Archive for 2018

SFSTL’s Delightful “Into the Breeches!” Entertains, Educates at the Grandel

Posted in St Louis Theatre, tagged , , , , , , on November 8, 2018| Leave a Comment »

Into the Breeches!
by George Brant
Directed by Nancy Bell
Shakespeare Festival St. Louis
November 1, 2018

Kari Ely, Katy Keating, Jacqueline Thompson, Mary McNulty, Michelle Hand
Photo by Phillip Hamer Photography
Shakespeare Festival St. Louis

Shakespeare Festival St. Louis is branching out. Known for years for its free mainstage productions in Forest Park as well as a few other projects like Shake 38 and Shakespeare in the Streets, the Festival is now adding another program to their schedule. The “In the Works” festival highlights more modern works based on Shakespeare by contemporary playwrights, including a headline show at the Grandel Theatre. This year’s headliner is called Into the Breeches! and it’s delightful. Featuring a first-rate cast of mostly local St. Louis performers, the show looks back at a pivotal time in American history, as well as celebrating Shakespeare, women in the arts, inclusion, and most of all, a real sense of love for the theatre.

The story takes place in 1942, in the midst of the Second World War. With so many men overseas fighting in the war, women have been enlisted to hold down the fort at home. At the Oberon Theatre, a respected Shakespearean playhouse, its director Andrew Dalton and many of its actors have been enlisted in the military, so the board of directors is contemplating canceling the upcoming season. The director’s wife, Maggie Dalton (Michelle Hand), has other ideas, however, and she approaches the Oberon’s celebrated leading lady Celeste Fielding (Kari Ely) with an unusual idea–why not keep the season going, and go ahead with producing the planned production of Shakespeare’s Henriad (Henry IV parts 1 and 2, and Henry V), but with a cast of women? After a bit of convincing, the board’s somewhat obtuse chairman Ellsworth Snow (Gary Wayne Barker) agrees, and his wife Winnifred (Katy Keating) signs up to participate. Then, casting needs to happen, as Maggie works with stage manager Stuart (Ben Nordstrom) and seamstress and costumer Ida (Jacqueline Thompson) to prepare for the play, eventually casting two young women whose husbands are serving overseas–the enthusiastic June (Mary McNulty), and the more reticent but highly talented Grace (Laura Resinger). As rehearsal proceeds, Maggie and company encounter various obstacles and conundrums, such as dealing with various societal restrictions, biases and prejudices, as well as efforts to keep up morale during the war as most of the women have husbands who are serving. There’s also the issue of long-time “star” Celeste, who is facing the reality of aging out of some of her most beloved roles, and Maggie’s efforts to find her own voice as a director rather than living in the shadow of her well-respected husband. Some of the more specific plot points are better to find out as the play goes along, but it’s an excellent look at challenging widely accepted conventions and injustices of the time while also providing a window into life in the 1940s in terms of sights, sounds, cultural references, and styles.

The advertising is billing this show as “A League of Their Own meets Henry V“, and I think that’s an apt comparison, because in addition to its World War II-era setting, one of the things that characterized the film A League of Their Own was its clear affection for its subject matter, which in that case was baseball. In Into the Breeches! the subject is theatre, and the affection is on clear display. It provides a look at the inner workings of a theatre in the 1940s, as well as an examination of themes from Shakespeare as applied to the situations in the story, and how the company eventually uses those applications in their production. It’s also a nice touch that playwright George Brant’s script–which has been produced before in other cities–has been adapted slightly to adjust the setting to St. Louis. The setting makes the story even more immediate.

Speaking of setting, the production values here are superb. Margery and Peter Spack have designed a set that works as something of a time machine, re-creating the backstage of a 1940s theatre in exquisite detail. Michelle Friedman Siler’s costumes are also excellently detailed and authentic to the era. There’s also strong atmospheric lighting by Joe Clapper and impressive sound design by Rusty Wandall, taking the audience back to the 1940s with clarity and charm.

There’s a wonderful cast here, too, led by the ideally cast Hand as Maggie, bringing an air of determination and authority as well as vulnerability to her role. Ely is also a marvel as Celeste, hamming it up when appropriate but also portraying a credible sense of the consummate actress and a degree of insecurity about the passage of time. There are also excellent performances from Keating, believably playing older as the enthusiastic Winnifred; Resinger as the initially fearful but determined, talented Grace; McNulty as the energetic June; Thompson as the resourceful, also determined Ida; Nordstrom, who has some excellent comic moments as Stuart, who finds delight in his new role; and Barker, who lends his support as the stubborn, set-in-his ways but ultimately persuadable Ellsworth. It’s a strong ensemble all around, and a real sense of rapport develops among them that adds to the overall momentum of the play, to the point where, when the show eventually ends, I wish it could continue, to spend just a little more time with these characters and witnessing what they have created.

Into the Breeches! is an intelligent, funny, sometimes poignant play that makes excellent use of its time, place, and Shakespearean source material. It’s about challenging conventions, pushing boundaries, forming bonds of friendship and family, and an unmistakable love of the theatrical. In fact, I could easily see this show being adapted as a film. If the playwright isn’t exploring that possibility already, he should. I think it could work. It’s also a wonderful way to kick off a new chapter for Shakespeare Festival St. Louis, and it makes me even more eager to see what’s ahead for the “In the Works” series.

Michelle Hand, Laura Resinger, Kari Ely
Photo by Phillip Hamer Photography
Shakespeare Festival St. Louis

Shakespeare Festival St. Louis is presenting Into the Breeches! at the Grandel Theatre until November 18, 2018.

