Archive for December, 2023

SDT’s “Sister Mary” Offers a Darkly Comic Alternative for the Holidays

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

Sister Mary Ignatius Explains It All For You
by Christopher Durang
Directed by Gary F. Bell
Stray Dog Theatre
December 14, 2023

Tommy Pepper, Sarajane Clark
Photo by John Lamb
Stray Dog Theatre

Sister Mary Ignatius Explains it All For You has something of a controversial history. Christopher Durang’s pitch-dark satire of Catholic Church teachings, particularly in American parochial schools, has been the subject of protests and complaints over the years. It’s also the latest “alternative” holiday offering from Stray Dog Theatre. With a strong cast and simple but effective staging, the show certainly makes a memorable impression. 

Unfortunately, I wasn’t able to see this production until late in its run, and it closed this past weekend, so this is an “after the fact” review. Still, Sister Mary made her mark, as the titular nun (Sarajane Clark) started out on a simply decorated stage backed by a large Christmas wreath, poised to teach the audiences the basics of Catholic belief, in her own insistently cheerful manner. Occasionally, she would call on one of her young pupils, Thomas (Tommy Pepper) to recite various points of doctrine. After a series of pointed lessons on matters such as Heaven, Hell, and Purgatory, a group of former students appeared to enact a Christmas pageant apparently written by another former student, although it’s basically reiterating a lot of Sister Mary’s own lessons. Soon, we learn that the now-adult former pupils–Gary (Stephen Henley), Diane (Rachel Bailey), Philomena (Eileen Engel), and Aloysius (Sean Seifert) have their own agenda, and it’s not one that the rigid Sister Mary is going to like. From there, the story went into a series of directions, some fairly predictable and others downright shocking. There isn’t much else I can say without spoiling the story, but I’ll just say that Sister Mary certainly had some tricks up her sleeve (or in her sock), leading to an especially dark conclusion that will probably stick in the memory of audience members for quite a while.

The staging is well-paced and brisk, focusing on the towering performance of Clark as the determined, insistently staunch Sister Mary Ignatius. Regardless of whether or not you agree with her interpretations of Catholic doctrine, it’s clear that Sister Mary is not going to budge in her stance. Clark also maintained a cool, cheerful veneer most of the time that added a degree of menace to her characterization, which was in keeping with the icy, super dark tone of this piece. Young Pepper as Thomas was also memorable, cheerfully obeying Sister Mary no matter what she asked him to do. There were also convincing performances from Henley as Gary, who has a secret he knows Sister Mary won’t like; as well as Bailey as the assertive Diane; Engel as the conflicted Philomena; and Seifert as the increasingly nervous Aloysius. The confrontations are believable and increasingly volatile, with convincing performances by all the cast members.

Technically, the staging was fairly simple, but it worked well considering this is supposed to be a presentation on a stage at a church, which made the Tower Grove Abbey space especially ideal for this show. Justin Been’s set, Gary F. Bell’s costumes, and Tyler Duenow’s lighting contributed much in the way of atmosphere to the production.

Not being Catholic myself, I don’t really have as personal a connection with this story as I would imagine a lot of local audience members would, considering the large Catholic population in St. Louis. There are some points that seem to jab more at Christianity in general, but the Catholic Church is the primary target. There’s a lot to think about here, especially in terms of authoritarianism in religious organizations, and its effects on those who experience it. This kind of sharp, biting satire is in keeping with SDT’s “alternative” holiday tradition, and it’s certainly provided much about which to think and discuss.

Stephen Henley, Sarajane Clark, Rachel Bailey, Eileen Engel, Sean Seifert
Photo by John Lamb
Stray Dog Theatre

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The Rep’s “Wonderful Life” is a Clever, Nostalgic Staging

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

It’s a Wonderful Life: A Live Radio Play
Adapted by Joe Landry
Directed by Kate Bergstrom
Repertory Theatre of St. Louis
December 12, 2023

Melissa Harlow, Michael James Reed
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

Most people know It’s a Wonderful Life as the classic Frank Capra film starring Jimmy Stewart and Donna Reed. A lot of people my age have probably seen that movie on TV dozens of times by now, as ubiquitous as it is. Now, courtesy of the Rep, audiences get to see this familiar story in a different way. Joe Landry’s adaptation It’s a Wonderful Life: A Live Radio Play isn’t new, but the way the Rep is presenting it, it’s a fresh, entertaining production set featuring some welcome local references and a strong energetic cast.

