Archive for June, 2017

The Lieutenant of Inishmore
by Martin McDonagh
Directed by Nick Kelly
Theatre Macabre, presented by Theatre Lab
June 23, 2017

Cast of The Lieutenant of Inishmore
Photo by Holden Ginn
Theatre Macabre

Theatre Macabre is a new theatre company in St. Louis focusing on horror, dark comedy, and other plays with a darker atmosphere. Their first production, presented in conjunction with Theatre Lab, is Martin McDonagh’s creepy comedy The Lieutenant of Inishmore. The play isn’t running anymore, as I was out of town its first week and had to catch a performance in its last weekend. While it certainly is not for all tastes, it’s a well-staged production, and if there was still time to see it, I would recommend it for the theatre patron who has a strong stomach and a penchant for a more twisted, dark-edged type of comedy.

This story, ultimately, hinges around a cat, and characters who are extremely attached to their pets. Padraic (Charlie Barron) is the prime example. He’s a lieutenant for the INLA (a splinter group from the IRA), and he’s a brutal guy, referred to as “Mad Padraic” by his colleagues and even his relatives, like his father, Donny (Chuck Brinkley). But he still loves his cat, Wee Thomas. When young neighbor Davey (Mark Saunders) discovers a dead cat while riding his bike, he brings it to Donny, who accuses Davey of running over Wee Thomas himself, which Davey denies. Then Donny decides to tell Padraic that his cat is ill, hoping it will soften the blow when he later tells him that Wee Thomas is dead. Interrupted by Donny’s phone call in the middle of torturing a drug dealer, James (Jackson Harned), Padraic immediately breaks down and decides he has to go home to be with his beloved cat. Also involved in the story are Padraic’s colleagues, Christy (Chuck Winning), Brendan (Brock Russell), and Joey (Jake Blonstein), who have their own reasons for wanting Padraic to come home. There’s also Davey’s belligerent, zealous rifle-toting sister Mairead (Larissa White), who loves Padraic and his cause, as well as her own cat Sir Roger.

That’s really all I can explain of the plot without spoiling too much. This is a fast-paced, increasingly brutal and disturbing comedy that doesn’t pull any punches, and again, is not for the squeamish. Still, even though I would usually count myself as one who would normally be grossed out by a lot of the subject matter here, the emphasis in this production is more on the comedy, and the absurdity of the situations to the point where the more gruesome aspects are somewhat easier to take, at least for me.. It’s a well-staged production, with the emphasis on the broad portrayals of its characters, led by a dynamic performance by Barron as the violent but devoted cat owner, Padraic, and also by the strong comic turns by Saunders and Brinkley as the bumbling Davey and Donny. White is also memorable as the brash, confrontational Mairead. Winning, Russell, and Blonstein make a hilariously inept trio as well, and Harned also makes a good impression playing the small role of James.  The ensemble chemistry and comic timing is excellent here, and even as increasingly absurd as the story gets, the characterizations and pacing keep it interesting.

The production values here are striking, as well. Erik Kuhn’s simple but detailed set provides a good backdrop for the action, and there’s also great work from lighting designers and Tony Anselmo and Kevin Bowman, and by effects designer Valleri Dillard. Costume designer Sarah Porter has outfitted the cast with appropriate flair, and kudos also go to dialect coach Teresa Doggett for helping the cast members achieve and maintain credible Irish accents.

This is a wild, quickly paced, increasingly macabre play, appropriate for the name of the company producing it. It’s not for everyone, as I’ve already mentioned, but if dark, gruesome comedy is something you like, this is a good example. Although this production has now closed, it has left a memorable impression. I’m curious to see what’s next for Theatre Macabre.

Larissa White, Charlie Barron
Photo by Holden Ginn
Theatre Macabre

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Ordinary Days
Music and Lyrics by Adam Gwon
Directed by Samantha Stavely
Silhouettes Production Company
June 22, 2017

Clayton Humburg, Grace Minnis, Emily Scott, Gabriel Beckerle
Photo: Silhouettes Production Company

New York is a big city. To many people, it’s THE big city–the iconic representation of what a large, bustling American city is about, full of people with hopes and dreams big and small. NYC is the setting for the four-person, mostly sung-through musical Ordinary Days, which tells the story of four New Yorkers whose lives intersect in somewhat surprising ways. It’s a one-act musical and not very long, but it’s full of energy and a bright, tuneful score. Presented by Silhouettes Production Company at the Chapel, this show features a promising young cast that emphasizes the sincerity and optimism of the piece.

