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 Engagingi “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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“South Pacific” Entertains at the Muny with Strong Staging, Excellent Cast

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

South Pacific
Music by Richard Rodgers, Lyrics by Oscar Hammerstein II
Book by Oscar Hammerstein II and Joshua Logan
Directed by William Carlos Angulo
Choreographed by Karla Puno Garcia
The Muny
July 7, 2026

Paulo Szot, Taylor Louderman
Photo by Phillip Hamer
The Muny

The Muny is continuing their summer season with a Rodgers and Hammerstein classic. The company’s last production of this show was in 2013, and I remember it being a good one. This time, the Muny has assembled an excellent cast and crew for a show that emphasizes dancing and movement as well as two excellent leads, making for a memorable production that’s sure to entertain and touch hearts in Forest Park. 

Although I know this show is set during World War II, I keep forgetting how much the war figures into the story. That element is emphasized clearly in this thoughtfully directed production, which also uses dance in creative ways to tell its story. The central figures are Navy nurse Nellie Forbush (Taylor Louderman) and French planter Emile DeBecque (Paulo Szot), who have met while Nellie’s unit is stationed on a tropical island and have fallen in love. Most of the other characters are involved in the Navy unit that is stationed on the island, although there’s also a local merchant called Bloody Mary (Joan Almedilla) who sells her wares to the sailors and hopes to make life better for her daughter, Liat (Michaela Marfori), who Mary is trying to set up with newly arrived Lt. Joseph Cable (Michael Canu), who has been sent to this base for a secret military reason. In the course of events, both Nellie and Cable are forced to confront long-held, firmly taught prejudices that stand in their way. It’s a bright, energetic show, but there’s also a degree of grit and drama that goes along with the setting. There’s romance and humor, but there’s also a hard-hitting message and constant reminders that there’s a war going on in the midst of this tropical locale.

There’s a lot going on in this show, and while some elements may seem dated, it still packs a punch today in terms of its story. The cast is well-chosen, led by a relatable performance from Louderman as Nellie. Despite a somewhat awkward accent, Louderman makes Nellie an excellent protagonist, with memorable stage presence and powerful vocals, doing justice to the show’s well-known songs like “A Cockeyed Optimist”, “I’m In Love with a Wonderful Guy” and more. She’s matched every step of the way by the suave, sophisticated, also gloriously-voiced Szot, who has many memorable moments, especially on “This Nearly Was Mine” in Act 2. Bobby Conte is also strong in a largely comic performance as Seabee Luther Billis, who is determined to visit a nearby mysterious island along with Canu’s sympathetic and also excellently sung Cable, who has strong chemistry with Marfori’s also strong Liat. Almedilla is a memorable force as Bloody Mary, as well, with excellent timing and vocals, and there are also strong turns by Michael James Reed as unit commander Captain Brackett, and Jeff Cummings as Brackett’s assistant, Commander Harbison. The leads are backed by an energetic ensemble, as well, singing and dancing with energy and enthusiasm and adding much to the entertainment value of the story. 

The technical aspects of this production are excellent, with an eye-catching, versatile set by Arnel Sancianco that evokes the 1940’s tropical setting especially well. There are also vibrant costumes by Raquel Adorno, based on original costume design by Catherine Zuber. The lighting by John Lasiter, sound by Joshua Hummel, video design by Yee Eun Nam, and wigs by Ashley Rae Callahan also contribute much to the overall tone and setting of the show. The choreography by Karla Puno Garcia is dynamic and engaging, as well, as is the excellent Muny Orchestra led by music director Roberto Sinha. 

South Pacific is considered a classic of musical theatre, and this production at the Muny makes it easy to see why. While it’s necessarily a period piece now, this production manages to maintain a sense of timeless immediacy to the story, reminding audiences what made the show work in the first place. It’s another strong showing for the Muny in their 2026 season. 

Taylor Louderman, Bobby Conte, and Cast
Photo by Phillip Hamer
The Muny

The Muny is presenting South Pacific in Forest Park until July 12, 2026

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Prism’s Riveting “Progress” Showcases Historical Women, Stellar Cast

July 6, 2026 by Michelle Kenyon ("Snoop")

Progress
by John Wolbers
Directed by Trish Brown
Prism Theatre Company
July 3, 2026

Nicole Angeli, Michelle Hand
Photo by Leo Young
Prism Theatre Company

Prism Theatre Company is back with a glorious World Premiere production focusing on women in history, and an eminent historical figure in particular. Progress also features a nearly all-female cast and crew, with a notable exception being the playwright, John Wolbers. Directed by Prism’s artistic director Trish Brown, the show focuses on progress in multiple ways, from a practice carried out by England’s Queen Elizabeth I to the struggles of women leaders throughout history, this show features a stellar cast and lavish production values, making for a must-see theatrical experience at the Kranzberg Arts Center in Grand Center. 

