The Black Rep is “Flyin’ West” For a Well-Cast Lesson in History, Family, Perseverence

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

Flyin’ West
by Pearl Cleage
Directed by Jon Royal
The Black Rep
March 14, 2026

Margery Handy, Renee Lockett
Photo by VVH
The Black Rep

The Black Rep is shining the light on a lesser-known part of American history that deserves to be remembered with their production of Pearl Cleage’s Flyin’ West. Under the direction of Jon Royal, the show highlights a real town and moment in Black history while also focusing on the family dynamics of a group of sisters and their relations. Although the story itself has its predictable elements, the characters are memorable and well-drawn, especially as played by the excellent cast assembled for this well-realized production. 

The setting is a farmstead near the all-Black town of Nicodemus, Kansas, which is a real place that is now a National Historic Site.  The main focus is on three sisters who left Jim Crow-dominated Memphis, TN to settle out West and make a new life as landowners. The oldest, Sophie (Margery Handy) and middle sister Fannie (Jazzma Pryor) are living on the property while youngest sister Minnie (Christina Yancy) has been living in London with her ambitious writer husband, Frank (Aaron Allen).  Sophie is trying to help pass a bill that will discourage white land speculators from buying up the property in the area, while Fannie is hoping to write down stories of past struggles from their older neighbor, Miss Leah (Renee Lockett), while also entertaining a promising friendship with another neighbor, Wil (Reginald Parrish), who is clearly interested in Fannie. Meanwhile, Minnie’s 21st birthday brings a gift which she and Frank view with drastically different motivations, ultimately leading the sisters to a decision point and a challenge to their hopes and ambitions for the family and the town.

While the script itself is fairly predictable and the ending is a little too neat, the characters are expertly drawn and the relationships are entirely credible, especially as acted by the fantastic cast. The relationship between the sisters is the highlight, and all three performers make their characters distinct and believable, led by Handy in the fiercely determined turn as the strong-willed Sophie. There’s also a sweet connection between Pryor’s thoughtful Fannie and Wilson’s kindhearted Wil. That relationship serves as a contrast to the one between Yancy’s homesick Minnie and Allen’s troubled Frank. Lockett is also excellent as the cranky but endearing Leah. All of the various interactions and conflicts form the heart of this story, as do the underlying issues concerning how the characters and their situations have been affected by the oppressive society in which they were brought up.

The Black Rep is utilizing a new venue for this production, the Ross Family Theatre at the Kirkwood Performing Arts Center, which is perhaps most well known as the home of Stages St. Louis. The space works well for this show, with a more “up close and personal” audience setting than the company’s most frequent venue, Washington University’s Edison Theatre. The set by Chris Cumberbatch fits well on the stage, and depicts a well-realized cross section of the family’s home. It’s illuminated with clarity by means of Essie Claire Winston’s excellent lighting, adding much to the mood and period vibe, augmented by the sound design by Justin Schmitz. There’s also strong work from costume designer Michele Siler and props designer Mikhail Lynn, further contributing to the overall time and place of the story. 

Flyin’ West is a fascinating history lesson, with memorable characters and a convincing blend of humor and drama. It highlights a period in history that should be more well known, and serves also as a portrait of resilience, family loyalty, struggles with systemic oppression, and the persistent desire for freedom in all aspects of life. It’s another excellent production from the Black Rep. 

The Black Rep is presenting Flyin’ West at the Ross Family Theatre at the Kirkwood Performing Arts Center until March 29, 2026

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Quirky, Experimental “Promenade” Showcases Strong Cast, Creative Staging at New Line

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

Promenade
Book and Lyrics by Maria Irene Fornés, Music by Al Carmines
Directed by Scott Miller and Chris Moore
New Line Theatre
March 6, 2026

Cast of Promenade
Photo by Jill Ritter Lindberg
New Line Theatre

New Line Theatre is known for shining light on off-beat and lesser known shows, and their latest offering is one of their quirkiest yet. Promenade is an experimental musical from 1969 that features a catchy score and a markedly absurdist style. It’s sharply satirical and surprisingly relevant to today, featuring a cast and creative team that have gone all-in on the absurdity, making for a thought-provoking, entertaining and challenging production that highlights the best of what New Line is about. 