The story follows four people, only two of whom actually know each other at the beginning of the show. Jason (Clayton Humburg) and Claire (Grace Minnie) are a young couple who have been seeing each other for a while and have just decided to move in together, and Jason is excited, although Claire has some secrets she’s not yet ready to share. Meanwhile, the idealistic Warren (Gabriel Beckerle) is house-sitting for a controversial artist and papering the town with flyers quoting the artist’s work, and exasperated grad student Deb (Emily Scott) loses a notebook containing important information for her thesis, and Warren finds it, eventually leading to an unlikely friendship. The story occasionally takes the characters to the same place at the same time, such as when all four take a memorable journey to the Metropolitan Museum of Art, but their paths don’t directly cross until near the end of the play. In the meantime, Jason and Claire navigate a difficult stage of their relationship, and Warren and Deb contemplate the purpose of their lives.  It’s a somewhat slight plot, but the focus is on these characters and their interactions, with moments of humor and drama woven into the story punctuated by Adam Gwon’s memorable score.

This production is simply staged, with an evocative two-level set by Emily Rice that suggests the brick buildings and fire escapes of New York backed by a silhouetted skyline. The characters are appropriately outfitted by costume coordinator Katie Melin, and the action is illuminated well by lighting designer Nick Cook. The staging is brisk and energetic, with strong characterizations and excellent vocals by an energetic young cast, with Scott as the stressed-out Deb and Beckerle as the exhaustingly optimistic Warren as real stand-outs. Beckerle’s voice in particular is strong and clear from his first number, the show-opening “One by One by One”. There’s a great combative chemistry between these two as well. Humburg and Minnis are also excellent as Jason and Claire, bringing a believable emotion to their story, although Minnis reads as slightly young for the backstory that is revealed for Claire. Still, they make a convincing couple, and Humburg brings an endearing determination to his role as well. There’s good singing all around, well supported by accompanist Ellie Bode on piano.

This is an encouraging show. It’s a refreshingly sincere, character-driven story that also succeeds in making its setting a character in itself.  This is the second production of this show I have seen (after seeing it a few years ago in London), and it’s a good one.  It’s a vibrant show with a lot of heart, from a production company with which I hadn’t been familiar before, and I’m impressed.  It’s an excellent effort, and well worth seeing.

Silhouettes Production Company is presenting Ordinary Days a the Chapel until June 24, 2017.


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The Little Mermaid
Music by Alan Menken, Lyrics by Howard Ashman and Glenn Slater
Book by Doug Wright
Directed by Marcia Milgrom Dodge
Choreographed by Josh Waldren
The Muny
June 20, 2017

Kevin Zak, Will Porter, Emma Degerstedt, Emily Skinner
Photo: The Muny

This isn’t opening week at the Muny, but it is for me. Unfortunately, I was out of town and unable to attend the first performance of the 2017 Muny season, Jesus Christ Supertar. That is especially sad because I heard it was an excellent production. Still, for me, the first Muny show of the year is the season’s second production, Disney’s The Little Mermaid. This is the second production of this adaptation of the popular animated film that the Muny has done, and I remember enjoying the last one but that was in the “old Muny” era so I’m not sure if a direct comparison is really possible. What I can say is that this version is visually stunning and extremely well cast, making for an entertaining evening of theatre in Forest Park.

The story is familiar to anyone who has seen the film, although it has been altered slightly for the stage, and additional songs have been added. The mermaid of the title is Ariel (Emma Degerstedt), the golden-voiced youngest daughter of King Triton (Jerry Dixon), who rules the undersea realm but has trouble understanding his youngest child. Ariel herself is obsessed with the world of humans, often journeying to the surface of the sea and collecting trinkets and keepsakes of the world beyond the ocean. She eventually encounters the human Prince Eric (Jason Gotay), who isn’t happy with his life as a prince and longs for a life at sea. When Eric is shipwrecked and Ariel saves him, Ariel’s fascination with humans turns into love for this particular human, and that’s where the Sea Witch Ursula (Emily Skinner) becomes involved. Striking a deal with Ursula that will give her legs in exchange for her voice, Ariel must get Eric to kiss her within three days or else she forfeits her soul to Ursula. With the help of her friends Sebastian the crab (James T. Lane), Flounder the fish (Spencer Jones), and Scuttle the seagull (Jeffrey Schecter), Ariel sets out to achieve her goal while Eric’s guardian Grimsby (Richard B. Watson) suggests a singing contest to find the girl with the beautiful voice who rescued Eric, and whom the prince–who is expected to marry by his 21st birthday–is determined to find and hopes to wed.