 

 

 

 

 

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Well-Cast “Admissions” Asks Challenging Questions at the Rep Studio

Posted in St Louis Theatre, tagged , , , , , , on November 3, 2018| Leave a Comment »

Admissions
by Joshua Harmon
Directed by Steven Woolf
Repertory Theatre of St. Louis, Studio
October 28, 2018

Thom Niemann, R. Ward Duffy, Henny Russell Photo by Jerry Naunheim, Jr. Repertory Theatre of St. Louis

The Rep’s first Studio production of the season is Joshua Harmon’s Admissions, which combines comedy and drama in a highly thought-provoking combination that looks at the highly charged topics of race and privilege particularly in the field of academics. It looks at an issue many families deal with–education for their children–and explores it through the eyes of a prep school administrator in Connecticut and her family. It’s also a critical look at whiteness and white privilege that’s sure to make its audience think.

In the interview with playwright Joshua Harmon in the program, he said he wanted to write a play where the characters’ whiteness is on clear display, in terms of how they live, think, and make decisions regarding race. It’s particularly focusing on white liberals, and a family of academics that has a degree of privilege that’s so ingrained they don’t even seem to notice it–not really, anyway, even if they say they do, and when anyone else tries to point it out, that’s when things get especially uncomfortable. The central figure is Sherri Rosen-Mason (Henny Russell), the admissions officer for a prestigious Connecticut prep school. She’s spent most of her career in the effort to increase the mostly-white school’s percentage of non-white students. Her husband, Bill (R. Ward Duffy) is the head of the school, and together they take pride in their diversity efforts. Their son, Charlie (Thom Niemann), is a high-achieving student at the school and has high hopes of attending Yale. Essentially, the plot shows how this family is presented with a series of dilemmas that challenge their perceptions of themselves and others, calling into question exactly how “progressive” they really are, and how much they will rely on their own privilege when they know it will help their own son in the quest to go to the “right” kind of college. The issue of appearance and numbers vs. people comes up a lot, particularly in situations involving Sherri’s friend Ginnie (Kate Udall), who is married to a teacher at the school who is black, and whose son–Charlie’s best friend–is also applying to Yale. There’s also a mostly comic subplot in which Sherri’s colleague Roberta (Barbara Kingsley) is trying to produce a new academic catalogue for the school, but Sherri wants to make sure it encourages diversity.

This is a show that raises several important issues and takes a hard look at privilege and self-awareness, or lack thereof. It raises a lot of questions but doesn’t exactly answer them, at least not completely. Mostly, this is a look at issues that seriously need to be talked about, portrayed by characters who don’t always know how to respond to those questions. These characters are relatable to a point, and I think a large point of the story is to have us–and particularly, white audience members–asking questions of ourselves–how much do we see our own privilege? Do we see racism or biases within ourselves? If we had the chance to give up some of our privilege to truly help someone else, would we? Or would we encourage our loved ones to do so? Do we see how we can come across to those around us? How important is “elite” education? Those are only some of the questions raised by this play, and they’re embodied by characters that are often relatable and sometimes, but not always, likable.

The scenic design is perfectly realized, recreating the world of an upper middle class New England family and Sherri’s office at the prestigious prep school that forms the center of this family’s world. Bill Clarke’s set is detailed and specific, and Lou Bird’s costumes suit the characters well. There’s also excellent evocative lighting by Nathan W. Schuer and sound by Rusty Wandall. All these aspects work together to create the world these characters inhabit, which is at once a realistic representation and a stereotype.

The small cast does an excellent job here, bringing their characters to life credibly, navigating the play’s sometimes witty, sometimes sharply comic, sometimes dramatic tone well. Russell has perhaps the most difficult job as Sherri, the well-meaning but sometimes clueless center of the production. She and the equally strong Duffy–amiable but also clueless in his own way–anchor the production. Niemann is also strong, giving a sometimes obtuse, sometimes sensitive, ultimately engaging performance as the sometimes entitled, sometimes confused Charlie, and Udall also makes a strong impression as the initially upbeat but increasingly conflicted Ginnie. Kingsley, as the perpetually exasperated Roberta, gives the most obviously comic performance and provides a great deal of energy and personality to her scenes.

Admissions is a play that should have audiences talking. There are some uncomfortable concepts, and truths, here, and a challenge in the sometimes deceptively lighter tone. There are also awkward moments, such as when the audience enthusiastically applauds one speech, only to have the character immediately chastised for the same speech. I’m not sure this play does everything the playwright says he wants it to do, but what it does best is raise questions. It’s a strong start to the Studio season at the Rep.

Henny Russell, Barbara Kingsley
Photo by Jerry Naunheim, Jr.
Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis is presenting Admissions in the Studio until November 11, 2018.

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Theatre Nuevo and ERA Present a Chilling “Whither Should I Fly” for FAUSTival

Posted in St Louis Theatre, tagged , , , , , , , on November 3, 2018| Leave a Comment »

Whither Should I Fly
by Amanda Wales and Gabe Taylor
Devised by the Ensemble
Directed by Gabe Taylor
Theatre Nuevo and ERA
October 27, 2018

Cast of Whither Should I Fly Photo: Theatre Nuevo

When I was a university student in the early 1990s, I took a “New Religious Movements” class in which the professor, in addition to looking at more “traditionally” defined modern religious sects, also made a point of highlighting the cult-like aspects of various multi-level marketing organizations. Now, over 25 years later in St. Louis, Theatre Nuevo and ERA take this comparison even further and more literal in the latest FAUSTival production, Whither Should I Fly.

