Energetic Cast Checks into Zany “Bed and Breakfast” at Chorus of Fools

October 31, 2026 by Michelle Kenyon ("Snoop")

Bed and Breakfast of the Damned
by Cameron McNary
Directed by John Wolbers
Chorus of Fools
October 24, 2026

Nic Tayborn, Anthony Kramer-Moser, Moira Healy
Photo by Andrew Noble
Chorus of Fools

Horror has been a theme of many local shows this season, some in more serious ways and others taking a comedic turn. For Chorus of Fools’ latest production, Bed and Breakfast of the Damned, the tone is more than just comical–it’s a full farce, with rapid-fire jokes, raunchy moments, and plenty of zombies. And pugs–don’t forget the pugs. While the show itself tends to drag a bit in the first act, the cast is full of energy and enthusiasm, and the staging and production values add to the overall tone and humor of the show. 

The story starts in the middle of a full-blown zombie apocalypse. While the undead creatures roam around outside, the Snug as a Pug Bed and Breakfast has become a refuge for its owners, the fastidious and emotional Carl (Anthony Kramer-Moser) and his amorous wife Sheryl (Nicole Angeli); and the more practical-minded Dan (Ryan Lawson-Maeske) and his wife Carol (Patience Davis). Having stockpiled weapons and kept the zombies locked out, the residents are soon joined by newcomers Ben (Nic Tayborn) and Melissa (Moira Healy), who have managed to flee the zombies and are welcomed in by Carl, who is enthusiastic to tell them about all the features of the B & B, and especially its pug-themed accessories. Soon, however, the new couple is met with a series of surprises, as various shenanigans ensue that eventually make the zombie threat all the more threatening, as well as presenting a situation in which there may be even more threats from inside than from outside.

The show is reasonably fast-paced, and a lot of stuff is going on at once in key moments. Although the first act seems little overlong, the second act gets things moving more, leading to a good deal of choreographed mayhem and serving as a showcase for the especially enthusiastic, highly physical performances. The biggest standout is Kramer-Moser as the cleanliness and pug-obsessed Carl, who has many hilarious moments throughout. There are also strong turns from Tayborn as the increasingly bewildered Ben, Davis as the conflicted Carol, Lawson-Maeske as the possessive Dan, Healy in an especially physically challenging role as Melissa, and Angeli as the sex-obsessed Sheryl. There’s also an energetic “en-ZOMB-le” (Shaun Delmas, Lexie Johnson, Nikki Pilato, and Nicholas Urbanowicz) playing the zombies. Overall, the ensemble chemistry contributes a lot to the humor of the show.

The look and atmosphere of the production are well-maintained by means of Vickie Delmas’s well-crafted set and props, as well as Erik Kuhn’s excellent lighting. The costumes by Liz Henning and blood and makeup effects by Nikki Pilato are also a highlight. Additional kudos go to fight choreographer Michael Pierce, intimacy coordinator Tress Kurzym, and assistant intimacy coordinator Angelia Prather. A show like this requires a lot of precise coordination and timing, and for the most part, this show does that well.

Bed and Breakfast of the Damned should especially appeal to fans of horror comedy, and particularly zombies. Zombies aren’t exactly among my favorite subjects, so I didn’t laugh quite as much a some of the others in the audience, but if this is your thing, I imagine you’ll love it. Still, the enthusiasm of the cast and the look and atmosphere of the production are strong assets for this raunchy, madcap farce. It’s a fitting show for the Halloween season. 

Patience Davis, Nicole Angeli
Photo by Andrew Noble
Chorus of Fools

Chorus of Fools is presenting Bread and Breakfast of the Damned at Most Holy Trinity Catholic Church until November 1, 2026

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“Constitution” Makes a Memorable Impact at the Rep

October 31, 2026 by Michelle Kenyon ("Snoop")

What the Constitution Means to Me
by Heidi Schreck
Directed by Nancy Bell
Repertory Theatre of St. Louis
October 23, 2026

Michelle Hand, Joel Moses
Photo by Courtney Guffey–Echos Photo & Film
Repertory Theatre of St. Louis

The Rep’s first entry in their current season for the Steve Woolf Studio series is a show some in St. Louis may have seen before. While this iteration of What the Constitution Means to Me has its unique moments, it’s essentially a revival of Max & Louie Productions’ excellent staging from 2023, featuring the same lead performer (Michelle Hand), the same director (Nancy Bell), and one of the same teenage debaters (Riley Carter Adams). It’s also sponsored by Stellie Siteman and De Kaplan from Max & Louie. For those of us who had seen the prior production, this could be something of a deja vu moment, although the current staging is as lively, entertaining, and thought-provoking as ever, and the presentation seems a little more immersive this time.

