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

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

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

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

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

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

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

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

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

Claire Coffey
Photo: Stray Dog Theatre

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Matt Newlin, Cast and Crew
Photo: First Run Theatre

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

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

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

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

Sam Harvey and Cast
Photo: Stages St. Louis

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

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

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

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

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

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

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

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