Archive for February, 2023

Tesseract’s “Last Five Years” is a Poignant Musical Showcase

Posted in St Louis Theatre, tagged , , , , , , , on February 22, 2023| Leave a Comment »

The Last Five Years
Music and Lyrics by Jason Robert Brown
Directed by Taylor Gruenloh
Tesseract Theatre Company
February 19, 2023

Grace Langford, Kevin Corpuz
Photo: Tesseract Theatre Company

The Tesseract Theatre company is staging its second musical, Jason Robert Brown’s semi-autobiographical two-hander The Last Five Years, at the .ZACK Theatre. It’s a mostly sung-through show that’s known as a showcase for excellent singers, and director Taylor Gruenloh has chosen the leads well, in prolific local performers who have the voices, the presence, and the chemistry to carry this emotional roller-coaster of a show. There are also some inventive directorial choices that add to the drama and characterizations. 

Some of the drama of this show is provided by its structure, as its tale of a failed relationship is told in two directions at once. Cathy, an aspiring musical theatre performer played by Grace Langford, starts at the end of the relationship and progresses backwards. Jamie, a successful young novelist played by Kevin Corpuz, begins at the beginning, shortly after he and Cathy have met, and moves forward in the story. Their narratives catch up in the middle, at their wedding, and then move further apart.  

It’s an intriguing structure, and in most productions–like the last one I saw, twelve years ago–Jamie and Cathy spend most of their moments apart from one another, trading songs and stories but only interacting in the middle, when their narratives meet. Here, director Gruenloh has staged it differently, so both characters are frequently onstage together, as Jamie will be there reacting to Cathy’s songs, and Cathy reacts to Jamie’s. They are able to respond to one another more directly, which adds to the drama and adds a degree of depth to the relationship. I still find myself sympathizing with Cathy more, as Jamie often comes across as an a self-centered jerk, although this production seems to bring out Jamie’s charm a little more, especially in the first half of the show, and we also get to see more nuance in Cathy’s perspective. 

The casting is excellent. I already knew Langford and Corpuz had great voices and strong acting skills from seeing them in a variety of previous productions. Here, it’s just the two of them together, and they are matched well, with strong chemistry and excellent voices. Jason Robert Brown’s music is memorable and challenging, and both of these two performers rise to the challenge. Josie Schnelten is also strong in a brief, wordless appearance later in the show. 

The staging is fairly simple in terms of set, since the action takes place on a mostly empty stage, with evocative lighting by Gruenloh and Brittanie Gunn, along with projections by Gruenloh that help the audience keep track of what year it is in each scene. Both performers are simply dressed, as well, with Langford in red and Corpuz in black and grey. The band, led by music director Leah Schultz, is onstage above and behind the actors, and they sound great, although the acoustics of the venue make it so the band can sometimes drown out the performers as they sing, making it difficult to understand the lyrics at times.

For the most part, though, this is a highly effective, moving production that benefits greatly from the inventive direction and the dynamic performances of the two leads. The Last Five Years runs about 90 minutes with no intermission, and there are no dull moments here. It’s another impressive musical production from Tesseract. 

Grace Langford, Kevin Corpuz
Photo: Tesseract Theatre Company

The Tesseract Theatre Company is presenting The Last Five Years at the .ZACK Theatre until February 26, 2023

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St. Louis Actors’ Studio Stages a Poignant, Expertly Measured “Vanya”

Posted in St Louis Theatre, tagged , , , on February 19, 2023| Leave a Comment »

Uncle Vanya
by Anton Chekhov
Adapted by Neil LaBute
Directed By Annamaria Pileggi

John Pierson
Photo by Patrick Huber
St. Louis Actors’ Studio

St. Louis Actors’ Studio is currently staging a production of Chekhov’s classic Uncle Vanya, in an adaptation by Neil LaBute. This play is famous for a reason, considering its timeless themes and memorable characters. On stage at STLAS’s Gaslight Theater, the play is given a remarkably measured, expertly acted staging that brings out the play’s poignancy and emotion.

The story, set in late 19th Century Russia, follows a group of characters whose lives aren’t where they would want them to be. Vanya (John Pierson) and his niece Sonya (Bryn McLaughlin) manage a country estate that belonged to Sonya’s late mother. Her father, the retired professor Serebryakov (Greg Johnston) has been staying there recently along with his young second wife Yelena (Jennelle Gilreath Owens). While the ailing professor bemoans his lost youth, Yelena has attracted the attentions of both Vanya and local doctor Astrov (Michael James Reed). The story that ensues involves unrequited love, regrets of lost potential, flirtations, resentments, and crushing loneliness, as almost everyone seems to want something they can’t have. 