The structure of the show is similar to the film, but has been expanded for the stage, and some plot details altered to better fit the stage format. For the most part, this story works, although I still question the inclusion of the song “Les Poissons”, since it makes little sense on stage even though Frank Vlastnik as Chef Louis performs it well and with lots of energy. The ending, especially Ursula’s fate, also isn’t as dramatically satisfying as the film version, although I do like that the development of Ariel and Eric’s relationship is given a little more focus. Still, this is a vibrant, energetic show with a lot of great songs including (and especially) the film classics like “Part of Your World”, “Under the Sea”, “Poor Unfortunate Souls”, and “Kiss the Girl”, and the Muny has brought the show to life with style and stunning visual effects, with a colorful, versatile set by Michael Schweikart, excellent costumes by Robin L. McGee such as the truly magnificent Ursula costume for Skinner and the ensemble members who play her tentacles. There’s also excellent lighting by Nathan W. Scheuer, video design by Matthew Young that augments the scenery well, and some truly clever puppets designed by Puppet Kitchen Productions, inc. The undersea world, as well as the dry-land world of Eric’s court, are well represented here on the giant Muny stage.

There’s a great cast here, as well, led by Degerstedt’s determined, wide-eyed, clear-voiced performance as Ariel. Her chemistry with Gotay’s smooth-voiced, earnest Prince Eric is strong, and their scenes together are a highlight of this production. Skinner makes the most of the villain role as Ursula, reveling in her evil schemes and commanding the stage on her featured number, “Poor Unfortunate Souls”. She’s supported well by the gleefully oily characterizations of her henchmen, electric eels Flotsam and Jetsam, by Kevin Zak and Will Porter. There are also strong performances from the young Jones as Ariel’s devoted friend Flounder, and Schecter as the wisecracking, overconfident seagull Scutttle, who leads a group of other gulls in a memorable tap-dance number, “Positoovity”. Lane, as Ariel’s friend and reluctant guardian Sebastian, has some excellent moments leading the iconic songs “Under the Sea” and “Kiss the Girl”. The leads are supported by a strong, vividly outfitted ensemble playing everything from an array of undersea creatures to palace guards and princesses.

The Little Mermaid is not the best of Disney’s stage musicals, but it is fun and it has it’s memorable moments.  At the Muny this time around, it’s especially striking in a visual sense. This production is essentially what audiences would want it to be–a big, bright, energetic musical that fills the Muny stage well and entertains viewers of all ages.

Emma Degerstedt, Jason Gotay
Photo: The Muny

The Muny is presenting Disney’s The Little Mermaid in Forest Park until June 29, 2017.

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Next to Normal
Book and Lyrics by Brian Yorkey, Music by Tom Kitt
Directed by Edward Coffield
Insight Theatre Company
June 9, 2017


John Flack, Debby Lennon, Spencer Davis Milford Photo by John Lamb Insight Theatre Company

Insight Theatre Company is opening its 10th season in a new venue, and starting off with a highly regarded, Pulitzer Prize-winning musical, Next to Normal. This small-cast show is an ideal fit for the .Zack in Grand Center. It’s a challenging, highly emotional show with a demanding score, and Insight has assembled an excellent cast, presenting the show in a somewhat different manner than I have seen before, and it works very well.

