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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“God of Carnage” at NJT is a Well-Choreographed, Darkly Comic Showcase for a Powerful Cast

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

God of Carnage
by Yasmina Reza
Translated by Christopher Hampton
Directed by Gad Guterman
New Jewish Theatre
June 11, 2026

Joel Moses, Nick Freed, Bridgette Bassa, Christina Rios Photo by Jon Gitchoff New Jewish Theatre

New Jewish Theatre’s latest production is an exercise in characterization, dark comedy, and a fascinating examination of human nature and social mores. Yasmina Reza’s God of Carnage, translated by Christopher Hampton and under the direction of Gad Guterman, is also an intricately paced, well-choreographed showcase in ensemble chemistry in this precisely staged production at NJT. It’s a relatively short play, running at about 90 minutes with no intermission, but a lot of action is packed into those 90 minutes, along with a lot of issues to ponder.

This is a meticulously crafted production, with the characters and situation being reflected clearly through means of the technical elements as well as the acting. The upscale Brooklyn apartment set by Rob Lippert, surmounted by an imposing abstract painting, gives a good idea of the world these characters inhabit. It’s the home of affluent couple Michael (Joel Moses) and Veronica (Christina Rios), whose school-age son has been injured in an altercation with a classmate, whose parents Alan (Nick Freed) and Annette (Bridgette Bassa) have come over to try to settle their dispute and craft a statement. It all starts with a veneer of politeness that gradually but surely disintegrates as the evening unfolds, revealing hidden aspects of the characters’ personalities, secret motives, attitudes, and biases as alcohol is brought out, contributing to the loosening of lips and revealing of truths. There’s also a somewhat graphic scene involving vomit, and usage of some offensive language that may bother viewers sensitive to such content. 

It’s a well-crafted script, and the pacing is fantastic, with sharp comic timing and fasti-moving action. The acting is top-notch, with all four players turning in first-rate performances, with some–like Rios and Bassa, playing marvelously unusual roles for them, and Moses and Freed matching their energy note-for-note. These are well-defined characters but it also takes a bit to reveal who they really are underneath their carefully constructed veneers, and these revelations add to the comedy as well as the more disturbing aspects of the plot. It’s a statement about modern affluent society and social constructs of society as much as it is about raw human nature, and these players go all out to portray these characters in all their complex, and occasionally violent, elements. It’s a riveting show from start to finish.

The physical production also contributes much to the story, In addition to Lippert’s marvelous set, there are also perfectly crafted costumes by Michele Friedman Siler that do much to reflect who these characters are. There’s also excellent lighting by Jayson Lawshee-Gress and sound by Kareem Deanes, all working together to add to the tension and mood of the play. 

God of Carnage is a lot of play in a short runtime. It’s a sharp examination of a segment of modern society that plays out in a darkly comic tone that works especially well for the story it’s aiming to tell. These characters are complex and not always likable, but thanks to the excellent performances of the actors, they are compelling from start to finish, and the plot descent to chaos is highly believable and fascinating. It’s another excellent theatrical effort  from New Jewish Theatre. 

Bridgette Bassa, Christina Rios, Nick Freed
Photo by Jon Gitchoff
New Newish Theatre

New Jewish Theatre is presenting God of Carnage at the J’s Wool Studio Theatre until June 28th, 2026

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New Line’s Energetic “We Will Rock You” Revels in the Joy of Rock ‘n’ Roll

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

We Will Rock You
Music and Lyrics by Queen, Story and Script by Ben Elton
Directed by Chris Moore and Scott Miller
Choreographed by Josiah Gunderson
New Line Theatre
June 6, 2026

Adrienne Spann, Chelsie Johnston, Braidy Kirkegaard, Ronmal Mottley
Photo by Jill Ritter Lindberg
New Line Theatre

I have to admit that I’ve had the opportunity to see We Will Rock You before, when I’ve been on trips to London while it was running there, but I chose not to see it–even though I love the music of Queen–because I looked up the plot and it seemed silly. Well, now I’ve seen it in the new production at New Line Theatre, and I’ve discovered that I was sort of right and sort of wrong. The show actually is kind of silly, but in a good way. It’s a pleasant surprise, majoring on the joy and fun of rock ‘n’ roll rather than taking itself too seriously, and that makes it especially entertaining to watch. At New Line, with a great cast and excellent production values, it’s a celebration of the pure joy and energy of rock, as well as reflecting some surprisingly timely trends in culture. 

