“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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Stages’ Lively “Spelling Bee” is a Well-Cast, Semi-Immersive Experience

June 4, 2026 by Michelle Kenyon ("Snoop")

The 25th Annual Putnam County Spelling Bee
Music & Lyrics by William Finn, Book by Rachel Sheinkin, Conceived by Rebecca Feldman
Additional Material by Jay Reiss
Directed and Choreographed by Ron Gibbs and Gayle Holsman Seay
Stages St. Louis
June 3, 2026

Cast of The 25th Annual Putnam County Spelling Bee
Photo by Phillip Hamer Photography
Stages St. Louis

Stages St. Louis is starting off their 40th anniversary season with some fresh new branding and an exciting schedule, leading off with a hilariously entertaining, quirkily fun musical. The 25th Annual Putnam County Spelling Bee has some delightful immersive elements, including the inclusion of volunteer spellers from the audience, as well as boasting an excellent, enthusiastic cast and first-rate production values. It’s a small show made big by means of bold, genuinely endearing performances and that professional approach that Stages does so well.

The story is fairly straightforward–it’s a spelling bee, featuring young contestants from various regions of the county, and hosted by a former winner, the perky Rona Lisa Peretti (Jennifer Theby-Quinn). Also assisting are local vice principal Douglas Panch (Christopher Hickey) and “comfort counselor” Mitch Mahoney (Omega Jones), who all have their own stories that will be told as events unfold. The spellers are a collection of disparate personalities, from the young, eager student Logainne Schwartzandgrubenierre (Abigail Isom), to the homeschooled Leaf Coneybear (Matthew Cox), intense parochial school student Marcy Park (Sarah Wilkinson), earnest dictionary lover Olive Ostrovsky (Alexis Kinney), socially awkward William Barfée (Bryce A. Miller)–who has a unique way of spelling out his words–and last year’s winner, the somewhat overconfident Chip Tolentino (Michael Schimmele). The spelling bee plays out in expected format, with revelations along the way as we learn the contestants’ hopes, dreams, fears, trials and tribulations as they navigate social interactions, issues with neglectful and overbearing parents, societal pressures, and more. It’s an ultimately hilarious and heartwarming story featuring a memorable score and insightful portrayals, as well as a lot of good old-fashioned laughs that never seem to belittle the characters, allowing the audience to sympathize with their plights without feeling superior over them. 

There’s also a fun element of “audience participation” added in which volunteers from the audience are included in the bee alongside the cast, each getting their moments to spell words and respond to comments from the hosts. The main focus, though, is on the fictional spellers, and each gets their moment to shine. The whole cast is excellent, with Theby-Quinn making an ideal host as the occasionally too-eager Peretti, whose memories as a former champion are still fresh in her mind. Theby-Quinn’s strong vocals are also a highlight, and Hickey and Jones are also strong as the other adult participants who have their own personal reasons for being there. As for the spellers, Kinney’s supremely likable Olive is a standout, as is Miller’s initially overconfident but increasingly struggling Barfée, who forms something of a sweet connection with Olive. Isom’s perky Logainne and Wilkinson’s tough-talking Marcy also have strong moments, as do Cox’s sweet-natured Leaf and Schimmele’s intense Chip. The weaving together of the spelling bee format with the personal issues of the contestants is smooth and easy to follow, and each character is well-defined. All the cast members work together well, with strong vocals and some fun choreographic moments, particularly for Miller on Barfée’s standout number “Magic Foot”. 

The technical elements here shine at least as brightly as the cast, with some truly stunning moments provided by lighting designer Sean M. Savoie and sound designer Hankyu Lee in some of the more existential moments of the show. There’s also a fantastically realized set by Rachel Seabaugh, along with marvelously detailed costumes by Cat Lovejoy that suit the characters well. The overall theming and sense of place are especially well-maintained here, adding to the overall locally-focused storytelling of this show, turning the fictional Putnam County into a real, credible place these characters inhabit.

If you’ve ever been in a spelling bee (and I have), or other student competitions, you might remember the pressures and expectations of such a contest, or maybe you just remember how awkward the tween and teen years can be. Whatever audience members’ personal experience, though, there’s a lot to relate to here, and Stages has provided a wonderfully immersive, thoroughly enjoyable production for teens and adults alike–although I would say that the subject matter is essentially PG13. It’s a fun show, ultimately, and an excellent start to a milestone season for Stages St. Louis.

