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

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

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

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

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

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

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

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

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

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

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

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

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

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

Jennelle Gilreath Owens, Chandler Spradling
Photo by Julie Merkle

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Joe Hanrahan
Photo by Joey Rumpell
The Midnight Company

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

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

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

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

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

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

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

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

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

Cast of Jagged Little Pill
Photo: Tesseract Theatre

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

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

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

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

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

Cast of Jagged Little Pill
Photo: Tesseract Theatre

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

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Relationships, Twists and Confrontations are Front and Center at STLAS’s Latest “LaBute Festival”

July 14, 2026 by Michelle Kenyon ("Snoop")

12th Annual LaBute New Theater Festival
St. Louis Actors’ Studio
July 10, 2026

St, Louis Actors’ Studio’s latest installment of their LaBute New Theater Festival is on stage at Gaslight Theatre, shining its spotlight on twists and turns in various relationships. There are six plays on offer this time, with two directors helming three each–Eric Dean White and Wendy Renée Greenwood. There are also strong technical elements, with a versatile set of movable pieces by Patrick Huber, as well as well-suited costumes by Amanda Brasher, lighting by Patrick Huber, and sound by STLAS, Eric Dean White, and Wendy Renée Greenwood. As for the plays themselves, here are some thoughts:

“Junk Drawer”
By Erin Fitzgerald
Directed by Eric Dean White

Tyler Crandall, Xander Huber, Jade Cash
Photo by Patrick Huber
St. Louis Actors’ Studio

This one is a cute comedy featuring elements you might find in the ubiquitous junk drawer, including Chip (Xander Huber), Penny (Jade Cash), Mark (Tyler Crandall)–a marker–and Boot Strap or “BS” (Anthony Wininger), who wax philosophical about their times before being relegated to the infamous drawer, and imagine what would happen to them if they managed to escape. It’s a fun show, with strong ensemble chemistry and enthusiastic performances all around. I don’t think there’s anything profound going on here, but it’s a pleasant, funny show that entertains.

“Go Fish”
by Cameron Michles
Directed by Wendy Renée Greenwood

Nick Barrows, Caitlin Mickey
Photo by Patrick Huber
St. Louis Actors’ Studio

Shifting from comedy to drama, this play features a reunion of old acquaintances with an emotionally charged tone. Whittaker (Nick Barrows) and Chloe (Caitlin Mickey) meet up in a “neutral” space at student Whittaker’s university, with the appointment requested by Chloe, although Whittaker is obviously uneasy about the meeting. There isn’t much I can say here without spoiling, but I will say that it involves a past incident that Chloe is seeking forgiveness for, although Whittaker, for several good reasons, is reluctant to grant it. He also challenges Chloe’s motives, as both reveal aspects of their lives since they last saw one another, and the purpose of the visit is eventually revealed, perhaps a little late for dramatic effect.

This is an especially well paced and well acted production, with both performers at their best. They also play off of each other especially well, with crackling tension and believable animosity. It’s one of the shows that sticks with me the most of this set. 

“The Resurrection Men”
by Nicholas Dunn
Directed by Eric Dean White

Anthony Wininger, Xander Huber
Photo by Patrick Huber
St. Louis Actors’ Studio

Taking from history, this play follows two grave robbers–Hatt (Anthony Wininger) and Fitz (Xander Huber)–who are trying to dig up a body to sell it to a doctor, Knox (Jade Cash), for dissection. Fitz is new to this, and has many objections, while the more seasoned and cynical Hatt is growing increasingly tired of Fitz’s objections. There are some interesting questions raised here as the two–and eventually Knox–debate the morality of what they are doing. 

This is a somewhat talky entry that gets points for period atmosphere and clever use of the set pieces. All three performers are excellent, although Wininger’s affected accent sometimes makes him difficult to understand. It’s a thought-provoking piece, with a bit of a twist ending that surprises but also makes a degree of sense considering the characters. 

“Brunch”
by Neil LaBute
Directed by Wendy Renée Greenwood

Jade Cash, Caitlin Mickey
Photo by Patrick Huber
St. Louis Actors’ Studio

This is festival namesake Neil LaBute’s entry, and it’s a riveting one. A brunch meeting between two apparent friends, Candice (Caitlin Mickey) and Shasta (Jade Cash) takes an unexpected turn as their conversation develops. Candice takes a phone call from the police about a case in which she is involved, and she is joined by Shasta as the conversation is ending. I won’t say more about the plot, but I will say that the tension builds efficiently and believably here, with a gradual shift in tone that is chillingly effective. Both performers are excellent here, communicating much by way of body language as well as dialogue. It’s one of LaBute’s better festival offerings.

“Little Johnny Knows Things”
by John Pierson
Directed by Wendy Renée Greenwood

 

Nick Barrows, Xander Huber
Photo by Patrick Huber
St. Louis Actors’ Studio

This one returns to the realm of comedy, even if it is on the creepy side. This play follows Ryan (Nick Barrows), who is just trying to have a relaxing time in the park reading a book, when Brett (Xander Huber) appears and ends up sharing his park bench. Brett has also brought along a friend–“Little Johnny”, who is a ventriloquist’s dummy. While Brett explains learning the art of ventriloquism to Ryan, things take a bit of turn, although it’s not quite as creepy as it could be. It’s more “funny with a bit of a twist”, and I’m not sure if that was the intention. Still, both actors–and the dummy–are strong in one of the shorter entries in this year’s crop of plays.

“The Rules”
by Domenick Scudera
Directed by Eric Dean White

Tyler Crandall, Anthony Wininger
Photo by Patrick Huber
St. Louis Actors’ Studio

Finally, we get to go on a car ride with two very different brothers in this play, which has older, Long Island-proud brother Leo (Anthony Wininger) giving younger, out-and-proud brother Mario (Tyler Crandall) a ride from the airport on the occasion of their mother’s funeral. This story is a bit on the predictable side, but the characters are especially well drawn and portrayed, with excellent chemistry between the actors and strong dialogue. It’s an entertaining way to close out the festival, and a strong examination of a broken relationship that clearly needs mending. 

Overall, it’s a strong collection of plays in this year’s festival, and worth checking out if you’re up for some insightful, sometimes intense and sometimes humorous stories that highlight various relationships. 

St. Louis Actors’ Studio is presenting the 12th Annual LaBute New Theater Festival at the Gaslight Theater until July 26, 2026

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