It’s an ensemble play, with most of the action revolving around Vanya, Sonya, Astrov, and Yelena, but also featuring supporting characters in the form of the professor, Vanya’s mother Maria (Jan Meyer), family nurse Marina (Eleanor Mullin), and family friend Telegin (Michael Musgrave-Perkins), who also lives on the estate. The acting is universally impressive, well-paced by director Pileggi so that every emotional moment is earned, and nobody goes over the top. Pierson is excellent as the regretful, lonely Vanya, and McLaughlin’s pining (after Astrov) but insistently hopeful Sonya is also a standout. There are also strong performances from Owens as the conflicted Yelena and Reed as the lovestruck Astrov. Everyone is strong, with excellent moments all around and cohesive ensemble chemistry that helps carry this long play and make every moment fascinating. 

Technically, this production is also remarkable, in using the Gaslight Theater stage in a way the emphasizes the confined, closed-in feeling of some of the characters. The  meticulously crafted set by Patrick Huber, who also designed the lighting, suits the mood and era appropriately, as do Teresa Doggett’s excellent costumes. There’s also good use of sound and music in the transitions, with impressive work by sound designer Pileggi. 

Uncle Vanya has stood the test of time for its relatable themes, characters, and situations, even though we may be over a century removed from its setting. Astrov has some lines that mention what people may think of them a hundred years in the future, and these moments made me think of how this play has endured through the years, being staged in many places and venues around the world. At St. Louis Actors’ Studio, this play is given a remarkable production more than worthy of the play’s reputation. 

Jennelle Gilreath Owens, Michael James Reed, Bryn McLaughlin
Photo by Patrick Huber
St. Louis Actors’ Studio

St. Louis Actors’ Studio is presenting Uncle Vanya at the Gaslight Theater until  March 5, 2023

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Thought-Provoking “Confederates” at the Rep is Compelling, Superbly Cast

Posted in St Louis Theatre, tagged , , , , , on February 18, 2023| Leave a Comment »

Confederates
by Dominique Morisseau
Directed by Elizabeth Carter
Repertory Theatre of St. Louis
February 17, 2023

Tatiana Williams, Tiffany Oglesby
Photo by Liz Lauren
Repertory Theatre of St. Louis

The Rep’s latest production, from celebrated playwright Dominique Morisseau, is one of three regional premieres around the United States. Confederates is an inventively structured look at the lives of two Black women in different situations and historical eras, but who both struggle for freedom in their own ways. With stellar production values and a first-rate cast, this show makes a strong impression and is sure to provoke much thought and conversation. 

The stories play out in interspersed scenes, focusing on Sandra (Tatiana Williams), a professor at a prestigious university, and Sara (Tiffany Oglesby), an enslaved woman on a plantation during the Civil War. Sandra is dealing with various issues, both personal and professional, including a recent divorce, conflicting expectations from her students and colleagues, as well as trying to find out who placed a photoshopped image on the door of her office. Sara, who has grown up on the plantation, helps out her brother Abner (Xavier Scott Evans), who has run away to join the Union Army, and is faced with the unexpected return of Missy Sue (Tracey Greenwood), the daughter of the plantation’s owner, who has a plan for the conflicted Sara. Both central figures are forced by circumstances to reflect on their own positions and take action, dealing with systemic injustice and striving for freedom on their own terms, many times being forced to figure out who their true allies are, if any.

The leading performances are both excellent, with Williams and Oglesby both exuding strength, stage presence, and credible emotion as their characters endure a variety of challenging circumstances and relationships. The rest of the cast members each play two characters, and all are strong, with Celeste M. Cooper as Sandra’s academic colleague Jade and as the enslaved, conflicted Luanne a particular standout. There’s also excellent support from Evans as Abner and Sandra’s student Malik, and Greenwood as the entitled Missy Sue and Sandra’s student assistant Candice. The staging is dynamic and well-paced, with occasional moments of humor amid the increasingly intense drama.