When I first heard of the casting for this production, I was expecting it to be good, especially since the lead role of Diana Goodman would be played by last year’s St. Louis Theater Circle Award winner for Best Actress in a Musical, Debby Lennon. And Lennon isn’t the only seasoned performer in this excellent cast. John Flack as Diana’s husband Dan, Ryan Scott Foizey as the doctors, and Spencer Davis Milford, as the Goodmans’ son Gabe have all done some excellent work in St. Louis theatre. They are joined by extremely promising newcomers Libby Jasper as the Goodmans’ conflicted teenage daughter Natalie, and Max Bahneman as Natalie’s on-again/off-again boyfriend Henry. It’s a story that focuses largely on Diana’s experiences with trying to manage her mental illness and her complicated family relationships, and also on Natalie’s struggle to deal with her own issues involving her family and her future plans. There isn’t a whole lot else I can say without spoiling too much, because this is a show that depends a lot on twists and revelations, although the central family relationships are at its core, with a strong musical score that ranges from more upbeat rock-based numbers to slower, emotional ballads. It’s a challenging work, and when staged well as it is here, it’s riveting.

This production is a little different than others I’ve seen, in terms of staging and vocals. Staging-wise, the pacing is a little slower than previous productions, with some of the line-deliveries being a little more subdued. The plot build-up seems to be more gradual as a result, and despite a slow-ish start on “Just Another Day”, the performances are excellent and well-timed. The set, designed by Robbie Ashurst, and the lighting by Charlotte Webster are more colorful as well, with an emphasis on a series of windows of varied hues hanging in the background, and aside from one slightly raised platform, most of the action takes place at stage level, also contrary to other performances I’ve seen. The costumes by Laura Hanson are appropriate and well-suited to the characters, and there’s also excellent musical direction by Ron McGowan, with a slightly different sound reflective of Lennon’s more operatic voice.

The cast is excellent, led by Lennon in a sympathetic, emotional performance as Diana, with powerful vocals on songs like “I Missed the Mountains”, “I Dreamed a Dance”, and “You Don’t Know”. Flack is also excellent as Diana’s supportive but increasingly exasperated husband, Dan. His scenes with Lennon carry a lot of power, and he brings a great deal of emotional energy to his songs, especially “I’ve Been” late in Act 1. There are also strong performances from the rich-voiced Jasper as the determined but conflicted Natalie, and by Bahneman as her sweet, persistent stoner boyfriend Henry. Milford is outstanding and full of energy as the dynamic, influential and mysterious Gabe as well, excelling especially on Gabe’s most well-known number “I’m Alive”. There’s also excellent work from Foizey as the two doctors, particularly the “rock star” Doctor Madden, although he does sound a little strained at times.

Next to Normal is a powerful, challenging show. It’s a character study as well as a story of relationships, and strong casting and musicality are essential. Those aspects are well represented in this memorable production from Insight Theatre. Although it takes a few minutes to really get going, once it does it’s engaging, fascinating, and highly affecting. It gets Insight’s new season in its new home off to an excellent start.

Ryan Scott Foizey, Spencer Davis Milford, Debby Lennon
Photo by John Lamb
Insight Theatre Company

Insight Theatre Company is presenting Next to Normal at the .Zack Theatre until June 25, 2017.

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by Stephen Peirick
Directed by Gary F. Bell
Stray Dog Theatre
June 8, 2017

Kevin O’Brien, Jeremy Goldmeier, Sarajane Alverson
Photo by John Lamb
Stray Dog Theatre

The latest production in Stray Dog Theatre’s 2016-2017 season is a new play by local playwright and actor Stephen Peirick. Monsters is billed as a “comedy thriller”, and it certainly provides elements of both of those genres even though the “comedy” element is more prominent, at least for most of the play. With a talented, enthusiastic cast and some sharp humor and good pacing, this is a promising show, even though it does have a few issues that could be addressed.

Monsters doesn’t feature any literal monsters. The title is more metaphorical, examining the idea that seemingly good human beings can be capable of monstrous acts and attitudes. The situation is essentially a version of the “bumbling unlikely criminals” idea, with “manchild” brothers Jeremy (Kevin O’Brien) and Davis (Jeremy Goldmeier) planning a scheme for personal reasons that they won’t initially share with Davis’s wife, Andi (Sarajane Alverson), who happens across Jeremy in her basement accompanied by a strange man, who Jeremy introduces as Carl (Michael A. Wells), whom Jeremy has put in a difficult situation. The story of what exactly is happening takes a while to be told, as the nervous Jeremy is hesitant to disclose his secret. But Andi has secrets of her own that she’s trying to hide from Jeremy and, especially Davis. Another unexpected event is the arrival of Andi’s brash younger sister, Piper (Eileen Engel), who unbeknownst to Jeremy and Davis, has a habit of coming to the house on Tuesdays to do her laundry–a revelation that the jealous Jeremy, who has no such privileges, highly resents. I can’t say much more about the plot because the revelations of the various “secrets” and the motivations behind them are the centerpiece of the show. I’ll just say that some things are exactly as they seem, and other definitely are not.