Cast of The 25th Annual Putnam County Spelling Bee
Photo by Phillip Hamer Photography
Stages St. Louis

Stages St. Louis is presenting The 25th Annual Putnam County Spelling Bee at the Kirkwood Performing Arts Center until June 28, 2026

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90’s Slumber Party Fever Dream “Wild Nights” is a Lot of Thought-Provoking Fun from Young Liars

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

Wild Nights
by Courtney Bailey
Directed by Chuck Harper and Maggie Conroy
Young Liars
May 31, 2026

Ashwini Arora, Ellie Schwetye, Keating, Frankie Ferrari
Photo by StudioKayMedia
Young Liars

You’re invited to a slumber party, and don’t forget the Brand Name Snacks! It’s 1997, although time is something of a spectrum here since our main characters are from the 19th century, as famed poet Emily Dickinson (Ashwini Arora) and her close friend and sister-in-law Sue (Ellie Schwetye) have enlisted the help of a group of 90’s teens to host an authentic sleepover with the aim of seeing the Face of God in Courtney Bailey’s hilarious new play Wild Nights. It’s also a memorable time in history, as the characters soon learn of Princess Diana’s tragic car crash and wait to learn her fate. There are also card tricks, Dr. Pepper, the “Hot Boy Report”, and personal revelations about growing up, poetry, love, life, and mortality. It’s somewhat of an odd play to figure out at times, but there’s a lot here to think about, and as produced by Young Liars under the direction of Chuck Harper and Maggie Conroy, it’s certainly a show that lives up to its title.

The set is a whimsical delight, designed by Maggie Conroy with such careful detail that creates a real “slumber party” that provides a semi-immersive element while also adding a bit of a mystical twist, in that the fridge is a sort of gateway between time periods, among other fun aspects. My slumber party days were mostly in the 80’s, but there’s a bit of a timeless vibe about sleepovers to which many in the audience obviously relate, judging by reactions on the night I saw the show. Many long-held traditions are upheld here as Emily and Sue have enlisted the help of “sleepover experts”–a group of Boston teenagers including Missy (Keating), Bernadette (Frankie Ferrari), Anoushka (Molly Burris), Donna (Conroy), and Donna’s cousin Christopher (Cassidy Flynn). With all their plans kept in a sacred Trapper Keeper, the pair–eventually joined by Emily’s sister Lavinia (Rachel Tibbetts)–embark on their journey to see the Face of God in the midst of revelations about relationships, poetry, growing up, life and death–as the news about Diana eventually gets out and is incorporated into the story. Pop culture elements like 90s music, Tomagotchis, and more are blended into the story along with Dickinson’s poetry and some memorable singing and dancing. There’s excellent work from the entire crew, including vibrant costumes by Marcy Wiegert and well-designed lighting by Bradley Rohlf and sound by Chuck Harper. 

The entire cast is splendid, led by Arora and Schwetye in highly likable quirky turns as Emily and Sue, along with an especially enthusiastic Tibbetts as Lavinia. All the teens are well cast, as well, with strong turns from each, and Keating and Flynn especially standing out for their energy and emotional moments. It’s a strikingly cohesive ensemble, giving off the 90’s teen vibe with gusto, capturing the naivety and reckless energy of youth as well as a palpable sense of fear of the unknown mixed with insatiable curiosity. There’s a lot to ponder here, and Bailey’s script manages to be absolutely hilarious and remarkably thoughtful at the same time. There are a few memorable surprises here as well that I won’t spoil, but at least one of them was fairly predictable although still wonderfully appropriate. 

Overall, Wild Nights makes for, well, a wild night. It’s a well-staged, personable work that’s sure to delight 90’s kids and even those, like me, who are a little older, and probably younger as well. Bring your stuffed animals, fuzzy slippers, and Trapper Keepers to the Greenfinch, and enjoy a fun show with an intelligent literary twist.