This isn’t a straightforward adaptation of the film story. It’s based in a local radio station sometime in what appears to be the late 1940s. The announcer, Freddie Fillmore (Eric Dean White) provides the introduction while the rest of the cast–including actors and technicians–assembles and star performer and World War II vet Jake Laurents (Michael James Reed) arrives a little bit late. Fillmore announces the cast of characters. Sally Applewhite (Melissa Harlow) plays Mary Bailey and others; Harry Heywood (Deanté Bryant) plays Clarence the angel, Harry Bailey; Rosa Ramos (Carmen García) plays George and Harry’s mother; Lana Sherwood (Aria Maholchic) plays Violet Bick; and Dr. Richard Ross (J. Samuel Davis) plays Joseph the angel supervisor and the villainous Henry Potter. These performers play a variety of roles in addition to their main ones, as well, except for Laurents, who plays George Bailey. Fillmore himself also plays a few roles, including Uncle Billy Bailey, and the stage manager (Jailyn Genyse) and sound engineers (Daisy Held, TJ Staten, Jr.) also contribute to the voice cast at times. Also, as was the case with actual “Old Time Radio” broadcasts, the cast and crew provide the live sound effects as necessary using a variety of devices. 

The story plays out as expected, with Clarence observing George’s life up until a point of crisis, in which the angel is enlisted to help George see the importance of his life and the effect he has had on his family, his neighbors, the town of Bedford Falls, and even the world outside the town. What’s different about this production, though, is that we’re not seeing a straightforward telling of the story–we’re seeing the radio actors performing the story in a meticulously re-created 1940s studio in St. Louis. So we get to see the different actors transition between different roles, doing the sound effects, and singing at various moments, including in some truly entertaining mid-Century styled commercials for real local businesses, like Schnucks and Crown Candy Kitchen. The original film of It’s a Wonderful Life already has a degree of nostalgia about it considering it’s almost 80 years old, but all the old-time radio trappings add another layer to that nostalgia. Also, while the radio studio setting is always there, there are many moments when the drama of the story being told takes over, effectively transporting the audience to the fictional town of Bedford Falls and into the midst of George Bailey’s plight.

The performances are excellent across the board. Reed makes an ideal George Bailey, bringing a lot of depth to the character and making me (at least) even more sympathetic to his situation than Stewart’s in the movie. It’s refreshing that none of the actors here are doing impressions of the movie characters–their performances are their own, although there are a few occasional moments when Reed’s vocal delivery gives a subtle nod to Stewart. Reed’s chemistry with Harlow’s Mary is excellent, as well. Other standouts include Bryant, who is especially memorable in his role as the determinded, kind-hearted Clarence; and Davis as both the wise Joseph and the scheming Potter. White also makes a memorable, amiable host as Fillmore. It’s a strong cast all around, with much energy and enthusiasm in their roles as radio actors and as their characters in the drama. 

The fun of a show like this is getting to see the authentically re-created workings of a 1940s radio station, with An-Lin Dauber’s marvelous set and meticulously detailed costumes adding to the overall ambience, along with excellent lighting by Christina Watanabe and sound by Michael Costagliola. There’s also great atmospheric music, supervised by music director Ron McGowan. 

Overall, this is a truly delightful holiday presentation from the Rep. It’s a Wonderful Life is already a well-known story, but adding the extra layer of local nostalgia and old-time radio atmosphere adds even more appeal to the familiar drama. It’s a Wonderful Life, indeed, and a wonderful show, as well! 

Cast of It’s a Wonderful Life: A Live Radio Play
Photo by Jon Gitchoff
Repertory of St. Louis

The Repertory Theatre of St. Louis is presenting It’s a Wonderful Life: A Live Radio Play until December 23, 2023

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ERA’s “Never Let Go” is a Well-Paced, Memorable Showcase

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

Never Let Go: A One Woman Titanic
by Lucy Cashion and Will Bonfiglio
Directed by Lucy Cashion
Equally Represented Arts (ERA)
December 8, 2023

Rachel Tibbetts
Photo by Jason Hackett
Equally Represented Arts (ERA)

No matter what you think of the movie itself, there’s no question that James Cameron’s 1997 movie Titanic has become a cultural icon. The subject of many discussions, debates, and memes, and spawning the Oscar winning earworm of a song “My Heart Will Go On”, the film has ingrained itself into America’s pop-culture psyche. Equally Represented Arts (ERA) and playwrights Lucy Cashion and Will Bonfiglio have capitalized on that ubiquity with the brisk and cleverly staged Never Let Go: A One Woman Titanic. Showcasing the talents of excellent local performer Rachel Tibbetts, supported by the equally talented Bonfiglio, this show packs a lot into it’s not quite one hour running time.