The dialogue and characterization are the strongest elements of this show, along with the excellent performances. Alverson as the confrontational, sarcastic and secretive Andi, and O’Brien as the earnest, excitable and bumbling Jeremy are standouts in an impressive, cohesive cast. Engel plays against type well as the opportunistic, self-absorbed Piper, and Goldmeier is also good as the not-so-masterful “mastermind” of the “secret plan”, Davis, and Wells gives a funny, sympathetic performance as a man who spends the majority of the production being pushed around by the other characters. The characters are interesting, alternating between being sympathetic and not as likable, and generally this is a gripping, funny, entertaining and thought-provoking production, although it does have a few issues, most notably in the “comedy-thriller” designation, since the “thriller” aspect of the production–and particularly the revelation of one character’s seemingly sudden decision–that are less credible and not given sufficient build-up.  The comedy aspect is well done, however, and there are some interesting explorations of the ideas of personal responsibility, opportunism, truth and secret keeping, as well as the idea that not everything or everyone is how they may first appear.

The play does a good job of maintaining the audience’s interest, and the visual presentation is excellent, as well, with a set by Justin Been that is a realistic representation of the unfinished basement in which the action takes place. The characters are all outfitted appropriately by costume designer (and director) Gary F. Bell, as well, and Tyler Duenow’s lighting contributes to the overall atmosphere well.

Overall, this is an impressive, promising new production. While I do think there are some story and character elements that can be improved, it’s a funny and provocative play with well-drawn and well-portrayed characters. It’s definitely worth seeing, and it’s great to see a local theatre company developing such an intriguing new theatrical work by a talented local playwright.

Eileen Engel, Jeremy Goldmeier, Sarajane Alverson
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre is presenting Monsters at Tower Grove Abbey until June 24, 2017.


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Joseph and the Amazing Technicolor Dreamcoat
Book and Lyrics by Tim Rice, Music by Andrew Lloyd Webber
Directed and Choreographed by Stephen Bourneuf
STAGES St. Louis
June 7, 2017

Jeff Sears (Center), Kirsten Scott (Center Right) and Cast
Photo by Peter Wochniak,
STAGES St. Louis

Joseph and the Amazing Technicolor Dreamcoat is an intriguing show, simply in terms of how versatile it is. It’s one of those shows that can be done on almost any scale or budget and still work. It’s not the deepest or most profound of shows. It’s really just a lot of fun, but what has become most interesting to me is the range of ways that a theatre company can produce this show. It can be big and flashy or more toned-down. Its look can change drastically depending on the production values and directors’ vision. It’s a show I’ve seen several times now, but I think this latest version from STAGES St. Louis is my favorite yet because of the cohesiveness of design, the sheer personality and energy of the cast, and the emphasis on a more human scale for this story rather than over-the-top flashiness, although it’s certainly a great looking production as well.

The story of this show is fairly straightforward–it’s a retelling of the Bible story of Joseph (Jeff Sears), son of Jacob (Steve Isom), and of Joseph’s journey from shepherd’s son to essentially prime minister of Egypt. It follows Joseph from his early days tending sheep with his eleven brothers, and boasting of his dreams that predict that he will someday rule over the rest of his family.  The story is presented by the Narrator (Kirsten Scott), who interacts with the characters at various times in the process of telling the story. As the story unfolds, a variety of different song styles is employed in whimsical fashion, from the country-western “One More Angel in Heaven” to the 1920’s styled “Potiphar” as Joseph, sold into slavery by his brothers, serves in the house of Potiphar (Brent Michael DiRoma) and is tempted and accused by Mrs. Potiphar (Molly Tynes), and then sent to jail. Joseph’s skill at interpreting dreams eventually brings him to the attention of Pharoah, who is–as in all productions of this show–presented as an Elvis-like figure (also played by DiRoma). It’s a fun show that blends the Bible story with various modern elements and and the variety of musical styles that also includes pop and rock influences.