The show features Hand as playwright Heidi Scheck, who originally starred in this show on Broadway and is featured in the Amazon Prime filmed version. The story is taken from Schreck’s personal experience as a teenager traveling around the country participating in debates about the Constitution in order to fund her college education. It’s a fascinating story in which Schreck revisits her teenage experience in light of what she has learned since, and comes to examine the US Constitution through a more modern lens, challenging its age, the founders’ situations and opinions, and wondering whether or not it might make sense to abolish it and start over with a new constitution addressing issues in a more current way, addressing issues like climate change, and being more inclusive of women and people of color. In the main story, Heidi reenacts her debates, revisiting her teen self while also stepping “out of time” on occasion to reflect on the history of the country and her own family, particularly the experiences of her mother, her grandmother, and her great-great grandmother as well as herself. 

The reenacted debate, held at an American Legion hall, is presided over by a Legionnaire (Joel Moses), who tries to enforce the rules and format of the event, while Heidi frequently digresses, also talking to the audience as the presentation goes on. Then, when the main story is done, Hand breaks character and, as herself, participates in a debate about the future of the Constitution with one of two young debaters, the aforementioned Adams along with Amber Dantzler in alternating performances. This is an absorbing moment as well, seeing both Hand and Adams (the Debater at the performance I saw) pouring themselves into the debate, and having an audience member be the “judge” at the end, decided which argument was most convincing. This is followed by a short segment in which Hand and the Debater ask each other questions submitted by audience members, allowing the audience to see more of their own personalities.

This is an intelligent, highly engaging production, with the format and staging being especially conducive to audience participation this time around. Seth Howard’s meticulously crafted set is arranged with the audience set up around it, allowing Hand to more directly interact with those in attendance. Hand, as before, displays excellent charisma and energy as Heidi, bringing both entertainment and educational value to the presentation and giving it a highly personal tone that works well with the subject matter, allowing the audience to examine the Constitution through the way it affects individual Americans rather than as a more abstract history lesson. Moses is also strong as the Legionnaire, and Adams is lively and spirited in the debate and “interview” segments later in the show. It’s an excellent showcase for these fine performers, and especially Hand, whose portrayal of a real person is both relatable and memorable.

The overall production values are also superb, with strong work from lighting designer Denisse Chavez, sound designer Mary Louise Robinson, and costume designer Michele Friedman Siler, in addition to Howard’s aforementioned excellent set. What the Constitution Means to Me is a show that’s both timely, timeless, and personal, impacting American audiences in different ways depending on what’s going on in the world when they see it. This production is perhaps even more impactful now than its predecessor was three years ago. There’s a lot to think about here, and cause for reflection about the Constitution and what it means to all of us. 

Michelle Hand, Riley Carter Adams
Photo by Ash Moon Thompson
Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis is presenting What the Constituion Means to Me as part of their Steve Woolf Studio Series until November 15, 2026

 

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FNT’s “Invention of Lightning” is a Fascinating Tale with Memorable Characters

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

The Invention of Lightning
by Colin Healy & Bradley Rohlf
Directed by Bradley Rohlf
Fly North Theatricals
October 22, 2026

Ryan Matthew Whaley
Photo by @studiokaymedia
Fly North Theatricals

Fly North Theatricals is staging a world premiere play at Greenfinch Theater & Dive, which proves to be an ideal venue for this fascinating tale of historical fiction with elements of humor and horror. The Invention of Lightning by Colin Healy and Bradley Rohlf, as directed by Rohlf, has creepy moments, but it’s more of an intriguing story of how people deal with new technologies and past memories. Featuring an excellent cast and a credible historical vibe, this is a show that’s sure to leave audiences thinking.

The electric telegraph may be considered old technology by today’s standards, but there was a time when it was at the cutting edge. This story takes place in 1861, less than twenty years after Samuel Morse sent his first message, “What hath God wrought” with his electric telegraph. It’s also the beginning of the Civil War era, and the very early days of the first transcontinental telegraph, linking the telegraph lines on the East Coast to California by way of relay stations in various Western states and replacing the celebrated but relatively short-lived Pony Express mail delivery service. This story opens as former Pony Express rider Bill Naughton (Ryan Matthew Whaley) arrives to start work at a relay station in Cold Springs, Nevada, joining station master Horace McCall (Michael Musgrave Perkins), who has worked on the telegraph lines since their early days in Baltimore. The tone at first is tense, with McCall being secretive and suspicious of Naughton, who is newly trained and eager to get to work. 

