’s Edison Theatre until May 21, 2023

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Midnight Company’s “Leonard Pelkey” is a Compelling, Emotionally Resonant Production

May 10, 2023 by Michelle Kenyon ("Snoop")

The Absolute Brightness of Leonard Pelkey
by Celeste Lecesne
Directed by Alicen Moser
The Midnight Company
May 6, 2023

Joe Hanrahan
Photo by Joey Rumpell
The Midnight Company

The Midnight Company is currently back onstage with a poignant, emotional production that features Joe Hanrahan doing what he’s perhaps best known for–a one-man show. The Absolute Brightness of Leonard Pelkey isn’t a one character show, however. Hanrahan gets to show his versatility here, telling a short but powerful story and playing a variety of roles, creating a memorable, remarkably affecting portrait of a small town in turmoil, and one character we never actually “meet” who makes the most profound impact of all. 

Hanrahan narrates the story as Chuck DeSoto, a police detective in a small New Jersey town who is remembering the case that has affected him the most. The flashback format has DeSoto offering commentary on the proceedings as the story unfolds, and Hanrahan deftly morphs into the various players, starting when hair salon owner Ellen Hertle and her teenage daughter Phoebe walk into the police station to report a missing person. Leonard Pelkey is a 14-year-old boy who Ellen has been raising after his mothers’ death. Leonard has only been in town for about two years, but he’s already made an impression, with his “weird” theatrical personality and offbeat sense of personal style. It’s made fairly clear that Leonard is gay, as well, and he’s experienced a great deal of bullying at school. As the story unfolds, the efforts to find what’s happened to Leonard unfold like a mystery story, and although there are sad and even tragic elements, there are also moments of hope, as we meet a series of characters who have been affected by Leonard in various ways, including the concerned Ellen; conflicted Phoebe; Buddy Howard, Leonard’s British-born drama instructor; clock repairman Otto Beckerman; and others. As the truth is discovered, we get to learn more about the various characters and their motivations–especially Phoebe, who is perhaps the most well-drawn character here besides Chuck. Also, even though Leonard never actually “appears” onstage, his character seems just as real as the others, and his influence pervades every moment. 

It’s a short play, but especially well-constructed, and Hanrahan does an excellent job playing the various distinctive characters, especially Chuck, Phoebe, Ellen, and Otto. Hanrahan’s handles the humor and the drama well, and the pacing is excellent. Tony Anselmo’s lighting also adds much to the overall mood of the show.

The playwright, Celeste Lecesne, is also a co-founder of The Trevor Project, which provides a crisis hotline and other resources for LGBTQ+ youth. The theme of  this show highlights the difficulties that young gay teens can endure, as well as the positive impact that one boy’s life can make on those around him, even in such a short time.  The play also  features an over-arching theme of individual expression and the importance of community support and respect. It’s a memorable effort from Joe Hanrahan and The Midnight Company.

Joe Hanrahan
Photo by Joey Rumpell
The Midnight Company

The Midnight Company is presenting The Absolute Brightness of Leonard Pelkey at the Kranzberg Arts Center until May 20, 2023

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Tesseract Theatre Company stages a Vibrant, Somewhat Mixed-Up “Welcome”

May 4, 2023 by Michelle Kenyon ("Snoop")

Welcome to Arroyo’s
by Kristoffer Diaz
Directed by Brittanie Gunn
Tesseract Theatre Company
April 29, 2023

Victor Mendez
Photo: Tesseract Theatre Company

Welcome to Arroyo’s! That’s the name of Tesseract Theatre Company’s latest show, currently being staged at the .ZACK Theatre. Production-wise, it’s vibrant and fun, with an energetic cast. The play itself can be frustrating in its structure at times, but for the most part it’s an intriguing journey into the world of a small New York City bar, its staff and would-be regulars, with a lively, mostly hip-hop soundtrack.