The story takes place in an alternate dystopian future society ruled by a corporation. Earth has been renamed “the iPlanet” and original music and musical instruments have been banned, with all entertainment being AI-generated, reducing the population to mandated rule-following “Gaga Girls” and “Gaga Boys”, ruled by the Killer Queen (De-Rance Blaylock), with the rules being enforced by a commander called Khashoggi (Evan Brokema) who is on  a mission to stamp out the rebellion led by the “Bohemians”, a group of outcasts who seek to restore rock music after having found “sacred texts” that give them ideas about what rock ‘n’ roll was like in the old days.  They also expect the arrival of “the Dreamer”, who will apparently help restore rock music to the people. This prophecy is apparently fulfilled by the arrival of a young rebel who calls himself Galileo Figaro (Braidy Kierkegaard), who soon meets another rebel that he dubs Scaramouche (Chelsie Johnston), who joins him on the quest to find the Bohemians and figure out what the dreams mean. This quest involves a good deal of confused information that leads to a lot of laughs, as well as the earnest striving of the Bohemians who also provide much in the way of entertainment value to the quest. The Killer Queen and Khashoggi also make intriguing and entertaining villains. Although there isn’t much doubt about how this story is going to end, it is certainly a lot of fun getting to its conclusion, providing a glimpse into the gloomy world that an AI-dominated society can provide, as well as the sheer joy of rock ‘n’ roll music and individual expression. 

The rapport between Kierkegaard’s Galileo and Johnston’s Scaramouche is a real highlight of this production, as are their fantastic voices. The energy and enthusiasm generated by these two, and by the Bohemians led by Jeff Loeffler as the hippie-ish Buddy, and by Ronmal Mottley’s Brit and Adrienne Spann’s Oz, bring much of the entertainment value and jubilant energy to the production. The rest of the ensemble , played by Michael Kramer, Ian McCreary, Nathan Mecey, Rachel Parker, Reagan Posey-Mank, and Corrinna Redford, is also excellent, and Blaylock and Bronkema both have fantastic stage presence, and Blaylock’s voice combined with the music of Queen is a match made in rock ‘n’ roll heaven. It’s a show full of energy, humor, and heart, and the staging is creative and energetic, with vibrant choreography by Josiah Gunderson and a great rock band lend by music director/keyboardist Brayden Bessette. 

The show has a distinctive look, as well, creating a believable post-apocalyptic look and vibe by means of Nathan Mecey’s excellent unit set and Becca Rose Bessette’s eye-catching costumes. The lighting by Eric Wennlund, props by Beth Burton-Livorsi and sound by Ryan Day also contribute much to the overall vibe and mood. It’s a well-defined look and world, inhabited by memorable characters and punctuated by the legendary music of Queen. 

Overall, this is an immensely entertaining show, doing justice to its celebrated soundtrack and featuring a fun and excellently sung encore, as well. It holds attention from start to finish with a great theme, a first-rate cast, and of course the sound of Queen, featuring both “greatest hits” and more hidden gems. If you love rock ‘n’ roll, and especially the music of Queen, you should find a lot to like here. It’s a fine tribute to the music, the attitude, and the spirit of rock ‘n’ roll. 