Gradually, Naughton gets the hang of telegraph work and McCall eases up a bit on his suspicions, although he’s still a stickler for the various rules and rituals that have been established, looking at electricity as a potentially dangerous force. Meanwhile, Naughton writes stories in his diary about the “Lonesome Postman”, apparently based on his memories of working for the Pony Express. The stories change more and more as they are acted out, however, getting more outlandish with each iteration, eventually involving elements of science fiction. There is also a flashback to his telegraph training days in California, and it becomes apparent that Naughton is hiding some truths about a recent experience. Also, as he carries out his telegraph duties in the “present”, the equipment starts acting in unusual ways that seem more on the creepy side, and McCall starts to become even more secretive.

The performers are excellent, carrying the suspense, humor, drama, and mystery with energy and intrigue. Whaley’s Naughton is memorable especially in his “Lonesome Postman” story sequences, as well as his scenes with the telegraph. Musgrave-Perkins does a great job as the suspicious, secretive McCall and also as a series of other characters in Naughton’s fantasy sequences. These two make for especially memorable characters, carrying across the gradually building tension and unfolding mystery especially well. There are also strong turns from Sarah Lynne Holt and Colin Healy in voiceover roles at key moments. 

Technically, the story is served well by some stunning production elements. Leo Young’s set goes well into the Greenfinch venue and creates a believable isolated atmosphere that these two characters inhabit. There’s also stunning lighting by Ryan Thorp, contributing to the eerie atmosphere in memorable moments, as well as excellent music and sound by Colin Healy. The props by Bradley Rohlf and costumes by Jen Blum-Tatara also contribute well to the overall historic vibe of the piece. 

The Invention of Lightning is an especially intriguing new show, with especially strong storytelling and mood setting. It looks at a time in the past that has parallels to the present in terms of so much new technology being introduced and inciting fear and suspicion as well as promise. It’s a strong showcase for two excellent performers and some truly stunning visuals. 

Michael Musgrave-Perkins, Ryan Matthew Whaley
Photo by @studiokaymedia
Fly North Theatricals

Fly North Theatricals is presenting The Invention of Lightning at Greenfinch Theater & Dive until November 1, 2026

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Soul Siren’s “Niceties” Features Strong Cast, Challenging Topics

October 22, 2026 by Michelle Kenyon ("Snoop")

The Niceties
by Eleanor Burgess
Directed by Cameron Jamarr
Soul Siren Playhouse
October 17, 2026

Raevyn Ferguson, Jodi Stockton
Photo by Patrick Huber
Soul Siren Playhouse

The success of The Niceties depends a lot on its casting. The fascinating two-person play by Eleanor Burgess was recently staged by Soul Siren Playhouse at the Grandel Theatre, directed by Cameron Jamarr. There are a lot of challenging subjects brought up here, and it’s up to the two performers to carry the thought-provoking, challenging, and highly emotional story over to the audience. In this production, two excellent local actors did that job especially well.

The story seems simple at first. College student Zoe (Raevyn Ferguson) is meeting with history professor Janine (Jodi Stockton) to go over the draft of her paper, and at first it appears like a relatively normal meeting, with issues of grammar and structure being discussed. Soon, however, the topic of Zoe’s thesis is brought up, and the discussion gets more intense. The thesis that the American Revolution was successful as a more “moderate” rebellion because of the institution of slavery concerns Janine at first because of lack of primary sources being cited, but soon the argument grows into a battle of wills, assumptions, and emotions as Zoe makes a decision that affects both women and threatens to derail Janine’s career.

There are many important issues raised here, such as the concept of recorded history favoring those in power, and how academia can become something of an ivory tower for the elite. There are issues of racism as well as generational differences–the seemingly endless battle between Millennials and Boomers. Janine, for instance, seems to have a clear bias against online research, while Zoe seems to favor it. There are so many points made in this continuing dialogue that I imagine it’s easy for audience members to find things they agree and disagree with on both sides. I don’t think this play is about getting people to agree on one thing, though. It’s about getting them to listen, and think. 

The cast couldn’t have been better. Both performers brought out the complex qualities of their characters with vivid credibility. Both characters are intelligent and stubborn in their own ways, and insistent on the issues that are important to them. They also both have areas where they could benefit from cultivating empathy. Both Ferguson and Stockton showed a great deal of energy and stage presence, and their scenes together crackled with tension. These are memorable characters, and both performers made the most of their roles.

Technically, the show created a believable academic setting by means of Patrick Huber’s meticulously crafted set and excellent lighting. There was also strong sound design by Cameron Jamarr. The Grandel Theatre provided a large performance space, and this production filled it well.

The Niceties is a fascinating play, raising a number of important issues in academia and the world in general. It takes place in 2016, but it is still especially timely today. The ending is a bit abrupt, but I think that’s to suggest that these issues aren’t conflicts that can be solved overnight. Soul Siren Playhouse has staged a memorable production that challenges audiences to wrestle with ideas, listen, and think. 