In this case, the multilevel marketing organization is the religious group, or more specifically, a coven of witches. Called “Invoke”, the organization appeals to young women who have been harassed by men, promising them freedom over their own destiny in exchange for a series of sacrifices as they climb the ladder of advancement in the organization. The story takes the audience along on the journey of one member, Helen (Thalia Cruz), as she is recruited, learns about the structure of the organization, and rises through its ranks–all named after birds–hoping to achieve the coveted title of “Raven”. We meet the various members of the coven: Gaia (Miranda Jagels-Félix), Eliza (Tori Thomas), Vera (Amanda Wales), Nyx (Marcy Wiegert), and the coven’s leader, Mari (Alicen Moser), as they get to know Helen and show her the ways of Invoke, stressing its rewards and the sacrifices that need to be made to achieve higher levels. Rituals are performed, ambitions are discussed, and a series of promo videos are shown as Helen and the coven work their ways through the ranks and prepare a presentation at the organization’s annual conference, where several surprises are in store. It’s a chilling, sometimes darkly funny and occasionally unsettlingly story that plays out the Faustian theme in a unique but clearly defined way, It also includes immersive elements, as the coven members usher the audience into the space and ask them questions upon entry.

The space, in the basement of the Centene Center for the Arts in Grand Center, is dark and somewhat confined, adding to the chilling atmosphere of the production. Director Gabe Taylor also designed the set and sound for this production, outfitting the space with an eerie, otherworldly sort of atmosphere. Ben Lewis’s lighting and Marcy Wiegert’s bold costume design also add to the overall mood and eerie style of the production. The cast, led by Moser as the mysterious, insistent Mari and Cruz as the initially reticent but increasingly eager and ambitious Helen, is strong. Ensemble chemistry is particularly essential in a production like this, and this production has that, with energy and enthusiasm from all of the players.

This is an intriguing production, even if some of its elements are overly long and dragged out, particularly a repetitive song that’s well-sung, but doesn’t really need to be sung in its entirety three times. The atmosphere and the cast make the show compelling, as concepts of women’s agency, emotional manipulation, and the nature of ambition are explored. It’s a fitting production for Halloween season with its horror and thriller elements. This is another creative entry in the extended collaboration that is FAUSTival. It’s a memorable, thought-provoking and inventively structured experience.

Theatre Nuevo and ERA are presenting Whither Should I Fly at the Centene Center for the Arts until November 10, 2018

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Rebel and Misfits’s Confrontational “Macbeth” Puts the Audience Into the Story

Posted in Theatre on TV, tagged , , , , , , , , on November 3, 2018| Leave a Comment »

Macbeth: Come Like Shadows
by William Shakespeare, etc.
Directed by Sean Patrick Higgins and Kelly Hummert
Rebel and Misfits Productions
October 25, 2018

Sean Patrick HIggins, Kelly Hummert
Photo by Eric Woolsey
Rebel and Misfits Productions

So, you park your car at a sports bar in Soulard, get on a bus, and are transported to Scotland–or an alternate universe Scotland that’s the invention of the devisers in a truly creative immersive theatre production of Macbeth that’s happening right now in St. Louis. Macbeth: Come Like Shadows is an inventive, confrontational, well-thought-out and strongly cast production that puts you into the middle of the story.

Macbeth: Come Like Shadows is immersive, but it’s also a play. Essentially, it’s a straightforward production of Macbeth in an unusual setting, with a few additions to the script and an additional devised pre-show that adds further context to the production. The setting is more or less modern, in an alternate reality in which Scotland has been taken over by an extreme right-wing dictator and freedom of expression has been severely limited. Most of the context, though, comes from the pre-show, in which audience members wander through the performance space in a semi-restored former church building and overhear conversations among the various characters, including the dictatorial Duncan  (Jeff Cummings) and his son Malcolm (Paul Cereghino), who is not inclined toward leadership. There’s also Lady Macbeth (Kelly Hummert), who is disillusioned for many reasons, including Duncan’s policies, the absence of her soldier husband (Sean Patrick Higgins), and a recent personal disappointment that she shares with her close companions Bianca (Patrice Foster) and Lady Macduff (Hailey Medrano), who has a new baby and is also missing her husband (Spencer Sickmann), who is currently at war and seems to never be home. Milling about the sanctuary that also includes a skate park, audience members can witness these various conversations and get an idea of the secretive, overly authoritarian regime, before Macbeth and Banquo (Shane Signorino) arrive and are confronted by the Weird Sisters (Tielere Cheatem, Alison Linderer, Cynthia Pohlson) to signal the beginning of the more linear play. The pre-show adds a lot of context to the interpretation of the characters and situations here, and the result is a chilling portrayal of a highly realistic situation, dealing with issues such as the polarization of society, totalitarianism, ambition, and the corruption of power. The up-close-and-personal arrangement brings the audience into the action as participants in the action, cast as war refugees and, at times, split into groups as part of the story, so this is a play that may be worth seeing–and experiencing–more than once, because depending on where you stand and what numbers are stamped onto your hand and wrist at the entry point, the experience can vary dramatically.