The story, narrated alternatingly by aspiring rap duo Nelson (Kevin Corpuz) and Trip (Jacob Schmidt), and by earnest grad student Lelly (Hannah de Oliveira), follows three main threads, as Alejandro (Victor Mendez) strives to turn his mother’s former bodega into a thriving bar; Alejandro’s younger sister Molly (Remi Mark), a graffiti artist, looks to establish a name for herself despite run-ins with the police, including Officer Derek (Marshall Jennings), with whom she develops a reluctant attraction; and Lelly’s quest to discover the identity of an influential figure in the early hip-hop scene, about whom she’s writing a thesis. These stories all intersect at various points, with the bar as the central locale, but really, it’s a story about hopes, dreams, personal history, family connections, and the role of a community in the lives of its residents, and vice versa.

It’s a compelling story, for the most part, with memorable characters, a good dose of humor, and excellent use of music. Still, the structure can be a little difficult to follow at times, as each plot keeps putting off key revelations in ways that seem more designed to frustrate the audience than to really drive the story. At Tesseract, the story is well-played, though, with the characters and memorable performances bringing energy to the overall presentation, along with vibrant production values.

The production manager is Sarah Baucom, but there’s no credit given to the set designer or projection designer, although the simple but effective set and memorable projections provide much of the overall atmosphere. Also contributing to the mood are Tony Anselmo’s eye-catching lighting and Jaz Tucker’s excellent sound design. The hip-hop soundtrack and use of other music adds much to the overall energy of the show.

As for the cast, the standouts here are Corpuz and Schmidt, who are both hilarious and personable as the aspiring hip-hop artists who work at the bar. Much of the play’s energy and humor comes from these two, and they energize all the scenes they are in. Mark and Jennings are also strong as the rebellious Molly and somewhat weary but well-meaning cop Derek, who has his own identity issues to deal with concerning sharing his name with a celebrity. Mendez also puts in a solid performance as Alejandro, making the most of a part that isn’t given much to do beyond being alternately sad and determined; and de Oliveira is fine as Lelly, although she could use more energy in some moments. Overall, it’s a cohesive cast that makes the most of this show’s oddly organized script.

While the script is not without its flaws, Welcome to Arroyo’s is a compelling story with good characters and lots of humor and heart. It’s a show about relationships between people, as well as between artists and their art, and individuals and the communities in which they live.  At Tesseract, it’s an entertaining and thoughtful production.

Remi Mark, Marshall Jennings
Photo: Tesseract Theatre Company

The Tesseract Theatre Company is presenting Welcome to Arroyo’s at the .ZACK Theatre until May 7, 2023

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WEPG Presents an Entertaining, Educational “Finale”

May 4, 2023 by Michelle Kenyon ("Snoop")

Finale
by Vladimir Zelevinsky
Directed by Steve Callahan
West End Players Guild
April 28, 2023

Sadie Harvey, Paula Stoff Dean, Timothy McWhirter, Matt Anderson
Photo by John Lamb
West End Players Guild

West End Players Guild’s latest play is a somewhat ambitious endeavor that can be difficult to categorize in terms of comedy or drama, considering the marked difference in tone between the first and second acts. Still, Finale is an engaging look at famed opera composer Gioacchino Rossini and some of his most important relationships, with a friend and producer, with his first wife, and with music itself.  As staged by director Steve Callahan and featuring a memorable cast, this show is at turns bright and energetic, and poignantly affecting.

Finale is the latest play from Vladimir Zelevinsky, who has had several productions premiered at West End Players Guild. This one will be especially appealing to fans of classical music and opera, and Rossini in particular. It focuses on two important periods in the composer’s life. In Act One, the young Rossini, played by Timothy McWhirter, is struggling to compose the Act One finale to The Barber of Seville, with little time to spare before the curtain rises on the production’s premiere in Rome. Backstage, the gifted but impulsive and amorous young composer deals with the impatience of his producer Domenico Barbaia, played by Matt Anderson, and flirts with renowned singer and Barbaia’s fiancée Isabella Colbran, played by Paula Stoff Dean. Rossini enlists Isabella’s help in working on his composition as the two banter and deal with their obvious attraction, as well as with unwelcome interruptions by Barbaia and other plot twists involving a young aspiring singer called Angel, played by Sadie Harvey, who is the source of several surprises.