This is a highly experimental show from the 1960s that doesn’t have a “plot” per se, but it does have a structure. Two convicts, known only as 105 (Ronmal Mottley) and 106 (Tawaine Noah) escape from a prison in which they are guarded by an egotistical, clueless Jailer (Ian McCreary). They then end up crashing a posh party attended by a group of “Aristocrats” identified by letters of the alphabet: Miss I (Kathleen Dwyer), Miss O (Benni Jillette), Miss U Chelsie Johnston), Mr. R (Chris Moore), Mr. S (Kent Coffel), and Mr. T (Robert Doyle). They sing about their “problems” such as each being in love with someone who loves someone else (“Unrequited Love”), and watch a performer (Lauren Tenenbaum) emerge from a cake and sing a song (“Chicken Is He”).  They are waited on by a Servant (Stephanie Merritt), Waiter (Nathan Mecey), and Dishwasher (Michael Kramer), and are later joined by the self-important and power loving Mayor (W. Smith III). While the Jailer tries to find the escaped prisoners, the power dynamics and class differences are emphasized as the scenes change and eventually involve a war in which the Waiter and Dishwasher are enlisted against their will. Also, the Servant and prisoners encounter a wandering Mother (Bee Mecey) looking for her long-lost children. 

Essentially, this is a series of vignettes emphasizing class struggles, socioeconomic differences, and misuse of power, as well the different standards for those suffering from various consequences of life. The music is catchy, and several tunes have been playing in my head since seeing the show on opening night. The styles range from operatic to vaudeville to 1960s musical theatre, showcasing the strong voices of the cast particularly well. The cast is fantastic across the board, with Bee Mecey a particular standout both for comic timing and vocals as the forlorn Mother. Merritt also carries strong presence as the Servant, and Mottley and Noah make a strong impression as 105 and 106, with Smith showing off hilarious comic presence as the gleefully snooty Mayor. The group singing and harmonies are also especially excellent, with strong ensemble chemistry and energy. Livy Potthoff’s choreography is also strong, as are the musical arrangements by music director Jason Eschofen, who leads the terrific New Line Band. 

Another notable aspect of this production is the creative staging and use of Rob Lippert’s minimalist but memorable set, including table set piece that is cleverly reused several times to become the center for various scenes. The costumes by Becca Rose Bessette are also eye-catching and whimsical. The lighting by Eric Wennlund also works especially well to set the mood, as does Ryan Day’s sound design. It’s an energetically paced production, highlighting the satirical nature of the material and showcasing the performers with vibrant energy.

Promenade is a show like you probably haven’t seen before. Although it does fit in musically and thematically with its 1960s origin, its themes resonate a great deal to notable topics of today. It’s a production that brings out the best of what New Line can do while satirizing some of the worst of what humanity has to offer in terms of economic disparity and abuse of power. It’s certainly a show that will make you think, and you just might find the songs playing in your head as you leave.

Tawaine Noah, Stephanie Merritt, Bee Mecey, Ronmal Mottley
Photo by Jill Ritter Lindberg
New Line Theatre

New Line Theatre is presenting Promenade at the Marcelle Theatre until March 28, 2026

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Bread and Roses Educates and Informs with Well-Cast, Music-Filled “Brick and a Bible”

March 5, 2026 by Michelle Kenyon ("Snoop")

A Brick and a Bible
by Kathryn Bentley & Colin McLaughlin
Original Music by Alicia Revé Like and Anita Jackson
Directed by Rayme Cornell
Bread and Roses Missouri
February 28, 2026

Cast of A Brick and a Bible
Photo by Studio Kay
Bread and Roses Missouri

Bread and Roses Missouri is presenting a fascinating production in various venues around St. Louis, having started at the Missouri History Museum, which is fitting since it centers around an important but not necessarily well-known moment in the life of our city. A Brick and a Bible focuses on a Depression-era workers’ strike that called attention to class struggles, racial divides, and institutionalized racism and sexism. This production sets the tone in a very historically “St. Louis” way, with Jazz and Blues music to underscore the movement led by a group of determined Black women. It’s not a long play, but it’s educational, informative, and strikes me especially as a show than can be toured.

Set in 1932 in the midst of the Great Depression, the story focuses on a group of workers at a nut factory, fighting for better working conditions and equal pay for Black women workers. The Funsten Nut Strike was eventually joined by more workers–including white women–and supported by Black churches as well as the Communist party, who historically supported various workers’ strikes and causes. The leaders, though, were a group of Black working-class women who were determined to make life better for their fellow workers. The central character is Elizabeth (Christina Yancy), a scholarly, church-going young woman who has taken a job at the factory to help support her family. She is contrasted with Delores (Thomasina Clarke), Elizabeth’s co-worker who helps bring the local Communist party into the cause, and who is good friends with Elizabeth despite their differences in faith and philosophy. As the initially reluctant Elizabeth is brought into the workers’ rights movement, she also struggles with the expectations of her academic mentor, Ms. Leonard (Alexandra Jay), who encourages Elizabeth to “find her voice” but also isn’t sure about how the young women chooses to be involved.