The setting, the backstory, and some new twists on the characters make this a whole new take on Macbeth, with more focus on the central couple, and on Lady M in particular, as well as some different context and reasoning behind their ambitions, as well as a drastically different interpretation of several characters, especially Duncan, Malcolm, and even the witches, who here seem more like ethereal mystical figures. Lady M, as embodied in a bold performance by Hummert, is every bit her husband’s partner here, and his rise to power is also hers, which makes her ultimate unraveling even more devastating. The obvious affection and attraction between the Macbeths is readily apparent as well, as the chemistry between Hummert and Higgins is palpable. Higgins’ journey from ambition to power is also made more personal here, and especially jarring in a key scene in which he gives a speech that says one thing, while the actions of his army around him seems to say something chillingly different. There are strong performances all around, from Sickmann’s single-minded Macduff, to Medrano’s neglected Lady Macduff, to Foster’s devoted Bianca, to the otherworldly Weird Sisters of Cheatem, Linderer, and Pohlson, as well as Cummings’s coolly pragmatic Duncan and Cereghino’s conflicted Malcolm.  It’s a bold, visceral, confrontational production that works on many levels, from the presentational to the personal.

Technically, the production values are impressive. The performance space poses particular challenges from its sheer size to its age, but the world of the play has been well realized here by Rebel and MIsfits’ technical team. Joe Novak’s set mostly consists of a few furniture pieces–most notably a large four-poster bed that is the focal point for many moments involving the Macbeths. The other major focus point is the skate park ramps on the other side of the performance area, although a few other areas in the room are also put to excellent use. The sound is something of a challenge–there’s an ominous soundtrack by Adam Frick-Verdine that adds a lot to the mood of the production, but the space itself is cavernous and often makes hearing dialogue difficult. Still, the visual aspects of the production are nothing short of stunning–from Eileen Engel’s memorable costumes to Jon Ontiveros’ truly striking lighting, illuminating the space in distinctive and colorful ways that make the most of the space and amplify the emotion of the production.

The interactive nature of this show can seem daunting at first if you’re unfamiliar with this type of theatre. I for one was more than a little nervous approaching this show, being the introvert that I am. Still, even though it took some time to adjust to the format, after a while I was able to get more into the spirit of the production. This production isn’t quite as “in-your-face” as I was fearing, but it’s certainly personal and as interactive as you want it to be, and it’s helpful to check out the company’s website for details of what to expect. You also get an email with instructions upon reserving your ticket. You can talk to the actors if you want, or you can keep your distance and be more of a people-watcher. It’s a daring undertaking, and I would think it would be especially conducive to repeat viewings. This is Macbeth like you’ve never seen it before, and it’s thrilling.

Cast of Macbeth: Come Like Shadows
Photo by Eric Woolsey
Rebel and Misfits Productions

Rebel and Misfits Productions is presenting Macbeth: Come Like Shadows until November 10, 2018

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Stars and Relationships Shine Through In Insight’s “Silent Sky”

Posted in St Louis Theatre, tagged , , , , , on October 25, 2018| Leave a Comment »

Silent Sky
by Lauren Gunderson
Directed by Maggie Ryan
Insight Theatre Company
October 19, 2018

silentskyinsight2

Jennifer Theby-Quinn, Elizabeth Townsend, Gwendolyn Wotawa, Chrissy Steele Photo by John Lamb Insight Theatre Company

 

Lauren Gunderson’s Silent Sky is a popular play, apparently. It has already been performed in St. Louis in an excellent production by another theatre company earlier this year, and it seems to be a favorite of various theatre companies across the country. Now, it’s onstage at the Kranzberg Arts Center in a heartwarming, superbly staged and ideally cast production by Insight Theatre Company.

The show tells the story of pioneering women in the field of astronomy, and particularly of Henrietta Leavitt (Gwendolyn Wotawa), who takes a job as a “computer” recording data at Harvard in the late 1890s and eventually makes a discovery that has far-reaching influence on the field of astronomy. She also gets to know her co-workers, fellow computers Williamina Fleming (Chrissy Steele) and Annie Cannon (Elizabeth Townsend), forming a strong bond over the years as the three do their jobs and struggle for recognition in a male-dominated field. The story also highlights Leavitt’s relationship with her sister Margaret (Jennifer Theby-Quinn), who in many ways is the opposite of Henrietta, even though they have a close bond. While Henrietta dreams of the stars and focuses on her career, the musically gifted Margaret stays home, marries and has children, encouraging Henrietta in her work but still hoping she will come visit her and their minister father more often. Although there is also a subplot involving a romantic attachment to another co-worker, Peter Shaw (Alex Freeman), the play continually makes the point that, for Henrietta, her true love is her work. The close female friendships and bond with her sister are important, as well, but ultimately, she focuses on the stars and wants to leave a legacy for those who follow after her. It’s a strong script, with well-defined characters and relationships, with an overarching theme of persistence in going after one’s goals and defying expectations.

The casting here is especially strong, with the relationship between Henrietta and Margaret a dramatic highlight, as Wotawa and Theby-Quinn give their characters a great deal of credibility. Both give thoughtful, energetic portrayals, with Theby-Quinn’s obvious musical ability on display as she plays and sings hymns and classical style music on the piano. Wotawa’s Leavitt is determined, persistent, and relatable, as well. In addition, Townsend as the tough, iconoclastic Annie and Steele as the encouraging, also determined Williamina are also excellent, as is Freeman as the initially incredulous but increasing supportive Shaw, and his scenes with Wotawa are especially strong. With such a small cast, ensemble chemistry is especially important, and this production has that, bringing the characters to life in relatable, believable relationships and motivations.