The first act is lively, witty, and fast-paced, with a fair amount of physical comedy involved, but the second act offers a striking contrast. Taking place years later in Paris, the story revisits Rossini as a tired, jaded writer who is absorbed in his work but struggles to write something new and original. Isabella is neglected and hopes to take her husband to a new home and revitalize their relationship, and Barbaia has a new offer for the composer from the King of France himself. Angel is there too, although in this act she’s more of a fantasy or memory, and the overall tone is more dramatic and melancholic. The contrast in the situations emphasizes the difference in Rossini’s character as he has grown from young, energetic and impulsive to older and more regretful. 

In a way, this story almost seems like two plays in one, but it works largely because of the excellent performances of McWhirter as the charming and unpredictable Rossini, and Dean as the talented, hopeful but eventually neglected Isabella. These two are the heart and soul of this production, with strong chemistry and stage presence. Harvey is also excellent, particularly in her comic moments in the first act, and as a sounding board for Rossini’s regrets in the second. Anderson, for his part, is a little difficult to believe as the somewhat clueless Barbaia of the first act, but he is much more believable in act two as the enterprising older impresario. 

Technically, the show has a striking, period-appropriate look, with stylish scenic design by Ken Clark and excellent lighting by Nathan Schroeder and sound by Chuck Lavazzi. Tracey Newcomb’s costumes are also memorable, with period-specific detail that lends much to the overall tone of the show in both acts, reflecting the change in fashion over the years. The pacing is brisk and energetic, especially in the more farcical first act, while becoming a bit more deliberate in the more reflective second act.

Overall, Finale is a promising work that I’m thinking will appeal especially to viewers who are familiar with Rossini and his work, as well as the technical aspects of reading and writing music. It’s also an educational experience for those who aren’t as familiar with these subjects. It’s another fascinating work from Zelevinsky, who attended the opening night performance. With a good cast and excellent direction, this is a work of art worth seeing, hearing, and experiencing.

Paula Stoff Dean, Timothy McWhirter
Photo by John Lamb
West End Players Guild

West End Players Guild is presenting Finale at Union Avenue Christian Church until May 7, 2023

This review was originally published at kdhx.org

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Prism Theatre Company Explores “Doubt” in Fascinating, Thought-Provoking Drama

April 27, 2023 by Michelle Kenyon ("Snoop")

Doubt: A Parable
by John Patrick Shanley
Directed by Trish Brown
Prism Theatre Company
April 22, 2023

Jeffrey David Thomas, Rhiannon Creighton
Photo by Kim Howland
Prism Theatre Company

Prism Theatre Company’s latest production may be called Doubt: a Parable, but what’s certain here is its excellence. John Patrick Shanley’s Tony and Pulitzer Prize-winning play is a meticulously crafted, highly thought-provoking look at uncertain situations, the roots of suspicion, and the changing atmosphere in the Catholic church in the early 1960s. Onstage at the Kranzberg Arts Center, Prism’s production features expert staging, thoughtful pacing, and a first-rate cast that makes the already excellent script all the more compelling.

The story takes place at a Catholic elementary school in 1964, during the era of the Second Vatican Council that brought a lot of changes in the life of the Church and Catholic parishioners. Here, the main conflict is between a stern, traditionalist nun, Sister Aloysius (Kate Durbin), and a popular, progressive-minded young priest, Father Brendan Flynn (Jeffrey David Thomas).  The sister, who heads the school, is suspicious of the priest for a few reasons, but she becomes especially upset when Father Flynn has a private meeting with the school’s first Black student, about whose welfare she has been especially concerned. Even before this incident, however, she has instructed the young, enthusiastic young teacher Sister James (Rhiannon Creighton) to keep an eye on the priest, and her suspicions of misconduct on his part only grow as the plot plays out. Sister Aloysius even calls in the student’s mother, Mrs. Muller (Laurell Stevenson) for a meeting to share her concerns, and is met with an unexpected response revealing that Mrs. Muller’s has other reasons to be concerned for her son. As the central conflict plays out, we get to hear Father Flynn preach about the concepts of doubt and the dangers of gossip, as well as sharing his concerns with the highly conflicted Sister James, who has her own conflicts with the more severe older nun. Throughout the play, playwright Shanley is especially careful not to reveal too much, leaving the judgment of what has happened up to the audience, while also setting up credible situations and discussions of the conflicts between the “old” and “new” ways in the Catholic church, as well as real critiques of the hierarchy of the Church, and how the institution has handled accusations of abuse and misconduct that have been revealed over the years and have only become more well-known since the play’s first staging in 2005. 