The story, set in three scenes from 1562 to 1589, centers on Queen Elizabeth I (Michelle Hand) and the ladies of her inner circle, who wait on her, dress her, and serve as her confidantes, calling her “Bess” in private. These women are a mix of strong personalities, from the more prim Blanche (Nicole Angeli) and Sidney (Carly Uding) to the crass Kat (Margeau Steineau), the kindly Dorothy (Rachel Tibbetts), and the young newcomer Mary (Sarah Lantsberger), who is new at first and needs to learn the ropes, as well as her place in the court and the world around her. These ladies interact with one another and with the outspoken Bess, who is still learning to navigate her way in the world as Queen in a world where men dominate and women are often overlooked and ignored. It’s a fascinating dynamic, as Bess has to tackle various issues–like avoiding war or marriage–as well as a serious crisis that looms on the horizon, and the rest of the women deal with controversies, personality conflicts, and personal struggles as they work together to keep Bess ready for her role as monarch. There’s a good deal of humor here, as well as a wonderful fantasy sequence featuring past and present Queens including Elizabeth II (Steineau), Lady Jane Grey (Lantsberger), Boudica (Uding), Anne (Tibbetts), and Victoria (Angeli). 

The story here is about the historical events–somewhat fictionalized since nobody really knows what the Queen and her ladies talked about in private–but it’s also about dynamics of women living in a man’s world, and a queen trying to assert her place in a world that doesn’t know what to do with her. The tone is largely humorous, with some crass language and jokes, as well as more serious matters of royal intrigue and a looming plague. The everyday matters of personal grooming and getting the queen ready for her various appointments also figures largely, with truly fantastic costumes by Liz Henning taking center stage and seeming almost like characters in the play themselves. There’s also a wonderful set and lighting by Katherine Stepanek that work to advance the plot, characters, and mood especially well, along with excellent sound design and music by Bryn McLaughlin and fight choreography by Riley Capp. 

This is a highly personal work, with well-defined characters that have been perfectly cast here, led by Hand in a truly dynamic performance as the strong-minded but occasionally struggling Bess, who deals with personal relationship matters along with international intrigue in a world of men with whom she has to learn how to relate and work around. Hand has incredible presence, as well as strong chemistry with her equally excellent co-stars, who are all simply stellar. Everyone is fantastic, with Lantsberger and Angeli given especially strong moments, as Lantsberger’s Mary deals with finding her role in the court amid personal pressures, and Angeli’s Blanche deals with personal issues of her own. Steineau’s bawdy Kat, Uding’s conflicted Sidney, and Tibbetts’s matronly Dorothy are also especially strong, with a real sense of rapport that enhances the humor and the drama. It’s a master-class of ensemble acting, adding much to the entertainment value of the play. 

There is so much going on here in the way of personal drama and national and international intrigue that it’s hard to adequately describe, but the main focus is on the characters and their relationships, which are superbly defined in this well-crafted, finely paced play. The title Progress refers to both a practice of the queen’s to move between various palaces and to the need to for the women in the story to learn how to operate in a world that doesn’t necessarily want them, and to make a difference. It’s an astounding feat of writing and acting, fitting into the small space at the Kranzberg Arts Center well, and telling a story that needs to be told. It’s a truly fantastic work of theatre.

 

Nicole Angeli, Sarah Lantsberger, Michelle Hand, Rachel
Tibbetts, Margeau Steinau, Carly Uding
Photo by Juno Mayer
Prism Theatre Company

Prism Theatre Company is presenting Progress at the Kranzberg Arts Center until July 12, 2026

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“Steel Magnolias” at Bread and Wine Emphasizes Connection and Heart

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

Steel Magnolias
by Robert Harling
Directed by Haley Clegg
Bread & Wine Theatre Company
June 27, 2026

Katherine Garrett, Melody Valen Quinn
Photo by Edward Crim
Bread & Wine Theatre Company

Steel Magnolias is a popular play. It’s fairly easy to see why, since the show is so full of memorable characters and relatable situations, while also maintaining a strong sense of time and place.  The latest local production, by Bread and Wine Theatre Company, highlights its well-chosen cast and thoughtful direction by Haley Clegg. 