The set design, by Nina Ball, is inventive and visually striking, with contrasting wood floors representing the divide between eras and locations most of the time, but also serving as an effective setting when the whole stage is required for some key moments in Sara’s story. There’s also effectively evocative lighting by Xavier Pierce, and excellent use of projections by Micah Stieglitz. Ricky German’s costumes are excellent, as well, suiting the characters well as being versatile to provide for quick changes for the performers who play different characters. There’s also compelling use of sound and music from composer/designer T. Carlos Roberts. All of these technical elements work well to represent the two eras and locations as well as providing a thematic connection between the stories.  

Confederates is a compelling, story that provokes much reflection and thought. There are many important issues portrayed here, in the person of two memorable, vividly portrayed characters and their situations. It’s a must-see show that can be a catalyst for important and challenging conversations. It’s a remarkable production from the Rep.

Tatiana Williams, Celeste M. Cooper
Photo by Liz Lauren
Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis is presenting Confederates until March 5, 2023

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Mustard Seed’s “Feminine Energy” Represents a Welcome Return

Posted in St Louis Theatre, tagged , , , , , on February 16, 2023| Leave a Comment »

Feminine Energy
By Myah L. Gary
Directed by Jacqueline Thompson
Mustard Seed Theatre
February 12, 2023

Erin Renee Roberts, Ricki Franklin, Andrea Purnell
Photo by Jon Abbott
Mustard Seed Theatre

Mustard Seed Theatre, which has been “on pause” for the past few seasons, is making a return with what is being billed as a “pop-up” production of a new play, Myah L. Gary’s Feminine Energy. An intriguing drama-with-humor that looks at the lives of three close friends, this is a welcome engagement from a well-respected St. Louis theatre company and featuring excellent local performers. It’s a character-driven show that provides much to think, and talk about.

The show centers on three best friends who grew up together and their medical and family struggles. They all have different life situations, and some contrasting goals and beliefs, but they maintain a close friendship and support one another in their various struggles. Debra (Andrea Purnell) has received a scary diagnosis and has been struggling with how to tell her family–including her teenage aspiring-vlogger daughter (Rae Davis), nervous husband (Joshua Mayfield), and hypercritical mother (Michelle Dillard). Monique (Ricki Franklin), a midwife, is happily married but struggling with infertility. Soleil (Erin Renee Roberts), a professor and counselor, is single and dealing with issues involving work, health, and family, as she deals with an immature personal assistant (also Davis), a long struggle with endometriosis, and a concerned mother (also Dillard) who doesn’t like Soleil’s decision to not have biological children. Their stories are interwoven as all three women deal with difficult situations and people in their lives, sharing their hopes, dreams, fears, and concerns as their stories unfold. 

The three central performers are all excellent, with a believable friendship bond and many memorable moments, both comic and dramatic. Roberts, Franklin, and Purnell are also ably supported by a quartet of performers who play various roles. Dillard plays the “Mamas” with remarkable energy, making each of these characters easy to distinguish from the others. Davis is also excellent as several characters including Debra’s daughter Jasmine, Soleil’s initially flighty but gradually maturing personal assistant Regina, and a distrustful client of Monique’s. Mayfield is fine as various characters, as well, including the two very different husbands of Debra and Monique, although some variation in costuming might help in distinguishing these characters more easily. There’s an excellent turn from Claire Louise Monarch as a series of medical professionals–some helpful and some not as much–and a somewhat goofy client of Monique’s. 

The look of this production is stylish and memorable, with a versatile set by Patrice Nelms and evocative lighting by Michael Sullivan. The costumes, by Shevare Perry, are especially remarkable and vibrant, with a variety of styles that are well suited to the various characters. There’s also proficient sound design by AhSa-Ti Nu Tyehimba-Ford, and excellent use of music to establish the tone of the production.

Overall, Feminine Energy is an engaging, thoughtful look at friendships among women–and particularly Black women–as they navigate various challenges in life, love, and work. It’s well-structured, for the most part, giving adequate time to the various stories and connecting them well, although the ending seems slightly abrupt. It’s a thoroughly compelling story, with a great cast and strong production values. I hope this is a good sign for Mustard Seed, and that the success of this production will lead to more from this company in the future. 