De-Rance Blaylock, Evan Bronkema
Photo by Jill Ritter Lindberg
New Line Theatre

New Line Theatre is presenting We Will Rock You at the Marcelle until June 27, 2026

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“Three Sheets to the Wind” At Stray Dog Theatre Features Memorable Characters, a Lot of Talking

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

Three Sheets to the Wind
by Gary F. Bell and Robert L. White
Directed by Gary F. Bell
Stray Dog Theatre
June 4, 2026

Mike Wells, Joseph Garner, Sarah Polizzi, Jeffrey M. Wright
Photo: Stray Dog Theatre

Stray Dog Theatre’s newest show is a world premiere, written by Artistic Director Gary F. Bell and his longtime writing partner Robert L. White. Three Sheets to the Wind strikes me as a bit of a throwback to 1980’s comedies like those of Larry Shue, although it still needs a bit of work, and there is more talk than action in many moments. Still, the cast is well-chosen and enthusiastic, and there are some genuine laughs to be had here, although it could benefit from some more stagings and workshops to tighten up the script. There are also a few technical issues that can make the story occasionally difficult to follow. 

The story is supposed to be set in the present, although there are references made by some characters that make it seem like it’s earlier, especially since there’s a character who keeps mentioning having worked in the 60’s and 70’s, which would make her older than the character seems to be presented. Also, the structure suggests a 1980s or possibly early 90s vibe, reminiscent of a sitcom from that era. The story follows Oliver (Joseph Garner), a single gay man living in Greenwich village who is close to his neighbors, married couple Cal (Jason Meyers) and Maddie (Sarajane Clark). Cal is Irish for no apparent plot reason. After some establishing conversations, it’s made clear that Oliver needs a new roommate, and has made an arrangement with ex-boyfriend and television psychiatrist Aaron (Jeffrey M. Wright) to live there for a while and help Oliver with his financial situation. Another ex-boyfriend, Danny (Mike Wells) is also brought up, and soon Danny shows up unexpectedly with some quirky actors in tow, hoping to work on developing a musical that he and Oliver had been previously writing together. The newcomers include the diva-ish Larina (Sarah Polizzi), whose plot purpose seems to call her to be as annoying and demanding as possible. Joining her are Abe (Zack Huels) and Jake (Brady Stiff), a pair of actors who just want to get on with the rehearsals and have become increasingly tired of Larina’s antics. The situation seems to pull Oliver, Aaron, and Danny together to a degree, but there’s also an Act 2 revelation involving a character called Zolda (Liz Mischel) that again, essentially consists of a lot of talking and explaining, which is hard to understand at times since the sound quality is inconsistent in this production. 

There are some good ideas here, and the general idea comes across reasonably well. There are some funny characters and moments of laughter, but the script needs some tightening and the situations need to focus more on showing than telling more often than not. There are also some characters, like Cal and Maddie, who disappear for long stretches and don’t always seem to have enough to do. The cast is enthusiastic, though, and Polizzi especially shines as the annoying, self-obsessed Larina, and Garner, Wells, and Wright have good moments together as well. Mischel does as well as possible with a surprise character at the end, and plays two other smaller roles as well, and the rest of the cast does about as well as they can with the material. There are some entertaining moments here, and the play has a good deal of potential.  I think I can see where it’s trying to go, but it’s not exactly “there” yet. It’s also a good deal longer than it needs to be, and could benefit from some trimming.

Visually, the play has a fine sitcom-type set by Rob Lippert and excellent costumes by Colleen Michelson and wigs by Priscilla Case. Tyler Duenow’s lighting is excellent, and Justin Been’s sound is good for the most part, although there some acoustic issues with such a talky play being able to be understood. The pacing could use some improvement, as well, but there are some genuinely funny moments.

For the most part, Three Sheets to the Wind comes across as a promising but not all-there work in progress. There are some funny situations and characters, but there’s more talk and less action than there should be. The cast is excellent, for the most part, though, and there are plenty of laughs to be had. It’s worth seeing for its potential and effort.

Joseph Garner, Sarajane Clark, Jason Meyers
Photo: Stray Dog Theatre

Stray Dog Theatre is presenting Three Sheets to the Wind at Tower Grove Abbey until June 20, 2026

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