Raevyn Ferguson, Jodi Stockton
Photo by Patrick Huber
Soul Siren Playhouse

 

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Albion’s “Birds” is an Intense, Technically Stunning Thriller

October 21, 2026 by Michelle Kenyon ("Snoop")

The Birds
by Conor McPherson
From a story by Daphne Du Maurier
Directed by Robert Ashton
Albion Theatre
October 16, 2026

Jeff Kargus, Susan Wylie, Livy Potthoff
Photo by John Lamb
Albion Theatre

If you see the title The Birds and think “Alfred Hitchcock”, Albion Theatre’s latest production might change your perspective. The famous Hitchcock film was apparently only very loosely based on its source, a short story by Daphne Du Maurier, but the play by Conor McPherson, currently being staged by Albion as directed by Robert Ashton, hews a little closer the the original story while making a few notable changes, most obviously to the setting, in New England, USA vs. Original England. The story focuses mostly on character interactions and the way a widespread calamity can affect behavior and bring out aspects of human nature than aren’t necessarily expected. This production is also an ideal showcase for some truly stunning technical effects and a first-rate local cast.

The story opens as a series of bird attacks has been going on all over the country, and various people have been trying to find places to hide from the vicious creatures who seem to be triggered by the tides. When the show begins, we meet Diane (Susan Wylie) and Nat (Jeff Kargus), who have only recently met and have holed up in an apparently uninhabited house near a lake. Diane, a writer, records events in her diary as the two try to figure out how to survive amid the intermittent attacks–trying to stockpile food and supplies. Diane keeps track of the radio, which doesn’t seem to be broadcasting anymore, and both express curiosity about other survivors, noting that one neighbor across the lake appears to have survived. Soon, they are joined by the younger, somewhat mysterious Julia (Livy Potthoff), and they initially get along, continuing the search for supplies and food, and building an almost family-like relationship, until the suspicions begin to grow, aided by their neighbor, Tierney (Joseph Garner), when he suddenly shows up at the house while Nat and Julia are away, planting seeds of doubt into Diane’s mind. We see the characters’ hopes, suspicions, and especially fears as the story goes on, seeing what lengths an immediate and ongoing threat can drive people to, as well as the persistent urge to survive amid the worst of trials. 

It’s a well-structured, fast-moving show, running about 90 minutes with no intermission, as a series of scenes play out punctuated by blackouts and well-realized bird attacks achieved by means of Justin Been’s marvelous sound and projection design, along with Kara Grimm-Denholm’s terrific lighting design. The set by Rob Lippert is detailed and effective, providing an ideal backdrop for the action and effects, and there’s also excellent work from costume designer Tracy Newcomb and props designer Kathleen Dwyer.

The interplay and ensemble chemistry between the characters is splendidly achieved, with remarkable performances by all, led by Wylie in a strong turn as Diane, who carefully records her thoughts throughout the show. Wylie is great at being both relatable and evasive, as well as increasingly changed by the ongoing conflict and suspicions sowed by others. Kargus is also excellent as Nat, who finds himself caught between a growing conflict between Diane and Potthoff’s impressively mysterious Julia. Garner also makes the most of his one scene, giving Tierney a sense of urgency that holds attention well. All four of these performers give their all, working well to carry across the suspense, mystery, and growing sense of doom as the story plays out. 

The Birds is an intense, thought-provoking psychological drama. The visual effects are particularly stunning, as well, along with the sound and set, bringing the audience into an apocalyptic world that’s entirely believable and increasingly disturbing. It’s another triumph of acting and storytelling from Albion Theatre. 

Susan Wylie, Joseph Garner
Photo by John Lamb
Albion Theatre

Albion Theatre is presenting The Birds at the Kranzberg Arts Center until November 1, 2026

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Moonstone Makes a Chilling Return with Well-Cast “Deceived”

October 21, 2026 by Michelle Kenyon ("Snoop")

Deceived
Based on the play Gaslight by Patrick Hamilton
Adapted by Johnna Wright and Patty Jamieson
Directed by Sharon Hunter
Moonstone Theatre Company
October 15, 2026

Rhiannon Creighton, Cooper Shaw, Aaron Orion Baker, Christina Yancy
Photo by Jon Gitchoff
Moonstone Theatre Company

After a hiatus of over two years, Moonstone Theatre Company has returned with a new show and an aptly named new venue. It’s amusing to note that their new production, which is based on Patrick Hamilton’s Gaslight, is being staged at the Gaslight Theater. This version, called Deceived, adapted by Johnna Wright and Patty Jamieson and directed by Sharon Hunter, is more chilling than amusing. Performed by a strong cast and featuring excellent technical elements, this is a fascinating adaptation that plays out differently than the original version, all for the better in terms of storytelling and the main character’s agency. 