This is a riveting, thoughtful, well-characterized drama, with excellent roles for all four of its players, all of whom excel in this production. Durbin’s Sister Aloysius is the driving force here, with a strong, severe but caring presence and an authentic-sounding New York accent that enhances her character rather than distracting. Durbin brings out the complexities in the character convincingly, and her influence on the equally excellent Creighton’s Sister James is palpable. Thomas is also impressive as the somewhat enigmatic Father Flynn, managing to convey both genuine concern for his students and the future of the Church, as well as a degree of self-interest and mystery that can lend credibility to Sister Aloysius’s concerns. Stevenson also makes a memorable impression in her relatively small role as Mrs. Muller–conveying the character’s own personal situation and concerns for her son thoroughly in one dramatic scene. 

The staging is inventive and thoughtful, using the small space at the Kranzberg Black Box theatre especially well. Matt Stuckel’s vivid set utilizes various areas of the performing space for ideal dramatic effect, aided by Tony Anselmo’s striking atmospheric lighting and Jacob Baxley’s excellent sound design. The costumes by Sam Hayes are also excellent, suiting the characters well and helping to set and maintain the time and place of the story. 

There’s also somewhat of a relational element to this play, considering the fairly large number of Catholic schools in the St. Louis area. No matter your religious or educational background, however, Doubt: a Parable has a lot to say, with its vivid characterizations and convincing performances telling a tale that’s sure to provoke much thought and discussion. Prism Theatre Company is still fairly new, but they are making their presence known with another excellent production. 

Kate Durbin, Laurell Stevenson
Photo by Kim Howland
Prism Theatre Company

Prism Theatre Company is presenting Doubt: a Parable at the Kranzberg Arts Center until April 30, 2023

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The Rep Explores a Fascinating Relationship with Well-Cast “Gruesome Playground Injuries”

April 26, 2023 by Michelle Kenyon ("Snoop")

Gruesome Playground Injuries
by Rajiv Joseph
Directed by Becks Redman
Repertory Theatre of St. Louis, Steve Woolf Studio Series
April 21, 2023

Jessika D. Williams, Brian Slaten
Photo by Phillip Hamer
Repertory Theatre of St. Louis

Gruesome Playground Injuries is a somewhat provocative title for a play. Although there are injuries involved, and some sensitive subject matter, this is primarily a play about a relationship. As part of the Repertory Theatre of St. Louis’s Steve Woolf Studio series, and utilizing the excellent black box theatre space at the Kirkwood Performing Arts Center, this is a cleverly staged, quirky and intriguing production that features a first-rate cast and striking production values.

Written by Rajiv Joseph, directed by Becks Redmond, and starring Brian Slaten as Doug and Jessika D. Williams as Kayleen, the play follows its two characters in a format that’s not exactly linear, but doesn’t seem random either. We first meet Doug and Kayleen as 8-year-olds in Catholic school, waiting in the nurse’s office because Doug has injured himself riding his bike off the school roof, and Kayleen has an upset stomach.  The two bond over juvenile humor and gross-out jokes, and their contrasting personalities are shown more clearly as they grow. The adventurous and loyal Doug, and the more anxious, insecure Kayleen have several key meetings over the years, as they become friends, drift apart, and then reconnect in a series of memorable moments, occurring in five year increments and told in an order that makes sense as the events of the play unfold. The players also stay onstage for the duration of the show, changing costumes in between scenes and marking their characters’ ages with a marker on a large mirrored backdrop. 

It’s an intense show, with balanced moments of humor and drama, and well-drawn characters whose connection is made all the more believable through the excellent performances and chemistry of Slaten and Williams, who portray their characters and their evolving relationship dynamic with energy and credible emotion. Their thoroughly engaging performances and director Redman’s well-paced staging work together to tell a believable, highly involving story.

The technical qualities of this production are also strong, serving the story well and helping to advance the mood and energy of the story. The carpeted unit set, designed by Diggle, is versatile and makes an appropriate backdrop for the action as the characters grow from childhood to adulthood. The set does have aspects of a playground, as suggested by the play’s title. There’s also evocative lighting by Anshuman Bhatia and superb sound design by Kareem Deanes, as well as appropriately atmospheric music by David Gomez. The costumes, by Carolyn Mazuca, are well-suited to the characters and changing times, as well as working well for the quick scene changes as the story progresses.