Erin Renee Roberts, Rae Davis
Photo by Jon Abbott
Mustard Seed Theatre

Mustard Seed Theatre is presenting Feminine Energy at Fontbonne University until February 19, 2023

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The Black Rep’s Well-Cast “Light” Tells a Compelling, Well-Constructed Story

Posted in St Louis Theatre, tagged , , , , , on February 16, 2023| Leave a Comment »

The Light
by Loy A. Webb
Directed by Kristi Papailler
The Black Rep
February 11, 2023

Alicia Revé Like, Eric J. Conners
Photo by Phillip Hamer
The Black Rep

It’s somewhat difficult to review the Black Rep’s latest production–not because it’s not excellent. It certainly is, with well-cast leads and a thoroughly credible, intriguing story that is meticulously constructed. The issue I’m having, though, is that describing what happens in this play seems like too much of a spoiler, since the unfolding “reveal” is the main source of the drama. I will try my best to be vague about what happens here, but what I can say unreservedly is that The Light is an excellent play, with outstanding performances. 

A lot happens in this play, especially considering how short it is–about 70 minutes, without intermission. Even with that running time, nothing in this story seems rushed. It takes its time, even to the point where for a while I was wondering why this was even a play, because for quite a while, it just seems like an “ordinary” situation–a couple celebrating their two-year dating anniversary, after Chicago firefighter Rashad (Eric J. Conners) has set up a plan to propose to Genesis (Alicia Revé Like), a school principal.  There’s a lot of wordless business about his hiding envelopes and a ring box around the apartment, and then Genesis arrives home from work and it seems like a fairly typical day, as the two talk about their day, and reminisce about their relationship. For a while, it seems like this is going to be a relatively light piece, until things get more serious in a way has the intended dramatic impact but also makes complete sense considering how the story has developed. It’s a masterful exercise in foreshadowing and deliberate dramatic build-up, with a potentially devastating impact on the characters’ lives and relationship. 

The story–which deals with some difficult subjects–is given all the more impact by the excellent performances of the two leads, who make a thoroughly believable couple and fully realized individual characters. The interplay between Like and Conners forms the heart of this play, and even when the conflict emerges and gets heated, the emotional investment is there. The clearly  established love between these two characters is so carefully built up in the first part of the play, and both Like and Conners deliver that strong sense of connection so well, it makes the latter half of the play all the more dramatically intense, leading up to a perfectly timed conclusion that leaves room for hope, even though it doesn’t provide easy answers.

This production also showcases the technical excellence of its designers, starting with Jim Burwinkel’s fully realized apartment. There are also well-suited costumes by Kristen Gray, and appropriately mood-setting lighting by Sean Savoie. The sound, by Christian Kitchens, is excellent, as well.

The Light is an appropriate title for this play, as becomes clear as the story unfolds. It’s a serious-issue play–dealing with many timely topics given a highly personal focus–but it’s not without a ray of hope. It’s another strong production from one of the most consistently excellent theatre companies in St. Louis. It’s a thoroughly compelling drama. 

Eric J. Conners, Alicia Revé Like
Photo by Phillip Hamer
The Black Rep

The Black Rep is presenting The Light at Washington University’s  Hotchner Studio Theatre until February 21, 2023

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WEPG’s “Outside Mullingar” is a Quirky, Sweet, Irish Valentine

Posted in St Louis Theatre, tagged , , , , , on February 15, 2023| Leave a Comment »

Outside Mullingar
by John Patrick Shanley
Directed by Jessa Knust
West End Players Guild
February 10, 2023

Colleen Backer, Jason Meyers
Photo by John Lamb
West End Players Guild

West End Players Guild is gifting their audience with a sweet, offbeat romantic comedy for the Valentine’s Day season. Outside Mullingar is a small, character-driven play with much in the way of quirky comedy, as well as a good deal of heart. What makes this production work especially well, though, is its excellent cast. 

Outside Mullingar is a short play, running about 90 minutes with no intermission. It consists of a series of scenes involving four characters over a period of what appears to be about three years, as farming neighbors in rural Ireland deal with issues of land ownership, family grudges, parental expectations, and especially the relationship between a socially awkward man and the woman who grew up next door. Anthony, played by Jason Meyers, and Rosemary, played by Colleen Backer, are obviously in love, but for various reasons neither has admitted their feelings to the other. They both are objects of concern for their parents–Rosemary’s mother, the recently widowed Aoife , played by Jodi Stockton; and Anthony’s also widowed father, Tony, played by Brad Slavik. Both parents are in ill health, and Tony especially is having second thoughts about leaving the family farm to Anthony, who Tony considers odd, worrying that his son will never marry or have children to inherit the land. Much comic bickering ensues, and time passes as Rosemary continues to drop hints at a seemingly clueless Anthony. Will they ever get together, and if so, how? 