The story, which spawned a famous term for a kind of psychological manipulation, has also been adapted into two films, the more famous of which–made in 1944–featured Ingrid Bergman, Charles Boyer, and Angela Lansbury, although it was fairly loosely based on the play, which this version more closely follows, to a point. I’ve seen the original play (also known as Angel Street) a few years ago, and it’s fun to compare the different versions. This version removes one character, police officer Rough, and focuses more attention on the women of the play, allowing Bella (Christina Yancy) more personal agency in her own story. The setup is the same, with Bella and her husband Jack (Aaron Orion Baker) having settled into a well-appointed London townhouse with a disturbing past history, while Jack goes about his secretive “business” and Bella stays home most of the time, feeling increasingly disturbed by recurring events and missing objects that she doesn’t remember moving. Jack expresses concern about Bella’s mental health to their kindly housekeeper Elizabeth (Cooper Shaw) and hires a somewhat defiant new maid, Nancy (Rhiannon Creighton) to help around the house, but his “concern” for his wife seems more and more like control as the story goes on. Strange noises, Jack’s mysterious trips out and about, and the disappearance of her mother’s prized pearls cause Bella to question the situation, and herself, and the people around her all the more, leading to a great deal of suspense and a dramatic confrontation.

It’s a fantastic adaptation, giving the Bella character more to do and puts the primary burden of figuring out what’s happening on her shoulders, providing an excellent acting showcase for the terrific Yancy, who portrays Bella’s range of emotions with impeccable veracity. Yancy goes from the somewhat naive and disturbed Bella into an increasing more bold and curious character as the show goes on, and her scenes with the equally strong Baker as the increasingly creepy Jack are a highlight of the show. There are also strong performances from Shaw as the sympathetic, protective Elizabeth and Creighton as the somewhat edgy, secretive Nancy. All of the women are given well-rounded portrayals especially, showing more background behind their motivations than in the original version of the play.

The play, set in 1901, has achieved a vivid and credible look and feel, by means of Katherine Stepanek’s well-appointed set, including ever-present gaslights. Theresa Doggett’s costumes are meticulously crafted and true to the period and characters, as well. The lighting by Ethan Steimel and Eve Garty, and the sound by Amanda Werre, are especially striking, lending much suspense to the overall chilling atmosphere of the show. 

Deceived is a riveting, suspenseful drama, and a showcase for a stellar cast of local performers who give their roles all the energy and presence required, and more. It’s not exactly horror, but it fits in with the spooky tone of a lot of the shows being staged this time of year. It’s got one more weekend in its run, and it’s certainly worth checking out for an intelligent, thought-provoking adaptation of a well-known story that puts the focus on the women more than ever.  It’s a welcome return for Moonstone Theatre Company.

Aaron Orion Baker, Christina Yancy
Photo by Jon Gitchoff
Moonstone Theatre Company

Moonstone Theatre Company is presenting Deceived at the Gaslight Theater until October 25, 2026

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Rocking “Lizzie” Features Stellar Cast, Thrilling Production Values at SDT

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

Lizzie
Music by Steven Cheslik-deMeyer and Alan Stevens Hewitt
Lyrics by Steven Cheslik-deMeyer and Tim Maner, Book by Tim Maner
Additional Music by Tim Maner, Additional Lyrics by Alan Stevens Hewitt
Based on an Original Concept by Alan Stevens Hewitt and Tim Maner
Directed by Justin Been
Stray Dog Theatre
October 10, 2026

Katherine Garrett, Nadja Kapetanovich, Lisa Hinrichs, Grace Seidel
Photo: Stray Dog Theatre

Lizzie is a musical I had seen before, in a fantastic production by another local theatre company in 2017. Now, Stray Dog Theatre is staging the punk-rock musical about Lizzie Borden, and it’s almost like I’m seeing it for the first time. The clever staging, stellar performances and particularly stunning production values and projection work, along with the marvelous onstage band, give this show a new boldness and freshness that emphasizes the emotion, relationships, and personal stories of the characters in an intense and chilling way. 

The way the show begins is particularly striking, with each character’s costume waiting for her, hanging from microphone stands on the stage. The performers enter wearing long white slips, then introduce themselves and don their costumes, becoming the characters–Lizzie Borden (Nadja Kapetanovich), her older sister Emma (Katherine Garrett), housemaid Bridget Sullivan (Lisa Hinrichs), and next-door neighbor Alice Russell (Grace Seidel). The story then unfolds recounting the events before, during, and after the infamous murders of Lizzie’s father and stepmother, with the premise that most dramatizations take–that Lizzie, who was ultimately acquitted of the murders–was actually guilty of the crimes. It takes a highly personal–and loud–approach using modern punk-rock music for its score, while delving into the relationships between Lizzie and her abusive father, her domineering stepmother, and the other onstage characters. We see her older sister Emma’s protectiveness, as well as the close bond between Lizzie and neighbor Alice, who often calls on Lizzie upstairs and alone. Bridget is there, as well, dealing with being constantly called the wrong name (Maggie, that of a previous maid) and having to witness the tensions and mistreatment in the “House of Borden”. The show makes a compelling case for its version of events, and why Lizzie would be driven toward homicide and how those closest to her would react.