It’s worth noting that there is some sensitive subject matter here, including discussions of depression, physical injuries, self-harm, and sexual assault. It’s a vividly portrayed, often irreverently humorous tale of two people who share a lasting bond despite periodic long separations. Gruesome Playground Injuries may suggest gore and guts in its title, but what’s really at its core is the intense connection of the memorable characters.  Although the ending is somewhat abrupt, the story itself is a vivid, characterful theatrical experience. 

Jessika D. Williams, Brian Slaten
Photo by Phillip Hamer
Repertory Theatre of St. Louis

The Repertory Theatre is presenting Gruesome Playground Injuries at the Kirkwood Performing Arts Center until May 13, 2023

This review was originally published at KDHX.org

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Max & Louie’s Thought-Provoking “Constitution” Makes a Memorable Impression

April 8, 2023 by Michelle Kenyon ("Snoop")

What the Constitution Means to Me
by Heidi Schreck
Directed by Nancy Bell
Max & Louie Productions
April 6, 2023

Michelle Hand, Isaiah Di Lorenzo
Photo by Dunsi Dai
Max & Louie Productions

How well do you know the United States Constitution? This document is the basis for our country’s government, but not everyone knows exactly what’s in it, or how it should be interpreted. At Max & Louie Productions’ latest staging of Heidi Schreck’s Pulitzer-nominated What the Constitution Means to Me, they’re passing out little booklets containing the entire Constitution, so you can read it for yourself. You also get to witness a heavily thought-provoking, highly personal presentation based on the playwright’s own experience, acted out by a some excellent local performers and providing for a challenging, thoroughly fascinating evening of theatre. 

This show was originally performed by Heidi Schreck herself along with the original cast, and it was filmed for Amazon Prime. I’ve seen the Prime version, which is excellent, but it’s a new experience to see Heidi portrayed by a well-known local performer, Michelle Hand, along with Isaiah Di Lorenzo as a Legionnaire and a trio of young students (Riley Carter Adams, Aislyn Morrow, and Maahi Saint) alternating as the Debater, who participates in a one-on-one competition with Hand at the end of the show, debating about whether or not the Constitution should be abolished. The story itself follows Heidi’s experience participating in a series of contests in her high school years in order to earn money for college, with many digressions about her family and her life since high school. The contrasts between her understanding  of the Constitution as a teenager vs. later are highlighted as Heidi tells stories from her own personal experience, as well as those of her mother, grandmother, and great-great grandmother, along with bringing up a series of historical incidents and Supreme Court cases (complete with actual audio recordings). The general theme is of the Constitution as a flawed document that wasn’t written with all Americans in mind, excluding women and people of color specifically. While it was written with the ability to be amended, and there have been many amendments, the idea is raised that it might be a good idea to start over and write a new Constitution.

Also in a departure from the original version, Hand participates in the debate as herself, and not as Heidi, which works well here, as Hand’s rapport with Adams (the Debater I saw) is excellent, and their mutual respect shines through even in the midst of intense debate. I assume this rapport is present with the other Debaters, as well. In the main story, Hand is also excellent as Schreck, not exactly copying her mannerisms but conveying her personability, humor, and emotion with strong stage presence and clarity. Di Lorenzo is also strong as the Legionnaire, who acts as moderator of the teen Heidi’s contest and also has some surprises in store as the story veers more and more from the original narrative. Adams is also impressive as the Debater, giving convincing arguments and demonstrating great enthusiasm for the subject. 

Technically, the show recreates an old American Legion hall with a twist, with a simple and effective unit set by Dunsi Dai that features a lot of wood paneling and scores of serious-looking photos of men, skewed at an angle suggesting the photos may slide off their shelves at any minute. This works as a suitable backdrop for the proceedings. There’s also strong work from lighting designer Zak Matalsky and sound designer Phillip Evans. The direction is thoughtful and well-paced, with many emotional highlights, and underscoring the personal connection that Heidi has formed with her former teen self and with the Constitution and her ideals.