The small black box space at the Kranzberg is impressively transformed into a dynamic field of stars through the excellent set design by Constance Vale. Rob Lippert’s lighting is highly effective as well in helping achieve a starry effect. There’s also impressive work from sound designer James Blanton and costume designer Julian King, who outfits the cast in period-appropriate costumes that are well-suited to the characters’ personalities. The sense of time and place, as well as the passage of time, is well communicated here, as the story covers several decades in the characters’ lives.

As popular as this play is, and as recently as it has been performed in St. Louis, you may be wondering why you would need to see this production if you’ve seen it before. My answer to that question is this–excellence. It’s a well-told tale impressively portrayed, with especially strong performances by a standout cast. Even if you’ve seen this play before, this production is impressive in its own right. It’s a small cast show with a big scope, highlighting an important historical figure who deserves recognition, and boasting a truly wonderful cast. Go see it!

Gwendolyn Wotawa, Alex Freeman Photo by John Lamb Insight Theatre Company

Insight Theatre Company is presenting Silent Sky at the Kranzberg Arts Center until November 4, 2018.

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Muny’s “Magic” Entertains, Looks to the Future

Posted in St Louis Theatre, tagged , , , , , , , , , on October 21, 2018| Leave a Comment »

Muny Magic at the Sheldon
October 17, 2018

The stage set for Muny Magic

The Muny has returned to the Sheldon, and as expected every year, it’s returning to its venue in Forest Park next summer with a highly anticipated new season of musical theatre. The series of “Muny Magic at the Sheldon” concerts continued with a delightful performance from husband-and-wife duo Jenny Powers and Matt Cavenaugh, but not before Muny Executive Producer and Artistic Director Mike Isaacson made the introductions, and the announcement of the Muny’s 101st season lineup.

After a brief video highlighting the 100th season at the Muny, Isaacson took the stage and gave a brief update of the Muny’s ambitious renovation plans, showing a picture from construction from earlier that same day. The old stage is completely gone, replaced by a crane and construction crew hard at work assembling an all new stage, which Isaacson promised would be ready in time. Then, as the logos flashed on the screen behind him, Isaacson made the announcement of what looks to be an exciting 101st season, including the two top contenders in the still talked-about race for the Best Musical Tony Award in 2013, Kinky Boots (which won) and Matilda. Also on the schedule are the classic musicals Guys and Dolls and 1776, as well as Rodgers and Hammerstein’s Cinderella, and a newly revised version of Lerner and Loewe’s Paint Your Wagon, along with the musical adaptation of the popular 1980s film, Footloose.

It looks like an exciting lineup–even more so than last year’s 100th season schedule, to be frank. One of my all-time favorite shows is here (1776) as well as one of the more impressive newer shows that I’ve seen (Matilda).  I’m also especially curious to see what new book writer Jon Marans does with Paint Your Wagon, which has a great score. The only version that I’ve seen is the movie with Lee Marvin and Clint Eastwood, which was memorable for all the wrong reasons. I’m eager to see what the Muny’s production will be like. The rest of the lineup looks intriguing, as well, and I’m already wondering what familiar Muny faces–and what new ones–will appear in the casts. It looks like an especially promising season.

As for the concert, that was excellent as well. Powers is a Muny veteran who has appeared in many prominent roles including the title role in Mary Poppins as well as leads in The Addams Family, Seven Brides For Seven Brothers, and more. Cavenaugh, who notably starred as Tony in the 2009 Broadway revival of West Side Story, has essentially retired from the stage but returns here in a performance with his wife, Powers, and their on-stage chemistry is excellent, throughout the first act that was more of cabaret-style performance with moments for each performer to shine, including “Love Changes Everything” for Cavenaugh, “Somebody Somewhere” for Powers, and the classic “Anything You Can Do” for both, which provided opportunities for Powers in particular to show off her vocal range and power, along with winning chemistry for both performers.

The second act was more personal, as Cavenaugh and Powers told the story of how they met and married, and were even joined by their young sons, George and Henry, for an enthusiastic performance of “Do Re Mi”. There were also more outstanding individual moments, such as Powers’s powerful rendition of “As Long As He Needs Me” and Cavenaugh’s stunning, vocally impressive performance of “Maria”. It was another delightful evening of Muny Magic, featuring beloved Muny veterans and notable Broadway performers. This is a welcome new Muny tradition. Long may it continue!

The Muny‘s 101st Season

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Mustard Seed’s Season Opener Takes a Compelling Look at “Judas Iscariot”

Posted in St Louis Theatre, tagged , , , , , on October 21, 2018| Leave a Comment »

The Last Days of Judas Iscariot
by Stephen Adly Guirgis
Directed by Adam Flores
Mustard Seed Theatre
October 14, 2018

Eric Dean White, Chris Ware, Courtney Bailey Parker, Carl Overly, Jr.
Photo by Ann K. Photography
Mustard Seed Theatre

Mustard Seed Theatre is opening their 2018-2019 season with a play that’s somewhat difficult to categorize. The basic premise is simple enough to describe, but how it plays out is much more complicated than that. It’s certainly memorable, though, with strong performances and excellent production values, and enough though-provoking ideas to prompt many a conversation, contemplation, or academic essay.