In this production, the relationship between Lizzie and Emma particularly stood out, due to the fantastic performances of both Kapetanovich as the increasingly provoked and angry Lizzie, and Garrett as the protective Emma, to whom Lizzie is initially close. There are also poignant scenes between Lizzie and Seidel’s gentle, devoted Alice, whose reaction to the murders threatens to drive a wedge between them. Hinrichs also has memorable moments as tough-talking Bridget, and all four have excellent vocals and energy, performing the memorable, driving score with intensity and power. The score is mostly rock but has its quieter moments as well, such as the gentle “Will You Stay” and the hymnlike “Watchmen For the Morning”. It’s a fantastic and thrilling show with strong performances all around.

Another aspect about this production that particularly standout out are the truly thrilling production values and staging, featuring an excellent multilevel set by Rob Lippert that represents the Borden house, with windows through which the audience can see what’s going on inside, and featuring shades to cover up some events. The lighting by Tyler Duenow is brilliant in illuminating the set and casting shadows to add to the visual intensity, and Justin Been’s projections are particularly astounding. Featuring in memorable sequences like “The Soul of the White Bird”, “Somebody Will Do Something” and “Thirteen Days in Taunton”, the projections are vivid and striking. There are also excellent costumes by Corinna Redford that reflect the time and place as well as the personalities of the characters. The band, led by music director Leah Schultz, is also stellar, delivering the driving score with energy and style. 

Lizzie is not exactly a horror show, but it has horror elements and a chilling tone that works well for this time of year. It’s also a highly personal, intense look at the characters and why they could have acted the way they did. The music is memorable, and the performances are truly stunning. It’s another fantastic musical experience from Stray Dog Theatre. 

Nadja Kapetanovich (top), Grace Seidel, Lisa Hinrichs, Katherine Garrett
Photo: Stray Dog Theatre

Stray Dog Theatre is presenting Lizzie at the Tower Grove Abbey until October 24, 2026

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Highly Engaging “2 Pianos” Entertains at the Rep

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

2 Pianos 4 Hands
by Ted Dykstra & Richard Greenblatt
Directed by Tom Frey
Repertory Theatre of St. Louis
October 9, 2026

Matthew McGloin, Richard Todd Adams
Photo by Julie Merkle: Echos Photo & Film
Repertory Theatre of St. Louis

The Rep’s latest production is simply stated, truly a delight. 2 Pianos 4 Hands is a hit show that originated in Canada and is based on the experiences of its two authors and original performers. Now, it comes to the stage at the Rep directed by Tom Frey and featuring two amiable and stellar performers who tell their story of growing up as “piano nerds” with humor and energy, along with lots of familiar, wonderfully played music. 

The stage is simply set, with two Steinway grand pianos and a backdrop of picture frames that feature projections by Steve Lucas. Two men walk onstage and humorously sort out which piano–and bench–are for each performer. Then, the story begins, as Ted (Richard Todd Adams) and Richard (Matthew McGloin) start as young boys taking piano lessons, being alternately encouraged and stressed by parents and teachers. The actors take turns playing the adults in each character’s life as we learn in detail the different challenges and pressures as Ted and Richard grow up, enter competitions, learn contradictory advice, and aspire to be successful concert pianists, with Ted leaning toward classical and Richard eventually leaning toward jazz. Throughout, we hear many familiar classical pieces by such composers as Bach, Beethoven, and Grieg, as well as jazz standards like “My Funny Valentine” and pop hits from Billy Joel and others. 

The beauty of this show isn’t simply the music and the humor–it’s the universality of the experience. Even though everyone hasn’t aspired to be a classical pianist, we all have our hopes, dreams, and goals that can be encouraged, fulfilled, or dashed as we grow up and aspire to discover success as adults. I never took piano lessons, but I had my goals as a writer and the encouragement from teachers along the way as well as discouragements from various experiences. I also found myself thinking about musicians that I know who may have gone through experiences similar to Ted’s and Richard’s. The performers, Adams and McGloin, are eminently likable and relatable, playing their instruments impeccably well and acting out their various triumphs and failures with genuine energy and credibility. It’s hard to discuss these two individually, because they work together so well and form an inseparable team, communicated both their love and frustration with the experience of being “piano nerds” with fascinating truth. That phrase, “piano nerds”, is used a lot in the various notes in the program, and it accurately reflects the level of interest and, at times, obsession that is depicted here, although the show also deals with some serious issues of what to do when your goals consume your life for such a long time, but then don’t pan out the way you expected, which eventually leads to a delightful duet at the conclusion of the play.