ERA staged this show in 2019, but I was unable to see it then. Now it’s back, and I’m glad I’ve been able to witness this hilarious, clever, and occasionally surprisingly poignant production. The premise follows Titanic protagonist Rose (Tibbetts) 24 years after surviving the sinking of the ill-fated ocean liner. Now, Rose is an actress, still pining after her long-lost love, Jack, and remembering her few days on the Titanic so vividly that she’s convinced it will make a great film, which she is now pitching to producers. As Rose acts out her vision and reflects on her experiences during and after the infamous disaster, she also makes some meta observations about the phenomenon of Cameron’s film, including some searing and on-point critiques of the script. It’s a fun, sometimes frantic staging, supported by Bonfiglio as the “Stage Manager” who decorates the stage, provides props as needed, and assists the insistent Rose in whatever ways she dictates.

The staging is fast-paced, and Tibbetts is a force as Rose, commanding the stage with attitude and energy, with Bonfiglio matching her energy in a mostly wordless performance moving props and set pieces around and sometimes even serving as a prop when needed, and also playing a few occasional roles–most notably a violin-playing iceberg. The tone is mostly comic, but the pair manage to bring out a degree of poignancy when re-enacting certain dramatic moments late in the film. Kudos to technical director Jimmy Bernatowicz, as well as lighting designer Denisse Chavez, and costume designer and props master Megan Fisher for their excellent contributions to the overall atmosphere of the production.

Never Let Go is a compelling experience, featuring great performances, and also a lively warm-up act by standup comic and local actor Paul Cereghino at most performances. It’s Titanic like you’ve never seen it before, and if you’ve seen the film, it will probably spark memories. It’s another inventive, thought-provoking production from ERA.

Will Bonfiglio, Rachel Tibbetts
Photo by Jason Hackett
Equally Represented Arts (ERA)

Equally Represented Arts (ERA) is presenting Never Let Go: A One Woman Titanic at the Kranzberg Arts Center until December 16, 2023

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New Line’s Original “Appleweed” Has Its Holiday Highs and Lows

Posted in St Louis Theatre, tagged , , , , , , on December 6, 2023| Leave a Comment »

Jesus & Johnny Appleweed’s Holy Rollin’ Family Christmas
Book, Music, and Lyrics by Scott Miller
Original Orchestrations by John Gerdes
Directed by Scott Miller and Tony L. Marr Jr.
Choreographed by Tony L. Marr Jr.
New Line Theatre
December 1, 2023

Kay Love, Terrell Thompson
Photo by Jill Ritter Lindberg
New Line Theatre

New Line is a theatre company that’s not afraid of taking risks. They’ve staged some excellent, smaller-scaled productions of musicals from the well-known to the obscure, and occasionally, like with their latest production, original works. Their latest production, written and co-directed by New Line’s artistic director Scott Miller, is a holiday show with a twist. Jesus & Johnny Appleweed’s Holly Rollin’ Family Christmas is a world premiere musical parody that’s got a lot of potential, even though it’s still a bit rough around the edges.

The show is a sort-of sequel to Miller’s earlier original musical Johnny Appleweed, which was staged by New Line in 2006. I didn’t see that show, so I can only go by what I’ve read about it. This show features some characters from that show, but in the format of kind of an extended adaptation of A Christmas Carol, featuring a seemingly typical white-bread American Family, the Goodsons, led by the stuffy, traditionalist father Harry (Terrell Thompson), who in the first act spends an evening being surprised and shocked by his family members, who all have secrets that they reveal under the influence of some pot-spiked Christmas cookies. Narrated by a group of “Stoner Carolers” (Robert Doyle, Matt Hill, Stephanie Merritt, and Lauren Tenenbaum), the show follows as Harry’s kids Chip (Tony L. Marr Jr.) and Tammy (Marlee Wenski), brother-in-law Hugh (Tawaine Noah), and wife Bess (Kay Love) take turns singing about their lives in ways that increasingly disturb Harry. And then, in the second act, Jesus (also Marr) shows up as the “Jacob Marley” figure, warning Harry–who has passed out on the couch after eating a bunch of the cookies–that he will soon be visited by three ghosts, like Ebenezer Scrooge but with more of an herbal influence. Noah, Wenski, and Love play the ghosts, with Love appearing as the titular Johnny Appleweed, and bringing a great deal of energy to a show that’s a bit overlong, even though it gets better as it goes along.