While I’ve seen bigger and flashier productions of this show, I’m especially impressed by this production’s emphasis more on character and a stylish but not cartoonish look to the production. It’s a very human Joseph, with a strong cast led by the excellent Sears as a Joseph whose emotional journey is given more resonance here than in some other productions I’ve seen, bringing depth to songs like “Close Every Door” and “Any Dream Will Do”. Scott is also superb as the Narrator–a role I’ve generally considered to be the best part in the show–and her vocal range is impressive on numbers like the “Prologue”, “Poor, Poor Joseph”, and “Pharaoh Story”.  Scott brings a good deal of humor to the role of the Narrator as well, and her rapport with Sears as Joseph is a highlight. In fact, this is the first production I’ve seen in which there seems to be a hint of attraction between Joseph and the Narrator. There are also memorable performances from Isom as the proud and then sad patriarch, Jacob, by Tynes as the would-be seductress Mrs. Potiphar, and by all of the actors playing the brothers, and particularly Brad Frenette as Levi, Jeremiah Ginn as Reuben, Jason Eno as Judah, and Kyle Ivey as Benjamin. DiRoma is also a stand-out in two roles, as the rich but lonely Potiphar and especially as Pharaoh, where he exudes a lot of charm and comes across as more of the “young Elvis” as opposed to the older “Las Vegas Elvis”, even though he does get to wear the glittery, sequined jumpsuit. There’s also a strong ensemble to back up the leading performers, displaying a lot of vocal and physical energy on various production numbers that have been dynamically choreographed by director/choreographer Stephen Bourneuf.

Visually, the show is colorful and whimsical without being overly flashy or cartoonish. It’s a great look for this show, in keeping with the overall tone of this production. James Wolk’s versatile set frames the action well, and Brad Musgrove’s costumes are vivid, detailed, and fun. The excellent lighting effects by Sean M. Savoie also adjusts well to the various scene and tone changes throughout the production.

This is a fun show, and the cast and creative team obviously enjoy presenting it. From the starry opening to the bright, energetic “Megamix” conclusion, this is a Joseph with heart and humanity. It’s an excellent, highly entertaining production, and a great start to STAGES’ 2017 season.

Joseph and the Amazing Technicolor Dreamcoat presented by STAGES St. Louis at Robert G. Reim Theatre in Kirkwood, Missouri on June 1, 2017.

STAGES St. Louis is presenting Joseph and the Amazing Technicolor Dreamcoat at the Robert G. Reim Theatre in Kirkwood until July 2, 2017

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Sweet Smell of Success
Music by Marvin Hamlisch, Lyrics by Craig Carnelia
Book by John Guare
Directed by Scott Miller and Mike Dowdy-Windsor
New Line Theatre
June 3, 2017

Ann Hier, Zachary Allen Farmer, Matt Pentecost
Photo by Jill Ritter Lindberg
New Line Theatre

It’s a somewhat obscure musical that had a short run on Broadway, won a few awards and received a mixed critical reception, and it’s based on a movie that’s well-regarded by critics but isn’t exactly a household name. I hadn’t seen the film before seeing New Line’s newest production of Sweet Smell of Success, although I had heard of the film and the musical. Oddly, I don’t think familiarity with the source material matters much in terms of enjoying this show, even though its subject matter revolves heavily around the concept of success, notoriety, and the sheer level of power that can come from being a household name. This is the kind of show that New Line does especially well–a show that might have been too “small” in a sense for Broadway. It’s the kind of show where an intimate presentation in a venue like New Line’s Marcelle Theatre can be ideal, to scale this story down to its most important elements–the characters, the raw emotions, and the key concepts at play in this seedy, sultry, and sometimes downright scary morality tale that focuses on the down side of the quest for fame.