This is fun, quirky show, made all the more hilarious by the excellent pacing by director Jessa Knust, and strong chemistry and comic timing from the wonderful cast. Meyers and Backer are both superb, and their chemistry is obvious from their first moments on stage together, even as the characters continue to talk around their readily apparent attraction. Meyers makes the awkward, reticent Anthony endearing, and Backer’s increasingly frustrated and determined Rosemary is easy to sympathize with. There are spirited supporting performances from Stockton and Slavik as the bickering Aoife and Tony, with Slavik especially having some strong scenes with Meyers. All four work well together, bringing much energy to the already witty script. 

The setting, mood, and atmosphere of rural Ireland are maintained admirably by means of Jacob Winslow’s simple but effective set, as well as Karen Pierce’s evocative lighting. Tracey Newcomb’s costumes suit the characters well, and there’s also effective sound design by Morgan Maul-Smith. 

Overall, Outside Mullingar is an entertaining, sweet romantic comedy. The exceptional cast makes it an especially enjoyable theatrical experience. It’s an excellent Valentine from West End Players Guild. 

Jodi Stockton, Brad Slavik
Photo by John Lamb
West End Players Guild

West End Players Guild is presenting Outside Mullingar at Union Avenue Christian Church until February 19, 2023

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SDT’s Intense, Riveting “Woolf” Highlights Superb Acting

Posted in St Louis Theatre, tagged , , , , , on February 10, 2023| Leave a Comment »

Who’s Afraid of Virginia Woolf?
by Edward Albee
Directed by Gary F. Bell
Stray Dog Theatre
February 9, 2023

Stephen Henley, Stephen Peirick, Claire Wenzel, Mara Bollini
Photo by John Lamb
Stray Dog Theatre

Who’s afraid of an acting challenge? Apparently not Stray Dog Theatre, director Gary F. Bell, and his first rate cast in an Edward Albee classic. Who’s Afraid of Virginia Woolf? is famous for its intense plot, strong characterizations, and the intensity of its performances. The roles of Martha and George, especially, have been played in various productions by a succession of acclaimed actors. Here, Bell has assembled a top-notch cast of local performers and staged a volatile, highly charged production of this portrait of troubled relationships, shattered dreams, and alcohol-fueled revelations. It may not be an easy play to watch, considering the tension and emotional fireworks, but its expertly played and a must-see for the sheer caliber of the performances. 

The basic plot, set in 1962 New England, involves middle-aged couple George (Stephen Peirick) and Martha (Mara Bollini), who have been married for over twenty years and whose relationship has become a picture of resentment, regret, and repeated exercises in mutual mocking and caustic bickering. He’s a professor at a small college, and she’s the daughter of the institution’s president. When the action begins, they’ve just returned from a party, and after some banter, Martha informs George that she has invited some guests from the party to join them for drinks–a new professor, Nick (Stephen Henley), and his wife, Honey (Claire Wenzel). Soon, the young couple arrive, and a series of emotional games ensues, challenging both relationships and resulting in a series of revealing tales and shocking discoveries. 

With its intense subject matter, not-easy-to-like characters, and over three-hour running time, this play can seem daunting to the unfamiliar. Still, even though it’s long and intense, Albee’s script is intelligent and incisive, and the roles are oft-coveted by actors. It’s a play that requires the audience to pay attention, and the script, along with the excellent performances here, make it hard to look away, even when the situations can become awkward and challenging. It also helps that this production  has set the scene so well–with a well-realized, period-appropriate set and costumes by director Bell, and excellent atmospheric lighting by Tyler Duenow and sound by Justin Been.

The centerpiece of this production, though, is its first-rate performances and thoughtful, dynamic staging. Peirick and Bollini are well-matched as the constantly sparring George and Martha. Their chemistry is strong and credible, managing even amidst the mind games to convey the sense that this difficult marriage once had its happier, more hopeful moments. These are big personalities, but neither becomes a caricature, with Bollini communicating Martha’s sharper aspects as well as an underlying sense of sadness and regret, and Peirick matching in her in energy while also showing George’s hurt and weariness. It’s a remarkable set of performances, with strong support from Henley as the initially guarded, ambitious Nick, and Wenzel, whose initially clueless Honey masks very real regrets of her own. The interplay between all four characters provides the “action” here, and its turns halting, volatile, and emotionally devastating.