The story, entirely set in a beauty shop, follows six different characters with contrasting personalities. They are all women who live in a small Louisiana town, and with one exception, are well-versed in the town’s culture and characters. The newcomer, Annelle (Tia René Williams), has just been hired at the shop by owner Truvy (Melody Valen Quinn), and the rest of the characters are customers at the shop. The four scenes show the passage of time as the characters get their hair done, share town gossip, and deal with life’s challenges. The main focus appears to be on mother and daughter M’Lynn (Lisa Karpowicz) and Shelby (Katherine Garrett), who in the first scene are preparing for Shelby’s wedding. Shelby’s delicate health is a major concern throughout the play. We also get to meet the town’s former First Lady, Clairee (Laura Lee Kyro) and the outspoken Ouiser (Ann Egenriether), both of whom are longtime residents of the town and seem to know everyone. Through the course of the play, more is revealed that brings the characters through a range of experiences and emotions, emphasizing their bond as friends and family. 

The 1980’s atmosphere in this production is impeccable, and perhaps the best I’ve seen in a production of this show. The costumes by Sonya Valentine are just on point, as is the decor in the shop and the set design by Matt Dossett. The music that plays before the show and between acts also works especially well to set the mood. There’s also fine work from sound designer Alan Phillips and voiceover actor Antonio Watts as a local radio DJ. 

The pacing is spot-on, for the most part, with a few slower moments, but mostly maintaining a comic tone with occasional well-pitched dramatic moments. The cast is uniformly excellent, with first-rate ensemble chemistry and excellent comic timing, especially by Egenriether as the sharp-tongued Ouiser and Kyro as the kind but occasionally snarky Clairee. Williams does an excellent job as Annelle, the character who changes the most throughout the show, and Karpowicz and Garrett bring warmth and credibility to their characters’ mother-daughter relationship. 

Steel Magnolias is a well-known show with an even more well-known movie adaptation, so audiences may be comparing this stage show to the film. This production stands well in its own right. It’s another memorable performance from the still relatively new Bread & Wine Theatre Company. The only real drawback is that it only ran for one weekend.

Laura Lee Kyro, Ann Egenriether, Tia René Williams, Melody Valen Quinn, Lisa Karpowicz
Photo by Edward Crim
Bread & Wine Theatre Company

 

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“Shrek” Entertains with Humor and Heart at the Muny

June 27, 2026 by Michelle Kenyon ("Snoop")

Shrek: The Musical
Book & Lyrics by David Lindsay-Abaire, Music by Jeanine Tesori
Directed by John Tartaglia
Choreographed by Patrick O’Neill
The Muny
June 26, 2026

Nik Walker (center) and Cast
Photo by Phillip Hamer
The Muny

Shrek has arrived in Forest Park, and he’s leading a lively, entertaining cast and crew. This is the second production of Shrek: The Musical at the Muny, with the previous production being in 2013. I saw that show and liked it, but this time, director John Tartaglia, choreographer Patrick O’Neill and company have pulled out all the stops to stage this vibrant, energetic ode to a gruff but likable ogre who is reluctantly pulled out of his swamp for a life-changing adventure.

This show basically tells the story of the first Shrek movie, but it adds a bit of backstory for Shrek (Nik Walker, with Young Shrek played by Solomon Rosenthal) and Princess Fiona (Kara Lindsay, played as a child by Lake Schultz and a teen by Amelie Lock). The basic story, though, is the same as the film–Shrek’s private swamp has been overrun by displaced fairy tale characters who have been banished there by the vain Lord Farquaad (Troy Iwata), who is trying to rid the land of Duloc from those he deems “freaks”. Farquaad also wants to marry a princess so he can become king, and so he sends Shrek on a quest to rescue Fiona from a dragon-guarded castle. Along the way, Shrek meets the relentlessly friendly Donkey (Marcus M. Martin) and forms a reluctant friendship. Through the course of the adventure, Shrek battles a dragon (a fantastic multi-person puppet voiced by Solome Smith) and his own personal demons while Fiona tries to hide a secret of her own. If you’ve seen the film, you know how this plays out, but here the songs add dimension to the story in intriguing ways, as well as a fun level of live theatre energy.

The cast is marvelous, led by the ideally cast Walker as the gruff, grumpy, but sensitive Shrek. Walker’s vocals are excellent on songs like “Who I’d Be” and “Build a Wall”, and he has excellent rapport and chemistry with Martin’s hilarious Donkey and Lindsay’s perky Fiona. Lindsay, for her part, also brings a lot of energy and stellar vocals to her role, and Martin’s comic timing is spot on. There’s also a delightfully comic, physical performance from Iwata as the gleefully self-absorbed Farquaad, and a vocally spectacular turn from Smith as the voice of the dragon, with “Forever” being among the highlights of the show. The leads are well-supported by an excellent ensemble and youth ensemble, with standout performances by Tyler Joseph Ellis as Pinocchio, and Aymee Garcia as the Sugar Plum Fairy and Gingy. It’s an energetic company all around, singing well and performing Patrick O’Neill’s vibrant choreography with energy and style. 