Cast of Wild Nights
Photo by StudioKayMedia
Young Liars

Young Liars is presenting Wild Nights at Greenfinch Theater & Dive until June 13th, 2026

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STLSF’s Streamlined “Tempest” Creates a Fast-Moving, Fascinating World on Stage

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

The Tempest
by William Shakespeare
Directed by Rick Dildine
St. Louis Shakespeare Festival
May 29, 2026

Zay Williams, Nancy Bell, Sigrid Wise, Eliza Pagelle
Photo by Phillip Hamer Photography
St. Louis Shakespeare Festival

The Tempest at St. Louis Shakespeare Festival is a wild ride, with the audience brought along on a magical, musical journey of wonder, surprise, and emotion. It’s also a welcome return of a familiar theatrical force. Directed by former STLSF Artistic Director Rick Dildine and featuring a first-rate cast and eye-catching visuals, the show creates a memorable world onstage. 

Unlike most (if not all) previous “Shakespeare in the Park” features at the festival, this Tempest runs in one extended act with no intermission. There’s also a fair amount of cutting to the script, trimming it down to focus on the heart of the story, and especially on exiled Duke of Milan Prospero (Nancy Bell), her daughter Miranda (Sigrid Wise) and young Prince Ferdinand (Zay Williams), who is shipwrecked along with his mother, Alonso the King of Naples (Kathryn A. Bentley), Prospero’s usurping brother Antonio (Jeff Cummings), and their entourage. Prospero, who has been stranded on the island with Miranda for twelve years, has caused the storm with magic, and with the help of the sprite Ariel (Eliza Pagelle) and a promise for the latter’s freedom, causes havoc among the shipwrecked newcomers, as well as testing Ferdinand, who is immediately and mutually smitten with Miranda. The story also features a subplot involving foolish royal servants Trinculo (José Sabillón) and Stephano (Michael Doherty), who team up with embittered island denizen Caliban (Chauncy Thomas) to kill Prospero and take over the island. There’s a lot of action going on here, but it’s blended together especially well here, with a wonderful throughline of music provided by music director Michael Grieve as the Boatswain and small band of players providing a traditional/folk influenced soundtrack to the proceedings that adds much to the overall vibe of the show. It’s a comedic focus, mostly, and it works especially well, with measured moments of drama sprinkled in for good measure.

The cast is excellent, led by Bell in a commanding but expertly measured performance as Prospero, whose whimsical tendencies are there, but balanced by a strong sense of care for her daughter as well as a weariness from being stranded on the island. Wise is also excellent as the somewhat naive Miranda, who is eager to learn about the wider world and is credibly attracted to Williams’s charming Ferdinand. The trio of Trinculo, Stephano, and Caliban is ably played with impressive comic timing by Sabillón, Doherty, and the especially pouty Thomas. There are also strong villainous turns by Cummings as the scheming Antonio and Reginald Pierre as his would-be partner-in-crime Sebastian. Bentley makes for a fine Alonso as well, and Whit Reichert turns in an endearing performance as Prospero’s mentor and ally Gonzalo. As the eager sprite Ariel, Pagelle is full of vibrant energy and purposeful mischief. These players are also supported by a strong ensemble, making for a cohesive cast and smooth storytelling. 

The visual world and overall atmosphere of the show is nothing short of wondrous, with a magnificent old-shipwreck set by Christopher Swader and Justin Swader that features many levels on which the cast can work, as well as dazzling lighting by Jeff Behm and well-choreographed sound by Melani Chen Cole that punctuates key moments in the story with palpable energy and emotion. There are also spectacular costumes by Kathleen Geldard in what appears to be an 18th Century style, and excellent props by Katherine Stepanek. Kudos also go to movement director Paul Dennhardt in coordinating the movements with the sound and the overall cohesive physicality of the production.

Overall, this Tempest is a lot of fun. It’s fast-moving, marvelously realized and ideally cast, bringing an overall sense of mystic wonder to the stage in Forest Park. It’s a marvelous piece of theatre, starting off the summer theatre season in St. Louis with energy and style.