The minimal set and basic costuming works well to keep the focus on the story, and the music. There’s also excellent work from lighting designer Katherine Stepanek. It’s a well put-together show that celebrates music, creativity, and the pursuit of life goals and dreams. It’s also highly relatable whether you are a classical pianist or not. It’s an excellent, hilarious and inspiring piece, sure to delight audiences at the Rep. 

 

Richard Todd Adams, Matthew McGloin
Photo by Julie Merkle: Echos Photo & Film
Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis is presenting 2 Pianos 4 Hands until October 25, 2026

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Well-Cast “Glut” Raises Thought-Provoking Questions at Contraband Theatre

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

Glut
by e. k. doolin
Directed by Taijha Silas
Contraband Theatre
October 8, 2026

Ronmal Mottley, Reagan Posey
Photo by Katie Orr

Contraband Theatre seems to like doing plays set in the near-future, as well as tackling topics from today and imagining how they will be addressed in that not-so-distant future. Their latest production, e. k. doolin’s Glut, directed by Taijha Silas, is another show in that vein, although it is more of a comedy than previous productions, although there are elements of drama. The show, for the most part, is an intriguing show with humor, heart, and many topics for thought and conversation, although there are a few plot and character issues that could be addressed. 

The story follows engaged couple Sarah (Reagan Posey) and Steve (Ronmal Mottley), who are first seen meeting with their wedding coordinator (Kelly Howe, who plays several roles) to talk about setting a date and a venue for their wedding. Film buff Steve wants to hold the ceremony in a historic movie theatre, but Sarah, for personal reasons, hopes to have it at the church she attended as a child with her mother. She’s disturbed when the wedding coordinator informs her of the church’s new policy of not marrying “practicing gluttons”, which apparently refers to both Sarah and Steve’s being overweight. Sarah, eventually runs into Reverend Jody (Rachel Bailey)–the church’s perky pastor–at a coffee shop and is received warmly, causing Sarah to doubt what she’s heard and investigate further. Meanwhile, Steve hangs out with his brother Cab (Joshua Mayfield), and reveals his concerns about a general fat-phobic trend in the world itself, outside the one church. Even Cab’s husband, the somewhat stuffy Miles (Brian McKinley, who also plays several roles), seems to agree with the overall trend, despite the discrimination both he and Cab have experienced as gay men, as Cab points out.  Other figures in their lives, including Sarah’s mother (Howe) and a park worker named Carl (McKinley) also weigh in, either directly or indirectly, on the couple’s plight and the general rising prejudice against overweight people in the neighborhood, the country, and the world, adding a level of fear and intensity to the story despite its generally comic tone. 

For the most part, this is a thought-provoking, entertaining show with a fantastic cast, although their are a few issues with the plot that can be worked on, such as the church being somewhat of a caricature, as well as the lack of resolution for a key scene between Cab and Miles, who isn’t the easiest character to like despite a strong performance by McKinley, who is also excellent as the somewhat mysterious Carl. Howe is also strong as the wedding planner, Sarah’s flighty mom, and others, as Mayfield has a warm, likable turn as Cab. Bailey, as the somewhat excitable and over-the-top Reverend Jody, is also excellent. The stars, however, are Posey and Mottley as Sarah and Steve, who display strong chemistry and presence, although I wish they had more scenes together and had a little more backstory about how they met and got together. Still, the cast is the strongest point of this show, lending much warmth, humor, and drama to the story.

The production team has created a credible “world” for this play, which is staged in a different way in each act. At first with the audience seated on either side of the performance area, Act I unfolds with the action in the center on the floor of the Chapel’s performance space. Then, the audience is ushered out of the space for intermission, only to return to a more “traditional” setup with chairs facing the stage, preparing for the opening scenes of Act 2 which take place at the church. Erik Kuhn’s set is simple and effective, aided a great deal by the excellent lighting by Theresa Comstock and sound by Tre’von Griffith. The costumes by Elena Jaquez are well-suited to the characters, as well. 

Glut is another thought-provoking show from Contraband Theatre. There are many issues raised here that are sure to raise topics for conversation and thought. It uses its performance space especially well, and most importantly, serves as a showcase for a first-rate cast of excellent local performers. 