The show also looks and sounds great. Adam Koch’s multi-level set is colorful and versatile, and is well-supported by Kylee Loera’s vibrant video design. There are also eye-catching costumes by Robin L. McGee based on the original costume design by Tim Hatley; and memorable wigs by Jeff Knaggs. The costumes are clearly inspired by the film, but they go their own way in a few places, as well. There’s also excellent lighting by Jason Lyons and sound by Joshua Hummel. Also, the puppets in the show are especially notable, including some excellent rat puppets by Jim Henson’s Creature Shop and the truly spectacular, colossal dragon puppet by James W. Wojtal, Jr. There’s also an excellent Muny orchestra led by music director Ben Whitely, doing justice to Jeanine Tesori’s memorable score. 

Shrek: the Musical still may not be as great as the film in my mind, but it holds its own as a vibrant, energetic show with humor and heart. It’s a treat for all ages, and I noticed the large number of families with children in the audience. This is a broad-appeal show that brings wonder, delight, and laugh-out-loud comedy to Forest Park with undeniable charm. 

Marcus M. Martin and Cast
Photo by Phillip Hamer
The Muny

The Muny is presenting Shrek: The Musical in Forest Park until July 2, 2026

 

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Carefully Constructed “Wasp” at Albion Features Stellar Acting, Riveting Suspense

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

The Wasp
by Morgan Lloyd Malcolm
Directed by Robert Ashton
Albion Theatre
June 12, 2026

Macia Noorman, Ricki Franklin
Photo by John Lamb
Albion Theatre

The Wasp is a freaky play. A St. Louis premiere presented at Albion Theatre, British playwright Morgan Lloyd Malcolm’s two-hander is a fast-moving psychological thriller that contains some truly disturbing subject matter, so let that be a warning. It’s not for all audiences, but it’s also an expertly crafted script that keeps audiences guessing from start to finish. Under the thoughtful and meticulous direction of Robert Ashton, it also serves as a showcase for two positively fantastic performances from excellent local actors. 

This play isn’t easy to describe without spoiling too much, since so much of the plot evolves in unexpected ways, but the set-up is that two old schoolmates, the affluent Heather (Ricki Fraklin) and the financially struggling Carla (Macia Noorman), meet in a cafe after years of estrangement to discuss a shocking proposal that Heather has for Carla. Although Carla is reluctant at first, she eventually goes along, and that decision starts a chain of events and revelations that tell us much more than we initially thought we knew about these two and their relationship over the years.  There’s a good deal of psychological manipulation and not a few twists and turns as the plot develops. It’s not easy to watch considering some of the subject matter, including graphic descriptions of violence toward both humans and animals, as well as sexual manipulation and bullying. 

The script is very well put together, and the acting is stellar, with both Noorman and Franklin turning in tour-de-force performances and displaying fantastic, suspenseful chemistry. Noorman’s tough-talking Carla and Franklin’s more initially reserved Heather both have their surprises, and both performers handle the emotion, tension, and determination with expert energy and emotion. It’s a convincing turn from both, making for a rivetingly suspenseful production throughout. The pacing is also expertly measured, making for a fast-moving show with never a dull moment.

Visually, this is one of the more impressive shows I’ve seen in this venue. Rob Lippert’s well-appointed set is detailed and meticulous, especially adept at presenting Heather’s richly furnished high-end residence. There’s also excellent work from lighting designer Kara Grimm-Denholm, helping to maintain the overall suspenseful tone throughout the story, along with the also excellent sound by Leonard Marshell. Tracey Newcomb’s costumes are also notably appropriate to the characters., and there’s memorable work from fight choreographer Mo Moellering, as well. 

If you’re into psychological thrillers, The Wasp is likely to appeal. It’s a bit much for me in terms of subject matter, but I’m squeamish about these kinds of things. There’s no question that it’s a well-crafted script with powerful acting, and especially clever and thoughtful direction. It’s another example of theatrical excellence from Albion Theatre Company. 

Macia Noorman, Ricki Franklin
Photo by John Lamb
Albion Theatre

Albion Theatre is presenting The Wasp at the Kranzberg Arts Center until June 28, 2026

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