José Sabillón, Michael Doherty, Chauncy Thomas
Photo by Phillip Hamer Photography
St. Louis Shakespeare Festival

St. Louis Shakespeare Festival is presenting The Tempest in Forest Park’s Shakespeare Glen until June 21, 2026

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“Fat Ham” Examines Family Relationships, Comedy and Tragedy in a Southern Shakespearean Tale

May 25, 2026 by Michelle Kenyon ("Snoop")

Fat Ham
by James Ijames
Directed by Geovonday Jones
The Black Rep
May 22, 2026

Marshall W. Mabry IV, Enoch King
Photo by Howard Ash
The Black Rep

Does Hamlet have to be a tragedy? Is Fat Ham a rehash of Hamlet or a commentary? What do the timeless themes of Shakespeare’s legendary play have to do with life in the modern American South? How much say do people have in how their own lives play out or parallel famous tragedies, even in a “meta” show with copious fourth-wall breaking and examinations of important, recurrent themes in life, death, and family relationships? These are some fascinating questions raised by playwright James Ijames’s Pulitzer Prize-winning play that’s now onstage in St. Louis at the Black Rep, in a dynamic production that brings many thoughts to ponder, as well as a surprising amount of laughter.

The play’s initial description doesn’t adequately prepare audiences for what they are about to see, from my experience. Described as basically a retelling of Hamlet from a modern Southern, Black, queer perspective, the show basically is that, but it’s a lot more, as well. It’s not exactly a retelling, for one thing. It essentially follows a modern North Carolina family whose lives play out in an oddly parallel manner to Shakespeare’s most famous tragedy, but in a way that allows the characters to recognize that fact, examine it, and directly challenge it. The analogues to various characters are here, led by Juicy (Marshall W. Mabry IV), the Hamlet figure, who begins the story hanging out with his cousin Tio (Olajuwon Davis) before his mother Tedra’s (Angela Wildflower) wedding reception after having married Juicy’s uncle Rev (Enoch King) a week after the murder of Juicy’s imprisoned BBQ mogul father Pap (also King). After Tio is freaked out by the ghostly visitation, Pap soon appears to Juicy with the familiar challenge to avenge his death. Soon, family friend Rabby (Margery Handy) arrives with her adult children and Juicy’s childhood friends Larry (Brian McKinley) and Opal (Raevyn Ferguson), who are this show’s counterparts to Polonius, Laertes and Ophelia, although there is some deliberate blurring of those last two identities as the show plays out. As the characters struggle with forced gender roles, parental expectations, long-held attractions, and family resentments, the story begins to take a bit of a Hamlet shape, but refuses to fit neatly into that mold. In fact, the way the characters recognize the plot and soon begin to drive it is the source of much of the character development, humor, and drama of this piece. 

The world of the play is well-realized here, led by a fantastic cast starting with Mabry’s multi-faceted Juicy, who is determined, conflicted, and outspoken all at the same time, and possesses an excellent sense of timing. Davis’s Tio is also a standout in the  “Horatio” role, adding much to the overall humor and heart of the production. There are also fine turns from Wildflower as the outgoing Tedra and King in a fascinating dual role as the flawed and determined Pap and the outgoing but alternately menacing Rev. McKinley and Ferguson are also strong in their roles as two siblings who struggle to live up to their mother’s expectations, and Handy manages the role of the bossy and occasionally surprising Rabby with vibrant energy. The interactions between all these characters make the plot move with driving energy, and there’s never a dull moment.  While the overall tone is largely comic, there are some truly moving dramatic moments as well as moments of tension that also play out with strong credibility.

The look and mood of the piece are well-done, with Patrick Huber’s vibrant set providing an ideal backdrop in a suitably Southern manner. The costumes by Andre Harrington are remarkably well-realized, also, and there are some fun special effects added by lighting designer Huber and sound designer Tre’von Griffith that add an overall spooky/humorous tone to the “ghost” sequences. There’s also impressive work from props designer Mikhail Lynn in helping to keep the overall quirky tone of the show and the characters. 

I had heard a lot of good things about Fat Ham, and had been looking forward to seeing it performed by one of St. Louis’s most celebrated theatre companies. The Black Rep has certainly not disappointed. This is a show that provides a lot to think about and examine about Shakespeare, the modern American South, Black and queer culture, and more, along with timeless themes of relationships, societal and parental expectations. It’s an excellent way to end the Black Rep’s latest season. 

Olajuwon Davis, Marshall W. Mabry IV, Brian McKinley, Raevyn Ferguson
Photo by Howard Ash
The Black Rep

The Black Rep is presenting Fat Ham at Washington University’s Edison Theatre until June 7, 2026

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