The show gets off to a slow start, and it could deal with a good bit of trimming, as the first act is all set-up and the plot doesn’t really get moving until Jesus shows up in Act Two. There are some fun songs and some compelling points being made about the clash between the idealization of  1950s America and reality, as well as the encroaching social rebellion of the 1960s. The music is hit-or-miss, with some songs that basically stop the action to tell a long story, and others that are especially clever–especially in the second Act when the weed humor ramps up, which surprised me somewhat, since I’m not usually a huge fan of stoner jokes. Still, this show is at its high point (pun intended) when it leans into the pot jokes, and especially after the energetic Love shows up as Johnny Appleweed, leading the Carolers and the cast in what is probably the show’s most catchy song “That Stick Up Your Ass”. There are also some clever re-writings of traditional Christmas carols, sung with excellent harmonies by the Carolers. 

As for the rest of the cast, Wenksi is also hilariously energetic as Tammy and as movie star Sandra Dee, whose intro song is a fun nod to Grease. Thompson struggled with his lines a bit in the first act, but gained more energy and confidence in the second. Noah, as Hugh and the first of three Christmas ghosts is also fine, and Marr–a last-minute replacement as Chip–moves well and has a good sense of presence, but struggles a bit with the vocals. Marr is also the choreographer and co-director for this production,  providing some fun moments of dancing especially in the show’s livelier moments. 

In terms of technical elements, this show looks great, filling the stage at the Grandel Theatre with a vibrant Mid-Century Modern influenced set by Rob Lippert. The costumes by Lauren Smith Bearden are also colorful and stylish, with the props by Erin Goodenough also adding much to the satirical tone of the show. There’s also excellent lighting by Matt Stuckel and a lively band led by music director/keyboardist Mallory Golden.

Jesus & Johnny Appleweed’s Holly Rollin’ Family Christmas isn’t a perfect show, but it’s new and it has a good deal of potential. The cast members seem to be enjoying themselves a great deal, and there are some memorable moments and an excellent sense of theme. If you like crass humor, and especially stoner jokes, this show should be a fun “alternative” holiday production. 

Marlee Wenski, Terrell Thompson, and Carolers
Photo by Jill Ritter Lindberg
New Line Theatre

New Line Theatre is presenting Jesus & Johnny Appleweed’s Holy Rollin’ Family Christmas at the Grandel Theatre until December 16, 2023

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STLAS’s “Barrymore” is Memorable Tour-De-Force

Posted in St Louis Theatre, tagged , , , , , , on December 6, 2023| Leave a Comment »

Barrymore
by William Luce
Directed by Erin Kelley
St. Louis Actors’ Studio
December 3, 2023

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

John Contini has starred in Barrymore before, garnering great reviews and winning a Kevin Kline Award in 2010. I didn’t get to see that production, but now St. Louis Actors’ Studio is staging the show, allowing me and other St. Louis theatergoers to see this intense, remarkable performance. With vibrant staging and striking production values, this production showcases Contini’s portrayal of one of theatre’s more celebrated actors in a vividly realized, highly emotional production.

John Barrymore was one of the better-known actors on stage and screen in the first part of the 20th Century. Coming from a famous acting family that is perhaps best known today because of John’s granddaughter Drew Barrymore. In their day, however, John–called “Jack” by those who knew him–his brother Lionel, and sister Ethel were considered something of a “royal family” of acting–following in the tradition of their parents. This show features Jack toward the end of his life, in 1942, as he rehearses scenes from Richard III with the help of an unseen but much-heard line prompter, Frank (Alexander Huber). As Frank tries to keep him on track, Barrymore frequently digresses into stories of his childhood, his difficult relationship with his father, his four marriages, his alcoholism, his relationships with his siblings, his attitudes toward acting in film and theatre, and more. Although there is much wit and humor here, the overall impression I get from this story is a sad one, of a talented man at the end of his life, full of regrets and struggling to hold on to his reputation as one of the prominent Shakespearean actors of his day. 