There’s a lot to think about in this play, with its boldly defined characters and explorations of societal expectations in an early 1960s academic setting, as well as its look at how years of expectations and disappointments can affect a relationship. Its themes obviously still resonate today, roughly 60 years after the play first premiered, considering how often this play has been staged over the years. Here in St. Louis, audiences are fortunate to have this first-rate production to witness. It’s a remarkable staging from Stray Dog Theatre. 

Claire Wenzel, Mara Bollini
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre is presenting Who’s Afraid of Virginia Woolf? at Tower Grove Abbey until February 25, 2023

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The Rep’s “Side by Side” Is a Hit-or-Miss Tribute to a Musical Theatre Legend

Posted in St Louis Theatre, tagged , , , , , , , on February 7, 2023| Leave a Comment »

Side by Side by Sondheim
Directed by Reggie D. White
Choreographed by Heather Beal
Repertory Theatre of St. Louis
February 3, 2023

Phoenix Best, Paul HeeSang Miller, Saidu Singlah, Amy Spanger
Photo by Phillip Hamer Photography
Repertory Theatre of St. Louis

Since Stephen Sondheim died in 2021, many performers and theatre companies have offered their various tributes, in the form of special performances, concerts, and productions of his shows. Now, the Rep is taking the opportunity to salute this legend of musical theatre with a somewhat understated production of the revue Side by Side by Sondheim, focusing mostly on his works up until the mid-1970s. Although this production has its moments, the performances are hit-or-miss, and it could use more energy and presence.

As narrator Alan Knoll points out early in the production, there isn’t much here in terms of a plot. Instead, the show is presented as an overview of Sondheim’s work up until about 1976, when this revue first debuted in London’s West End. in fact somewhat amusing to hear Knoll refer to 1976’s Pacific Overtures as one of Sondheim’s “later works”. Still, even with the somewhat dated elements and obvious exclusion of Sondheim’s work from the late 1970s and forward, the show as written is intriguing, and I imagine it could be a great success with more consistent performances. The cast includes late-addition Knoll, as well as performers Phoenix Best, Paul HeeSang Miller, Saidu Sinlah, and Amy Spanger, accompanied by Kris Pineda and Stephen A. Eros on Piano. 

The show covers Sondheim’s earlier works as a lyricist working with other composers on shows such as West Side Story and Gypsy, as well as his work as both composer and lyricist on shows like A Funny Thing Happened on the Way to the Forum, Company, and Follies. Also featured are some more obscure songs from lesser-known works, as well as television and film. 

The staging can be inventive on occasion, featuring Heather Beal’s energetic choreography, Tre’Von Griffith’s  music direction, and a simple set featuring a screen and eye-catching projections by Camilla Tassi, and flanked by the two pianists seated at grand pianos on either side. Xavier Pierce’s atmospheric lighting also adds flair to the staging, and Sharath Patel’s sound design is proficient, although there are occasional issues with the singers’ volume. 

As for those performers,  the biggest standouts are Knoll, in a personable and occasionally hilarious turn as the Narrator, and the appropriately named Best, who delivers several memorable solos on songs such as “I’m Still Here”, “I Never Do Anything Twice”, and “Send in the Clowns”. Miller also has his moments and a strong tenor voice, but Sinlah and especially Spanger struggle to maintain energy and consistency. After a somewhat lackluster opening, there are a few memorable group numbers, including a unique staging of “You Gotta Get a Gimmick” from Gypsy and an entertaining closing medley. It’s a fairly low-key production, and could use a little more energy in places.

Side by Side by Sondheim isn’t the spectacular tribute it could be, and I also think modern audiences might notice the lack of material from the composer’s more well-known later works like Sweeney Todd, Sunday in the Park with George, and Into the Woods. Still, even though it focuses on his earlier works, this could be a much more vibrant show than the Rep has managed to produce. It’s not entirely a miss–there are certainly some memorable moments, especially from Best and Knoll, and there are some interesting bits of trivia to learn about the legendary composer and lyricist. Anyone who is a particular fan of Sondheim’s, though, might still be frustrated with the lack of energy and true sparkle.

Paul HeeSang Miller, Saidu Singlah, Phoenix Best, Amy Spanger
Photo by Phillip Hamer Photography
Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis is presenting Side by Side by Sondheim at COCA’s Catherine B. Berges Theatre until February 19, 2023

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