The story takes the audience to New York City in the 1950’s, to a world in which gossip columnist J. J. Hunsecker (Zachary Allen Farmer) exerts his influence through his nationally syndicated and widely read newspaper column. As the ensemble asserts in the opening number, making it into “The Column” is essential for achieving that elusive measure of success for the small nightclubs that host celebrity sightings, the up-and-coming actors and musicians who are looking for their big breaks, and even the press agents who work tirelessly to get their clients mentioned by J.J. One of these press agents is Sidney (Matt Pentecost), who makes call after unheeded call to J. J.’s secretary Madge (Kimi Short) in hopes of getting his only client, the small but ambitious Club Voodoo, a mention. Sidney’s luck doesn’t improve until a chance meeting at the club with an aspiring young actress who turns out to be J.J.’s sister, Susan (Ann Hier), who is indulging in a secret romantic relationship with struggling jazz musician Dallas (Sean Michael). When J. J. himself walks into the club looking for Susan, Sydney tries to help her by pretending to be her friend, and ends up getting J.J.’s notice, which begins Sidney’s  ascent up the ladder to success, at the increasing expense of his own scruples. As J.J.’s true character is revealed, along with his creepy obsession with and sense of control over Susan, Sidney is caught between his desire for celebrity and influence under J.J.’s tutelage and his genuine fondness for Susan and desire to help her. The problem Sidney finds is essentially, how does a person hold onto his own soul after he sells it in the name of success? The consequences turn out to be messy for some, and tragic for others.

The setting and overall atmosphere of this production is masterfully achieved by virtue of strong production values and an ideal setting. As excellent as New Line’s shows have been since moving to the Marcelle, I think this production has been most successful at making the most of this venue.  The small, intimate atmosphere and the meticulously crafted set by Rob Lippert create the ideal mood for this jazzy, dark, and challenging piece of theatre. Lippert’s excellent lighting also contributes to the Noir-ish atmosphere, as do Sarah Porter’s stylish and detailed period costumes. The pacing is strong here, as well, with the mood being tense when it needs to be, and even downright brutal and bleak when necessary as well. There are also some much-needed moments of humor in the midst of the tension, though, and these are also handled well by way of Scott Miller and Mike Dowdy-Windsor’s astute direction and the extremely strong cast that the directors have assembled, as well as the excellent band led by music director Jeffrey Richard Carter, bringing the show’s jazz-influenced score to life with a bold attitude and style.

The focus of much of this play is on the figures of J.J. and Sidney, and both parts are cast well with veteran New Liners. Farmer brings a sense of self-assured determination and a steely resolve to the role of the domineering J.J., as well as a wry sense of humor and a strong voice. His status as the influential power player is unquestioned. Pentecost brings a sense of weary charm to Sidney that makes the viewer want to sympathize with him to a point. His scenes with Farmer and with Hier are particularly memorable. Hier, in the difficult role of the conflicted, dominated Susan, shines as well, bringing a quiet strength to the role that makes itself more clear as the show goes on. Michael, as Susan’s principled secret boyfriend Dallas, is also excellent, displaying a strong tenor voice on “I Cannot Hear the City” and “One Track Mind”. His chemistry with Hier is credible, as well. There’s also a standout performance from New Line veteran Sarah Porter, making an impression is the small but important role of Sidney’s girlfriend, waitress and aspiring actress Rita, who gets the show’s single best solo musical moment with “Rita’s Tune”. Kent Coffel as corrupt police Lt. Kello, Jason Blackburn as rival gossip columnist Otis Elwell, and Short as J.J.’s no-nonsense secretary Madge lend excellent support as well, as does the show’s cohesive ensemble, playing a range of New Yorkers and contributing to memorable musical numbers like the intro and the energetic, sharp and chilling “Dirt”.

This is a challenging, incisive story with an incisive message, richly drawn characters, and even more richly drawn settings. It’s an homage to Film Noir, tied to its time in one way, but surprisingly timeless in another, since the modes of communication and the names may change over the years, but human nature hasn’t changed, and neither have the temptations that come with the thirst for knowledge, influence, and especially power and control. Sweet Smell of Success isn’t always sweet, but at New Line and with this cast and creative team, it’s certainly a success.

Cast of Sweet Smell of Success
Photo by Jill Ritter Lindberg
New Line Theatre

New Line Theatre is presenting Sweet Smell of Success at the Marcelle Theatre until June 24, 2017.