So, the set-up is fairly simple, and the setting metaphysical. It’s described as a place called “Hope”, located in Downtown Purgatory, between heaven and hell. There’s a courtroom here, presided by a gruff Judge (Chandler Spradling) who is trying to get through the various cases as quickly as possible. The latest defense attorney, Fabiana Aziza Cunningham (Courtney Bailey Parker) is persistent, however, insisting on a hearing for her client, the infamous Judas Iscariot (Chris Ware), who sits sullenly waiting for his fate to be pronounced. The prosecuting attorney, Yusef El-Fayoumy (Carl Overly, Jr.) is zealous if somewhat unorganized, and Cunningham remains determined throughout the ensuing trial in which Judas’s betrayal of Jesus Christ (Jesse Muñoz) is recounted in detail, including testimonies from Judas’s mother, Henriette (Carmen Garcia), along with various biblical figures like St. Peter (FeliceSkye), St. Matthew, Mary Magdalene and Caiphas (all three played by Ariella Rovinsky), as well as more recent historical figures like Mother Teresa (Rachel Tibbetts) and Sigmund Freud (also FeliceSkye), and Satan himself (Eric Dean White).

The format is difficult to follow at times, as it jumps around in time and space and features a mixture of perspectives. The biblical story is embellished to fill out Judas’s life story as well as provide context for the historical and fictional characters represented here. It’s not always clear where the story is going either, especially since it takes a rather sharp turn near the end on the way to a conclusion that reminds me in a way of C. S. Lewis, although a broad range of philosophies and approaches is mentioned here as well. The various situations are treated with a sometimes jarring mixture of comedy and drama, and some specific characters–especially Satan–veering wildly in tone and approach. It’s a thoughtful show, turning over and examining ideas of compassion, mercy, justice, hypocrisy, the concepts of heaven and hell, and more.

The performances are a key element of this production, with particularly dynamic turns from Parker as the earnestly determined Cunningham and Overly as the frenetic but also determined El-Fayoumy, as well as White as a Satan who is at turns smarmy, hucksterish, and deadly serious. Ware is a strong presence as the dejected, mostly silent Judas, and Muñoz is excellent in a small but memorable role as Jesus. It’s a large cast, with most of the other players playing more than one role, to excellent effect, with standouts including Tibbetts as a somewhat scatterbrained Mother Teresa, Rae Davis as the tough-talking St. Monica, Garcia as both Judas’s mother and a stubborn Pontius Pilate, and Rovinsky in a variety of roles. Graham Emmons also has a memorable moment near the end as a juror named Butch Honeywell. It’s a strong ensemble all around, with lots of energy, conveying the comic and dramatic moments with clarity.

Visually, this show is simply striking, with a scenic design by Dunsi Dai that conveys the otherworldly setting well–an orangey-red courtroom setup that serves as a backdrop for the trial and for various other locations as needed. The lighting by Michael Sullivan is also strong, along with Zoe Sullivan’s sound, contributing to the metaphysical atmosphere of the play. The costumes by Andrea Robb also suit the characters well, putting a more modern twist to the stylings of characters from various time periods and backgrounds.

This isn’t an easy play. It requires a lot of thought, and sometimes seems to present contradictory concepts of the world and various perspectives. It’s a vividly characterized story that’s part philosophical treatise, part morality play, part deconstruction, with excellent performances and first-rate production values. It’s a provocative start to a new season for Mustard Seed.

Jesse Muñoz, Chris Ware
Photo by Ann K. Photography
Mustard Seed Theatre

Mustard Seed Theatre is presenting The Last Days of Judas Iscariot at Fontbonne University until October 28, 2018

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St. Louis Shakespeare Presents a Bold, Atmospheric “Tempest”

Posted in St Louis Theatre, tagged , , , , , on October 21, 2018| Leave a Comment »

The Tempest
by William Shakespeare
Directed by Patrick Siler
St. Louis Shakespeare
October 13, 2018

Donna Northcott, Ian Carlson, Erika Flowers-Roberts
Photo by Ron James
St. Louis Shakespeare

The Tempest from St. Louis Shakespeare is an audio-visual experience. It’s the well-known Shakespearean story, but with some interesting twists, especially in terms of sights, sounds, and staging. Here, director Patrick Siler makes a few casting modifications and brings the audience into this wild, weird, wondrous world, making the most of the space at the Ivory Theatre with a bold, mysterious, excellently cast production.

This production takes an approach that’s traditional and non-traditional in different ways. The costuming and setting are essentially Elizabethan style, with excellent detailed and colorful costumes by Michele Friedman Siler, and the island setting is well realized through Kyra Bishop-Sanford’s versatile unit set. The “non-traditional” is more in the casting, with many of the male characters being recast as women here, from lead character Prospera (Donna Northcott), the exiled Duchess of Milan, to her usurping, scheming sister Antonia (Teresa Doggett), to the Queen of Naples, Alonza (Laura S. Kyro), whose ship is wrecked in a storm stirred up by Prospera and scattered about the island. Alonza’s son Ferdinand (Ian Carlson) is thought to be lost, but instead he’s found by Prospera and her young daughter Miranda (Erika Flowers-Roberts), who has grown up on the island and hasn’t seen many humans besides her mother. She is fascinated with Ferdinand, and he with her, but Prospera wants to test him first before allowing them to marry. There’s also the mischievous sprite Ariel (Karl Hawkins), who helps Prospera in seeking to foil the plans of the scheming Antonia and Sebastian (Charles Winning), as well as of the vengeful, half-human outcast Caliban (Dustin S. Massie), who attaches himself to the bumbling shipwrecked Stephano (Jeff Lewis) and Trinculo (Anthony Winninger).