What the Constitution Means to Me is a highly thoughtful, personal, and thought-provoking show, and it raises good points for keeping the Constitution and for abolishing it and starting over. No matter what an individual viewer’s opinion may be on this subject, I think this is a show worth seeing, with an excellent, highly likable cast and strong production values.  It’s sure to raise questions and lead to interesting conversations, as well as making audiences think and examine how this country has treated its citizens over the years, and how we can strive to do better. 

Michelle Hand, Riley Carter Adams
Photo by John Lamb
Max & Louie Productions

Max & Louie Productions is presenting What the Constitution Means to Me at the Marcelle Theatre until April 23, 2023

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The Black Rep’s “Skeleton Crew” Features Strong Performances, Technical Effects

April 5, 2023 by Michelle Kenyon ("Snoop")

Skeleton Crew
by Dominique Morisseau
Directed by Geovonday Jones
The Black Rep
March 31, 2023

Brian McKinley, Velma Austin
Photo by Phillip Hamer
The Black Rep

The Black Rep is known for consistent excellence in theatre, both in terms of acting and production values. Their recent multiple wins at the 2023 St. Louis Theater Circle Awards are testimony to their celebrated record of accomplishments. Their latest show, Dominique Morisseau’s Skeleton Crew, currently running at COCA’s Berges Theatre, is an intense human drama that lives up to the company’s first-rate reputation, both in the acting and technical areas.

The play features a small cast, telling the story of workers at an automotive stamping plant in Detroit in the first decade of the 21st Century. Factory closures are happening all around them, and the workers here are worried that their factory will be next. The workforce has already been reduced, and the employees are struggling to meet demands. Long-time worker and union representative Faye (Velma Austin) deals with a dilemma as foreman Reggie (Brian McKinley)–who she originally helped get hired–entrusts her with news that threatens to disrupt the already tense situation at work. Fellow workers Dez (Olajuwon Davis) and Shanita (Carmia Imani) are also wondering about why Faye has suddenly started hanging around the factory more than usual, and everyone is concerned about a string of thefts at the factory. As the tensions build, the characters are forced to examine their own hopes, dreams, and plans along with the various personal conflicts. The dialogue is insightful and realistic, and the characters are well-drawn and well-rounded, each with strengths and flaws. It’s a compelling look at the real struggle of factory workers in the once-thriving US auto industry.

Austin, in an excellent performance as Faye, is the anchor of an especially strong cast with no weak links. Austin’s Faye is complex and compelling, and her relationships with her co-workers are thoroughly believable. Her scenes with McKinley’s conflicted Reggie are especially convincing. Imani, as the earnest, pregnant Shanita, is also excellent, as is Davis as the stubborn, secretive Dez, who has an attraction for Shanita and a strong suspicion of Reggie. The conversations and conflicts here seem organic and realistic, and the ensemble chemistry and energy add much to that sense of credibility. 

Technically, the show impresses to the point where the scene is set so well that it’s not always entirely clear what’s real and what is a projection. The vivid set and video design by Margery and Peter Spack puts the factory setting on stage in a detailed, thoroughly impressive manner. Jayson Lawshee’s lighting adds atmosphere to the setting, as well, as does Lamar Harris’s sound design. The costumes, by Marissa Perry, are well-suited to the characters and lend credibility to the time and place of the story. The whole production fits well into the space at the Berges Theatre.

Overall, Skeleton Crew is a compelling, meticulously scripted, smartly directed and impeccably acted piece that brings the audience into the world of its characters with veracity and intensity. It provides much to think about, and characters that embody the story in a remarkably realistic way. It’s another excellent production from the Black Rep.

Carmia Imani, Brian McKinley, Velma Austin, Olajuwan Davis
Photo by Phillip Hamer
The Black Rep

The Black Rep is presenting Skeleton Crew at COCA’s Catherine B. Berges Theatre until April 16, 2023

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SDT Takes Audiences “Into The Woods” With Precisely Paced, Imaginative Production

April 1, 2023 by Michelle Kenyon ("Snoop")

Into the Woods
Music and Lyrics by Stephen Sondheim, Book by James Lapine
Directed by Justin Been
Stray Dog Theatre
March 30, 2023

Cast of Into the Woods
Photo by John Lamb
Stray Dog Theatre

Into the Woods is a popular show. Even among the works of legendary composer/lyricist Stephen Sondheim, this is probably his most well-known show among today’s theatregoers. It’s so oft-performed among school, community, and regional theatres that it’s become something of a mainstay, to the point where the current staging at Stray Dog Theatre is the first of two professional productions in St. Louis this year. This show, directed by SDT’s usual director of musicals, Justin Been, is precisely staged and highly imaginative, with an inventive concept and eye-catching production values, along with excellent performances and clever casting.