The rest of the characters are other leaders and participants in the strike, including Carrie Smith (LaWanda Jackson), Cora Lewis (also Jay), and Communist party representative Bill Setner (Ryan Lawson-Maeske). There’s also a “chorus” of singers (Adrienne Spann, Hassie Davis, Joshua Mayfield) who narrate and comment on the action, as well as playing other characters in the story as needed. The music, by Alicia Revé Like with additions by music director Anita Jackson, is rooted in the jazz and blues styles of 1930s St. Louis, as well as some Gospel influences, reflective of the deep faith and church involvement of many of the characters. The overall atmosphere and setting are well-realized by means of an excellent set by Laura Skroska that features a backdrop of news headlines of the day, along with striking lighting by Theresa Comstock and excellent sound design by Ahsa-Ti Nu. The costumes by Shevaré Perry also add an authentic air to the story, and the music is also memorable, played with skill and emotion by musicians Gregg Haynes and Willem Von Hombracht. 

The players are impressive all around, led by the charismatic and relatable Yancy as Elizabeth, Clarke as the sharp-witted and determined Delores, and Jay as the inspiring and occasionally bewildered Ms. Lewis. The rest of the cast is also excellent, with strong voices from the chorus and the rest of the players occasionally joining in the singing. This isn’t a musical, exactly, but more a play that uses music as something of a backdrop and commentary on the action.

Another striking aspect of this production is its portability. Though it opened at the Missouri History Museum, it played its second weekend at the Metro Theatre Company space in Midtown, which is where I saw it. It will be playing one more weekend at St. Stephen’s & The Vine Episcopal Church in Ferguson. This strikes me as the type of show that could fairly easily be toured to various venues, although I recommend checking it out while you can. A Brick and a Bible is a show that highlights an aspect of St. Louis History that many might not know. It’s a well-paced, intriguing and riveting tale. 

Bread and Roses Missouri will be presenting A Brick and a Bible at St. Stephen’s & The Vine Episcopal Church on March 7-8, 2026

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WEPG’s “The Children” Features Memorable Acting, Thought-Provoking Script

February 21, 2026 by Michelle Kenyon ("Snoop")

The Children
by Lucy Kirkwood
Directed by Jennie Brick
West End Players Guild
February 13, 2026

Tom Kopp, Bethany Barr, Jenni Ryan
Photo by John Lamb
West End Players Guild

West End Players Guild is starting a new year, and a new season, with a fascinating production of British playwright Lucy Kirkwood’s thoughtfully scripted play, The Children, directed by Jennie Brick. Featuring humor, drama, and thought-provoking timely topics, this production makes the most of its intimate performance venue. It also serves as an ideal showcase for a well-chosen and talented cast. 

The play runs 90 minutes with no intermission, and the story is essentially set in “real time” right after Rose (Jenni Ryan) has arrived after a long absence to visit her old friends and former co-workers Hazel (Bethany Barr) and Robin (Tom Kopp), who are now long-married and still live in the area near a nuclear power plant where the three all worked as engineers almost four decades previously. As Rose and Bethany catch up after years of separation and Rose’s long sojourn in the USA, it soon becomes clear that there has been a major crisis recently, involving the power plant. When they are joined by Robin, we learn more about personal secrets that have been kept, and about the complicated but close relationships among the three, and eventually about the real reason for Rose’s visit, which further unsettles Hazel especially. The contrast in personalities between the three–the worldly, seemingly independent Rose, the more “responsible” Hazel, and the personable but somewhat enigmatic Robin–makes for much of the drama here. Through the course of their reunion, we see their shifting relationship dynamics as well as the situation of the world in which they live, and their connections to the people around them, including family, friends, and the world at large. The crisis caused by the nuclear accident has repercussions that affect all three in various ways, as do the conflicting feelings stirred by the surprise reunion. 

This is an intelligent, thoughtful script with especially well-drawn characters, brought to life with dynamic veracity in the excellent performances of the three actors as well as Brick’s well-paced direction. The interactions between the characters are especially believable as played with palpable presence and energy by Ryan as the determined and somewhat mysterious Rose, Kopp as the personable but secretive Robin, and Barr as the devoted, family-minded Hazel. All three are excellent, bringing the audience on a journey of reflection, personal connection and conflict, nostalgia, and both personal and community responsibility. As the story plays out, the sense of these three as old friends who once meant a lot to one another but are now facing some real challenges becomes especially clear and relatable. As the characters reminisce, argue, share a meal, drink, and dance amid their reactions to the situation in which they find themselves, there’s a very evident sense of a “lived in” world and relationships. 

This mood and the English seaside setting are well maintained by means of a well-appointed set decorated by Margan Maul-Smith painted by Jessa Knust and Karen Pierce, and built by master carpenter Jacob Winslow and carpenters Tara Jackson, Nik Winslow, and Finley Winslow. There are also well-suited costumes by the cast and Joanne Stuart, and memorable lighting and sound by John “JT’ Taylor and props by Maul-Smith. There’s also notable work by fight and intimacy coordinator Douglas Klein, dialect coach Jeff Cummings, choreographer Hermione Duane, and music consultant Brian Brick. 