What is particularly memorable about this production is its sights and sounds–the dynamic lighting by Joseph Clapper and especially the sounds–mostly supplied by David N. Jackson and a variety of different instruments, from an electronic keyboard to an array of drums and percussion instruments. The cast members also employ drums and percussion on stage at certain moments, particularly the chilling “tempest” and shipwreck scene at the beginning and a celebration at the end. The staging is fast-paced, for the most part, with particular focus on Prospera, Miranda, and Ferdinand, as well as Ariel’s frequent influence and presence. Northcott makes a particularly determined, somewhat enigmatic Prospera, who is especially protective of her daughter. The chemistry between Carlson and Flowers-Roberts as the lovestruck Ferdinand and Miranda is sweet, as well, and Hawkins is a strong presence as the ethereal Ariel. There are also some strong comic moments from Winninger, Lewis, and Massie in their subplot, and memorable turns from a particularly regal Kyro as Alonza and Winning and Doggett as the self-serving Sebastian and Antonia.

This is an odd play, certainly. It’s one of Shakespeare’s strangest, and that’s saying something. There are some difficult questions regarding motives and social roles, but the focus in this production seems more on sensations and basic emotions. Here, on stage at the Ivory Theatre, St. Louis Shakespeare has brought a storm of sights, sounds, complicated relationships, and whimsical mysticism. This Tempest still has a lot to say, but even more so, a lot to see, hear, and experience. It’s an impressive technical feat.

Cast of The Tempest
Photo by Ron James
St. Louis Shakespeare

St. Louis Shakespeare is presenting The Tempest at the Ivory Theatre until October 21, 2018

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Challenging, Fascinating “Doll’s House, Part 2” at the Rep Revisits Oft-Asked Questions

Posted in St Louis Theatre, tagged , , , , , , , on October 19, 2018| Leave a Comment »

A Doll’s House, Part 2
by Lucas Hnath
Directed by Timothy Near
Repertory Theatre of St. Louis
October 12, 2018

Caralyn Kozlowski, Michael James Reed
Photo by Peter Wochniak
Repertory Theatre of St. Louis

What would happen if Nora Helmer came back?  Would she even try to come back? And if so, when, and why? Those are questions that have been asked countless times since Henrik Ibsen’s classic and initially controversial play, A Doll’s House, first premiered in 1879. Well, now playwright Lucas Hnath has provided his own answers in the succinctly named A Doll’s House, Part 2. Produced on Broadway to critical acclaim in 2017, it’s now being produced here at the Rep, in a production that’s sure to provoke more questions and a lot of thought.

This play features four characters, all seen or mentioned in Ibsen’s original play. It’s 15 years later, and the once well-appointed Helmer home now shows signs of disarray, with chairs heaped in a corner, fading paint, and obvious spaces on the wall where paintings were once on display. The play begins with a knock at the door, which is eventually answered by the Helmers’ longtime housekeeper and nanny Anne Marie (Tina Johnson), who opens the door to find the long-absent Nora (Caryalyn Kozlowski) returned at long last, elegantly dressed and carrying herself with an initially confident, assertive air. Playwright Hnath has given her a believable backstory and a reason to return which I won’t go into here other than to say it makes perfect sense considering the characters, especially as they are presented here. She’s back in town to see Torvald (Michael James Reed), the husband she left in shock so many years before, with an urgent request that he’s reluctant to fulfill for his own personal reasons. What ensues is essentially a series of conversations, between Nora and Anne Marie, between Nora and Torvald, and also between Nora and Emmy (Andrea Abello), Nora’s youngest child and only daughter who was a small child when Nora left but is now a young adult. Things have changed lot since Nora left, both for her and for the family she left behind.

The characters and the issues presented are richly portrayed, in a sharp, confrontational and often darkly comic tone that brings out the contrast in the characters, their situations, and their conflicting views. Nora is a writer and activist now, with strong opinions about her own role in society and that of women in general, and the institution of marriage in particular. Even thought her portrayal in the play affirms her choice to leave, Hnath is also not shy in portraying the sometimes devastating consequences of her actions on those she left behind, as well as the sharp contrast between her own idealistic views of life and those of the young, newly engaged and also idealistic (in her own way) Emmy. The confrontations are personal as well as ideological, and as is to be expected, her scenes with Torvald are the most emotionally charged. This is a play of big ideas, strong personalities, and struggles to find an individual voice in the midst of strictly defined societal roles and expectations. Like its famous predecessor, this play is thought-provoking, to say the least, taking the issues from Ibsen’s play and casting them in the light of a more contemporary perspective, even though the setting remains in the 19th Century period.

There’s a great cast here, led by the dynamic, stage-commanding performance of Kozlowski as the determined, highly idealistic Nora. This is a woman who knows what she wants, but also struggles with the idea that not everyone wants what she wants. The always excellent Reed is also strong as a particularly stubborn Torvald, who is still nursing his old wounds from Nora’s departure and still seems confused and bewildered by her, for the most part. The scenes between these two are a dynamic highlight of the production. Abello is also memorable as Emmy, who although she is more traditionally-minded than her mother, in her own way is just as idealistic and stubborn as Nora. There’s also a great performance from Johnson as the loyal but exasperated Anne Marie, who is devoted to the family and still struggles to make sense of Nora’s departure as well as her return.