Rachel Bailey, Kelly Howe, Reagan Posey, Ronmal Mottley, Joshua Mayfield, Brian McKinley
Photo by Katie Orr
Contraband Theatre

Contraband Theatre is presenting Glut at The Chapel until October 24, 2026

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“ZM (Zombie Musical)” Entertains with Dark Comedy, Satirical Horror at New Line

October 7, 2026 by Michelle Kenyon ("Snoop")

ZM (Zombie Musical)
Book and Lyrics by Greg Kotis
Music and Lyrics by Mark Hollmann
Directed by Scott Miller and Chris Moore
Choreographed by Livy Potthoff
October 2, 2026

John Lucas, Kenya Devine, Adeline Hudelson
Photo by Jill Ritter Lindberg
New Line Theatre

It’s getting close to Halloween, and in St. Louis that usually means various theatre companies are doing horror shows. This year is no different, with several companies planning horror-themed productions either series, comic, musical, or a combination. At New Line Theatre, it’s comic horror on stage with the American premiere of a show from the writers of Urinetown and Yeast Nation. It’s called ZM (Zombie Musical), directed by Scott Miller and Chris Moore. For the most part, it’s a fun satire with a strong cast and fine score. 

This is a show that takes the Zombie genre and uses it to tell an engaging, darkly funny story that satirizes teen horror films, corporate greed, generation gaps, and more. It starts out in full zombie-apocalypse mode, as zombies are terrorizing a small town and the residents are doing what they can to hide and protect themselves. The focus then turns to a franchise of huge fast food chain Chicken Hutt, where teenage employees Barnabas (John Lucas) and Mercy (Adeline Hudelson) are holed up and singing about the strength of their relationship in the midst of the crisis. Soon they are joined by Lydia Light (Kenya Devine), a nutritionist for Chicken Hutt’s corporate headquarters, who has brought the unconscious child Billie (Leah Connelly), who is the daughter of the head of the company, William Hutt (Jeff Loeffler). Although Billie has been bitten by zombies, she has not “turned”, and Lydia leaves her with Mercy to protect her while Lydia enlists Barnabas to drive her to look for Hutt and confront him about a “correlation” between the zombie outbreak and Chicken Hutt’s popular new sandwich which features a special sauce. In the meantime, Mercy is still at the Chicken Hutt store, where she’s confronted by the creepy Hippy John (Robert Hanson), who has ideas of repopulating the world with Mercy. She’s also joined by her friend Anna (Steph House), who had been separated from her boyfriend, Uriah (Daniel Chioco), who they are presuming has been caught by the zombies. What ensues is a story of zombie terror, greed, and ambition, including a (not exactly necessary) love triangle and a few secrets and twists along the way and the zombies ran rampant and the “heroes” rush to find Mr. Hutt in the seemingly vain hope of stopping the zombie invasion. 

For the most part, although there are sound issues at the beginning that make the first song difficult to understand, this is an entertaining show with a talented cast. It’s cleverly constructed with perhaps one subplot too many, and creates a believable world and memorable characters, particularly Mercy, played with gutsy energy by Adeline Hudelson, and Barnabas, played by Lucas with goofy charm and determination. There are also memorable performances by Connelly as the increasingly mysterious Billie–who has some flashback moments that reveal hints of what’s to come–and Devine as Lydia, who has strong vocals and secrets to reveal. There are also memorable turns from Loeffler who gets a standout moment with “Wrong” in Act 2; House as the determined Anna; Hanson as the creepy Hippy John; along with Bee Mecey and Jacob Brewer as Chicken Hutt corporate employees Julie Hempstead and Junius Hampton. They are also well supported by Chioco as Uriah and Lamarkus Jones in various roles. The ensemble has a great deal of energy, and the zombies especially seem to be having a good time with their roles, with excellent movement and strong choreography by Livy Potthoff in the production numbers. 

Physically, the show looks great, with a simple but effective set by Rob Lippert featuring two revolving set pieces that represent various locations in the show. The lighting by Eric Wennlund is also memorable, helping to maintain the dark, ominous tone that the show demands. There are also excellent costumes by by Madeline Trinity that suit the characters and the theme of the show especially well. The excellent New Line Band, led by music director Jason Eschhofen, performs the score with energy, although at times they can drown out the singers, especially at the beginning of the show. 

Overall, ZM (Zombie Musical) is a fun, clever and satirical show that maintains a dark and creepy but humorous tone throughout. Although it’s not a perfect show, it’s highly entertaining and a good showcase for an excellent cast. Especially if you’re into comic horror, and zombies in particular, this is an ideal show to see for Halloween season. 

Leah Connelly, Jeff Loeffler, and Cast
Phot by Jill Ritter Lindberg
New Line Theatre

New Line Theatre is presenting ZM (Zombie Musical) at the Marcelle Theater until October 24, 2026

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