Amid all the relationship drama and personality conflicts, there’s an underlying sense of affection here amid the characters, as well as an overarching sense of aging and responsibility to younger generations. The Children is a play that I hadn’t heard of before, and its made an especially strong impression. It’s a profoundly thought-provoking work, and a fantastic showcase for three remarkable performers who work together to form a truly memorable ensemble. 

Jenni Ryan, Tom Kopp, Bethany Barr
Photo by John Lamb
West End Players Guild

West End Players Guild is presenting The Children at Union Avenue Christian Church until February 22, 2026

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SATE and PPA Alumni Revisit “First Impressions” With Cleverly Staged Reading

February 21, 2026 by Michelle Kenyon ("Snoop")

First Impressions
An Adaptation of Pride and Prejudice by Jane Austen
Adapted by Ellie Schwetye
Directed by Ellie Schwetye & Rachel Tibbetts
PPA Alumni Theatre Company and SATE Ensemble Theatre
February 12, 2026

SATE and PPA Alumni Theatre Company recently offered audiences another impression of the award-winning Jane Austen-inspired work First Impressions at The Chapel, where SATE first debuted the show in 2017. Prison Performing Arts also staged a version at WERDCC in 2019, and video from both productions has been incorporated in the pre-show video for this latest version, billed as a “Fully Staged Reading Experience”. Although it was a reading, the staging was quite clever, and the use of actors live and on video contributed much in the way of humor and entertainment value. 

The premise is the same as before–an adaptation of Austen’s most famous novel Pride and Prejudice, interspersed with reflections from the cast about their experience with the novel and its various film adaptations. It’s been revised a fair amount since I saw the production in 2017, with more personal reflections and some more references to the 2005 filmed version of the novel. I was intrigued to note that several of the performers in this iteration stated that they hadn’t read the novel before working on this show, and so this production is their true “first impression”, although several others seemed to be longtime fans of Austen and the book, and issues discussed included favorite characters, comparisons of Mr. Darcy film actors, and the plot’s relevance for today. It’s a clever idea to adjust the reflections depending on the cast, which could work for future productions, as well.

The staging is crisp and lively, with fun use of the music stands used to hold the scripts the actors are reading from. The set by Bess Moynihan, who also designed the lighting, was whimsical and fun, featuring a video “portrait” in the middle of the performance area, featuring several cast members who recorded their performances in advance, including Petty Prewett as the imperious Lady Catherine DeBourgh, Hazel McIntire as scheming Caroline Bingley, Julie Antonic as Pemberley housekeeper Mrs. Reynold’s, and an especially fun turn by LaWanda Jackson and Janiece Moore giving running commentary and billed as “Statler & Waldorf”. Autumn Hales in a dual role as fourth Bennet sister Kitty and as Mr. Darcy’s younger sister, Georgiana The live cast was enthusiastic and memorable, as well, led by the excellent turns as Elizabeth Bennet and Mr. Darcy by real-life couple Alicen Kramer-Moser and Anthony Kramer-Moser. These two worked together well, exhibiting excellent stage presence and chemistry. There were also strong impressions made by Margeau Steinau and Eric Satterfield as Mr. and Mrs. Bennet, Hailey Medrano as the sweet eldest sister Jane Bennet, Miranda Jagels-Félix in a fun turn as middle Bennet daughter Mary, and Kristen Strom as the flighty, flirty Lydia. David Nonemaker as the somewhat silly Mr. Collins, Andre Eslamian in a dual role as the kind Mr. Bingley and rakish Mr. Wickham, and Victoria Thomas as Elizabeth’s practical-minded friend Charlotte Lucas also contributed much to the wit, humor, and fun of the production.

The rest of the technical elements were also strong, with notable distinction going to Brian Dooley and David Nonemaker for their excellent videography, and Dooley and Eric Satterfield for their video editing and projection design. The costumes by Tyler White and Kayla Lindsay featured a clever blend of Regency-era influence and modern style, and Ellie Schwetye’s sound design was also strong.

This show was, and continues to be, a fitting tribute to Austen’s classic novel and its fans over the generations. It’s a lively, versatile adaptation that works well in various formats, and I can easily imagine more iterations of it in various venues in the future. The only notable drawback to this production was that it only ran for one weekend, so more people didn’t get the chance to enjoy it. 

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

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

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

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

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

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

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

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

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

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

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

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

until February 22, 2026

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Liz Mischel, David Wassilak
Photo: Stray Dog Theatre

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

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

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

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

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

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

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

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

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

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

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

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

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