The story has become a well-known one, cobbling together a variety of familiar fairy tales along with a new connecting story involving a Baker (Tyler Luetkenhaus) and his Wife (Margaret Stall), who wish to have a child, and who are helped by their neighbor, the Witch (Jennelle Gilreath Owens), who has her own reasons for helping them. This story is woven into other stories involving well-known fairy tale characters Cinderella (Maggie Nold), Little Red Riding Hood (Grace Langford), Jack (Shannon Lampkin Campbell) of beanstalk fame; and Rapunzel (Dawn Schmid), who has been raised by the overprotective Witch. Most of the characters are involved in the Baker and Baker’s Wife’s quest in the first act, and all have their own wishes to pursue, but the second act explores the consequences that come from pursuing those wishes without thought of potential repercussions. There’s also a strong theme of parent-child relationships, and what younger generations can learn from their elders, for good or ill. It’s a well-structured, exquisitely timed story that features complex plotting and Sondheim’s memorable score and lyrics.

The story is briskly timed, driven by the score, played here by the excellent onstage band led by music director Leah Schultz. Once the Narrator (Jonathan Hey) intones the familiar “once upon a time”, the music begins and marks the time as the events proceed at a deliberate and relentless pace.  The world of the show is vividly imagined, with the conceit this time of its taking place in a kind of whimsical library, as the set by Been and Dominic Emery features shelves decorated by numerous books of various sizes and colors. The characters are outfitted in a striking manner, as Eileen Engel’s colorful costumes and Sarah Gene Dowling’s meticulously detailed, cartoonish wigs suit the characters ideally, aiding in their characterizations. There’s also memorable lighting by Tyler Duenow that further emphasizes the otherworldly, fairylike atmosphere.

As for the casting, it’s stellar, with excellent performances all around and some clever doubling for some performers, such as having Cinderella’s stepsisters, Florinda and Lucinda, played by the same performers playing Cinderella’s and Rapunzel’s Princes (Drew Mizell and Sarah Polizzi, respectively). The key players–Luetkenhaus as the insecure Baker, Stall as the determined Baker’s Wife, and Owens as the scheming Witch–are all terrific, with excellent chemistry between Luetkenhaus and Stall, and Owens having some memorable scenes with the also excellent Schmid as the sheltered Rapunzel. Other standouts include Campbell as the plucky Jack, along with Laura Lee Kyro as Jack’s Mother; Langford as the initially naïve Little Red Riding Hood; and Michael Wells as a ravenous Wolf, as well as the Prince’s Steward and Cinderella’s father. Hey makes a strong impression as both the Narrator and the Mysterious Man, who shows up from time to time to the confusion of those with whom he interacts. Mizell and Polizzi are particularly memorable as the stepsisters and, especially, the Princes, with Polizzi’s remarkable ability to sing in two distinctly different voices (and ranges) especially impressive. This is a show that requires excellent comic timing as well as strong dramatic ability from its cast, and this production certainly has all that, with especially poignant moments at various moments in the show such as the Baker’s “No More” and the finale “Children Will Listen” leaving a lasting impression.

Overall, this is a first-rate production of an oft-performed show. Into the Woods is so popular that it might be easy to think there’s not much new that can be done with it. This is a surprisingly versatile show, though–with so many excellent, imaginative productions coming out of this one familiar story and script. Stray Dog Theatre and director Justin Been have put together a clever, thoughtful, highly entertaining show that emphasizes the characters and themes with effective immediacy and timeless resonance. It’s a fantastic production.