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The Winter’s Tale
by William Shakespeare
Directed by Bruce Longworth
Shakespeare Festival St. Louis
June 2, 2017

Chauncy Thomas, Cherie Corinne Rice (Left), Charles Pasternak (Right) and cast of The Winter’s Tale
Photo by J. David Levy
Shakespeare Festival St. Louis

It’s time to return to Forest Park again, for the latest production from Shakespeare Festival St. Louis. This year, the show is The Winter’s Tale,  the Bard’s somewhat mysterious tragedy/comedy/mystery/romance, and it’s in good hands, with veteran director Bruce Longworth, a strong cast, and stunning production values which contribute to a fascinating dramatic journey in SFSTL’s Shakespeare Glen.

This is an unusual play, and one of Shakespeare’s more controversial considering the major tone shift that happens in the middle, and the inexplicable actions of some of the characters. It’s a fascinating story especially when staged well, and it is here. The Winter’s Tale starts out somewhat light-heartedly but then plunges quickly into the drama, and then into tragedy, before transforming itself again into more of a comic romance with a somewhat mysterious ending. The “tale” follows Leontes (Charles Pasternak), the king of Sicilia, who is happily married to Hermione (Cherie Corinne Rice), who is expecting their second child. When their friend, Polixenes King of Bohemia (Chauncy Thomas) wants to cut short his visit and Hermione convinces him to stay, Leontes’ is suddenly plagued by irrational, raging jealousy, convinced that his wife has betrayed him and that her unborn child was fathered by his friend. This leads to a chain of events that involves murder plots, self-exile, accusations, and death. Then there’s the intermission, and we come back to a pastoral romantic comedy sixteen years later as Leontes’ exiled daughter Perdita (Cassia Thompson), who has been raised by a bumbling Shepherd (Whit Reichert) and his even more bumbling son (Antonio Rodriguez), is romanced by Polixenes’s son Florizel (Pete Winfrey), who hasn’t told Perdita who he is, nor has he told his father who he’s romancing.  At first, it isn’t entirely clear how the two sections of the play will be tied together, but eventually they are, in a grand, fantastical fashion orchestrated by Hermione’s wise, protective gentlewoman Paulina (Rachel Christopher).

This is a fascinating play, and the tone-shift is part of what makes it so interesting. The blend of tragedy, comedy, and romance is somewhat jarring, but this production makes the most of it. The music by Matt Pace and Brien Seyle contributes a great deal to the mood, with a more classical chamber-music type vibe in Sicilia and more folky, rustic air in Bohemia. The look of production is striking, as well, with richly detailed costumes by Dottie Marshall Englis that seem to be in a late-18th, early-19th Century style. Scott C. Neale’s versatile unit set shifts well from setting to setting, and there are some excellent effects from lighting designer John Wylie and sound designer Rusty Wandall. The overall pacing is brisk without being too hurried, and all the right tonal notes are met, from the poignant to the jarring to the whimsical.

The casting here, as usual for SFSTL, is strong, and features some welcome returning players, including the excellent Pasternak as the jealous Leontes, whose journey from irrational rage to contrition is made credible. Rice is also strong as the wronged Hermione, and there is excellent work from all of the key players, including Winfrey and Thompson, who display a sweet chemistry as the lovers Florizel and Perdita. There’s good comic work from Reichert and Rodriguez as the Shepherd and his son, and a wonderful comic turn by Gary Glasgow as the scheming, opportunistic con artist, Autolycus. Thompson as Polixenes and Anderson Matthews as the loyal courtier Camillo also give strong performances, as does Michael James Reed as the earnest Antigonus, Paulina’s husband and the unfortunate victim of Shakespeare’s most famous stage direction (“Exit, pursued by a bear”). Christopher, as Paulina, is a real standout in a strong, powerful performance as the protective, somewhat mysterious Paulina. There’s also a strong ensemble lending excellent support to the principal cast.

Shakespeare Festival St. Louis is one of the highlights of June in St. Louis. Free Shakespeare done with such expertise and style is always a treat, and The Winter’s Tale is another prime example of this company’s excellence. It’s a thoughtful, engaging, superbly staged and performed production, and I highly recommend it. I’m looking forward to next year in the Glen as well, when SFSTL will present the Bard’s classic tragedy Romeo and Juliet.


Pete Winfrey, Whit Reichert, Cassia Thompson
Photo by J. David Levy
Shakespeare Festival St. Louis

Shakespeare Festival St. Louis is presenting The Winter’s Tale in Forest Park’s Shakespeare Glen until June 25, 2017

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