Director Timothy Near’s staging is brisk and physical, making the most of the actors’ energy and chemistry, as well as Scott C. Neale’s vivid, evocative set. This is a home in disrepair, sparsely furnished and seeming appropriately incomplete. The costumes by Victoria Livingston-Hall are meticulously detailed, reflecting the characters with precision, from the confrontationally elegant Nora to the more strait-laced Torvald to the older, weary Anne Marie to the youthful, optimistic Emmy. There’s also excellent work from lighting designer Ann G. Wrightson and sound designer Rusty Wandall in setting and maintaining the mood and tone of the production.

This was a highly talked-about play when it debuted on Broadway, which is fitting considering it’s a sequel to a play that’s been talked about, thought about, and written about for almost 140 years. That time difference adds a lot of perspective to this piece, revisiting the original setting but with a tone change that provides a contemporary flair. With the Rep’s first-rate production values, energetic staging, and strong cast, A Doll’s House, Part 2 is sure to get audiences thinking, and talking.

Caralyn Kozlowski, Andrea Abello
Photo by Peter Wochniak
Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis is presenting A Doll’s House, Part 2 until November 4, 2018

 

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Stray Dog’s “Evil Dead” Is Well Cast Fan-Appeal Production

Posted in St Louis Theatre, tagged , , , , , , , , , , on October 13, 2018| Leave a Comment »

Evil Dead: The Musical
Book and Lyrics by George Reinblatt
Music by Frank Cipolla, Christopher Bond, Melissa Morris, George Reinblatt
Music Supervision by Frank Cipolla, Additional Lyrics by Christopher Bond
Directed by Justin Been
Choreographed by Sam Gaitsch
Stray Dog Theatre
October 11, 2018

Christen Ringhausen, Jennelle Gilreath, Stephen Henley, Dawn Schmid, Riley Dunn
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre’s newest production is Evil Dead: The Musical. Now, if you’re reading this and that title excites you, you will probably love this show. Otherwise, though, I’m not so sure. As is usual with this theatre company, the show is well cast, enthusiastically staged, and musically strong. Still, it’s an extremely niche-appeal show, and if you love the Evil Dead franchise and/or the slasher/horror genre generally, this is your kind of show. There isn’t much here, though, for those for whom that genre doesn’t appeal.

Story-wise, the plot is essentially a combination of the first two Evil Dead films with a few nods to the third one thrown in for good measure. The opening number “Cabin In the Woods” sets up the premise–a Spring Break excursion to a secluded cabin by a group of five young adults–Ash (Riley Dunn), his girlfriend Linda (Dawn Schmid) and younger sister Cheryl (Christen Ringhausen), along with his best friend Scott (Stephen Henley) and his latest fling Shelly (Jennelle Gilreath), whom Scott has recently picked up at a bar. The five expect to have a typical (but unauthorized) “party” week at the cabin, but they soon find out that this is no ordinary cabin. There are evil spirits here, which inhabit not only the cabin but the trees that surround it. Other characters soon become involved, including the tape-recorded voice of Professor Knowby (Kevin O’Brien), the owner of the cabin, who has discovered an ancient book with incantation that will awaken the “Candarian demons”. There’s also the professor’s daughter, Annie (Maria Bartolotta) and geeky research assistant Ed (Corey Fraine), who return to her father’s cabin along with local resident Jake (Josh Douglas) and find the uninvited Ash, his friends, and lots of trouble.

The main focus here is on humor and gore, and there are certainly some funny moments, with the cast seeming to have a great time hamming it up for all its worth. It’s a strong cast all around, with Dunn’s swaggering hero Ash and Ringhausen’s initially clueless but eventually bloodthirsty Cheryl being standouts, along with Bartolotta who leads the show’s most memorable musical number, the hilariously titled “All the Men In My Life Keep Getting Killed By Candarian Demons”. Douglas also has some fun moments in his dual role as Jake and as a singing Moose head. It’s a strong cast all around, though, with their enthusiasm adding a great deal of energy to this show.

Visually, the production values are excellent, as is usual for SDT. Josh Smith’s set brings the iconic “cabin in the woods” to life with vivid detail, and Tyler Duenow’s lighting adds a suitably creepy effect. Eileen Engel’s colorful costumes and  Sarah Castelli’s eerie horror-style makeup contribute to the overall comic-horror atmosphere. There’s also a great band, led by musical director Jennifer Buchheit. There’s also, as advertised, lots and lots of stage blood, but it is so over-the-top in its use that the overall effect is more humorous than scary, and I think that’s the intention.

As I already wrote in my recent review of The Zombies of Penzance at New Line, shows about zombies are generally not my cup of tea, even though I know the genre is extremely popular and I try my best to see its appeal. Evil Dead isn’t exactly a typical “zombie” story, although it features zombie-like “Deadites”. Still, it’s even more out of my comfort zone than Zombies.. Evil Dead, as an unapologetic homage to the movie series on which it is based, as well as other horror/slasher type movies, isn’t trying to re-imagine anything or be deep or profound. It’s just a straight-up R-rated comedy horror show with lots of crude humor, gore and stage blood, and an advertised “splatter zone” appealing to audience members who want the interactive experience of being splattered with fake blood and guts. Again, if this concept sounds appealing to you, you will probably love it. If it doesn’t sound interesting, though, you might have trouble seeing the appeal. Still, it’s a well-staged production and the cast and crew seem to be having a whole lot of fun. For fans of horror/gore-related comedy and the Evil Dead franchise in particular, this is sure to be a hit.

Riley Dunn (Center) and Cast
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre is presenting Evil Dead: The Musical at Tower Grove Abbey until October 27, 2018

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