Shannon Lampkin Campbell, Tyler Luetkenhaus, Maggie Nold
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre is presenting Into the Woods at Tower Grove Abbey until April 22, 2023

 

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The Rep’s Riveting “Express” is a Visually Dazzling, Well-Acted Must-See

March 25, 2023 by Michelle Kenyon ("Snoop")

Agatha Christie’s Murder on the Orient Express
by Agatha Christie
Adapted by Ken Ludwig
Directed by Hana S. Sharif
Repertory Theatre of St. Louis
March 24, 2023

Armando Durán
Photo by Phillip Hamer
Repertory Theatre of St. Louis

The Rep’s shows have long been known to have high production values, but with their latest show, I think they’ve outdone themselves. In this production of Agatha Christie’s Murder on the Orient Express, the technical  aspects are so impressive, they threaten to upstage the also superb cast. It’s a vibrant, thrilling, dramatic, and often humorous staging where every note rings true, and the technical aspects lend a cinematic flair that makes this show a true must-see.

Murder on the Orient Express is one of Christie’s better-known stories, and it’s been filmed several times over the years for the big and small screens. Here, as adapted by Ken Ludwig, the cast has been pared down a little and the story streamlined slightly, but the tone is classic Christie, and Hana Sharif’s brisk direction keeps the story moving along in a well-timed, almost filmlike way, as the legendary Christie detective Hercule Poirot (Armando Durán) tells the story after a brief filmed introduction that has the feel of classic Hollywood cinema. The action begins in a hotel, as Poirot prepares to embark on the storied Orient Express train. He fortuitously runs into his old friend Monsieur Bouc (Jamil A. C. Mangan), who runs the train line and helps Poirot secure a ticket for what he hopes will be a relaxing journey. Soon, however, the detective finds himself surrounded by intrigue, as a collection of disparate characters converge on the train, and of course, there’s a murder. Of course, Poirot has to solve the case, but it’s not easy when everyone around him seems to be hiding something, and the train itself becomes caught in a snowstorm. I won’t give away the conclusion, but it’s one of Christie’s more inventive ones, and it’s made especially believable here by means of staging and the excellent cast.

The memorable characters are cast especially well, with Durán leading the way as the determined, clever Poirot. Mangan, as Bouc, is also strong, showing a lot of charm and energy as he assists Poirot and tries to maintain order on the train. Standouts also include the marvelous Ellen Harvey as the strong-willed, much-married American Helen Hubbard; Gayton Scott as exiled Russian Princess Dragomiroff; Fatima Wardak as the devout, nervous missionary Greta Ohlsson; and Christopher Hickey and Aria Maholchic (the understudy, filling in for principal Margaret Ivy) as the secretive lovers Colonel Arbuthnot and Mary Debenham. Cameron Jamarr Davis is also memorable as Hector MacQueen, private secretary to Joel Moses’s shady, boorish Samuel Ratchet; and Michael Thanh Tran lends strong support as dutiful train conductor Michel. This cast is supported by a small ensemble of Webster University students (Luka Cruz, Kyleigh Grimsbo, Colby Willis, and usually Maholchic), lending to the overall filled-out, movie-like feel of the production. 

Also contributing to that cinematic flair is the truly spectacular set by Tim Mackabee, which meticulously recreates a series of locales, including several train cars, and utilizes the stage’s turntable to magnificent effect, with scene changes meticulously timed to go along with the richly produced, filmlike score by composers and sound designers Charles Coes and Nathan A. Roberts. There are also dazzling projections by Michael Salvatore Commendatore and marvelous lighting by Jason Lynch, contributing to the overall 1930s atmosphere and thrilling tone of the story. There are also excellent period costumes by Fabio Toblini that contribute to the overall atmosphere of the show.

Agatha Christie’s Murder on the Orient Express is a riveting, thrilling, cinematic marvel that captures the essence of classic Christie tales while also maintaining an “Old Hollywood” sense of glamor and style. It’s an expertly choreographed, technically dazzling show that holds the audience’s attention from the very first moment. The cast is excellent, but the set is so spectacular that the train itself becomes a character in the show as well. It’s a wonderful old-fashioned whodunit with style, energy, moments of well-timed humor and credible drama. It’s a remarkable feat for the Rep.

Cast of Agatha Christie’s Murder on the Orient Express
Photo by Phillip Hamer
Repertory Theatre of St Louis

The Repertory Theatre of St. Louis is presenting Agatha Christie’s Murder on the Orient Express until April 9, 2023

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