It’s a very deep, multi-faceted performance that portrays Barrymore’s humanity with sharp veracity. Contini is a marvel in how he portrays the many aspects of Barrymore’s personality, as well as his still-apparent talent. It’s a riveting performance, from start to finish. Huber is also commendable in a sympathetic performance as the helpful but frequently exasperated Frank. Even though Huber never appears onstage, Frank’s presence is palpable and important, serving as an ideal sounding-board for Barrymore and something of an audience surrogate, as well.

The world of the play is brought to life vividly by means of Patrick Huber’s detailed set and excellent lighting design, as well Teresa Doggett’s remarkable costumes and Emma Glose’s props. It’s like the audience has been transported to a small theatre in 1942, with just the right look and mood. Director Erin Kelley’s staging is thoughtful and dynamic, as well.

Although the main “selling point” for this production is John Contini’s remarkable performance, all the other elements are also first-rate. This is a remarkably vivid recreation of another time and place, as well as an emotional reflection on the life of an actor. I highly recommend this production, especially for those with an interest in the history of the American theatre.

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

St. Louis Actors’ Studio is presenting Barrymore at the Gaslight Theatre until December 10, 2023

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WEPG’s Engaging “Cronkite” Showcases Two Strong Performances

Posted in St Louis Theatre, tagged , , , , , on December 6, 2023| Leave a Comment »

Walter Cronkite is Dead
by Joe Calarco
Directed by Anna Blair
West End Players Guild
December 2, 2023

Leslie Wobbe, Kate Durbin
Photo by John Lamb
West End Players Guild

Two women meet as strangers in an airport bar. One is more outgoing and talkative; the other is initially more reserved and reticent. Brought together by circumstance, they soon find themselves opening up to one another, revealing their differences, as well as how much they have in common. This is the premise of Joe Calarco’s Walter Cronkite is Dead, which is currently being staged in a thoroughly engaging production at West End Players Guild, featuring two memorable performances and an overall atmosphere that draws the audience into the worlds of these two different, but oddly similar, characters. 

This is something of a “talky” play, but it doesn’t get boring in the least, considering the dynamic staging by director Anna Blair and the superb performances of its two leads, Leslie Wobbe as Patty and Kate Durbin as Margaret. Finding refuge in a bar at Washington, DC’s Reagan National Airport because of a weather emergency causing massive flight delays, the two form a gradual bond that at first seems unlikely, considering that the more reserved Margaret seems wary of the talkative Patty, but eventually the conversation starts, revealing much about these two women and why they are in the airport, as well as their contrasting outlooks on life, with Patty being a more “country” conservative from Tennessee, and Margaret being more of a Northeastern liberal who loves the Kennedy family so much that she’s named all four of her children after them. It’s a lively interaction, with ups and downs as the two struggle with their differences and deep-held stereotypes, as well as discovering similarities with which they can relate, concerning their relationships with their children and more. The tone is mostly comic, but there are also some palpable moments of drama, providing a deep emotional range for these two excellent performers. 

The acting is just marvelous, from both Wobbe as the more chatty, outgoing Patty, and Durbin as the more standoffish, but eventually just as emotive Margaret. The dialogue is well-constructed, and Wobbe and Durbin play off of each other with relatable energy, making for a completely believable performance and building relationship. 

The look and mood of the show is well-maintained by means of a simple set–the designer of which is not credited in the program, as well as atmospheric lighting by Amy Ruprecht, sound by Mary Beth Winslow, and props by Blair. The costumes are also excellent and perfectly suited to their characters. I’m not sure if there was a designer or if the performers assembled the outfits themselves, but the whole look and style of the characters works well considering their personalities. 

Walter Cronkite is Dead has a lot to say considering first impressions, stereotyping, and polarization in today’s society. Although the story takes place in 2010, it’s especially timely for 2023. It’s a remarkable, insightful production. 

The West End Players Guild is presenting Walter Cronkite is Dead at the Union Avenue Christian Church until December 10, 2023

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NJT’s “Woods” Is an Enchanting, Thought-Provoking, Fast-Paced Tale

Posted in St Louis Theatre, tagged , , , , , , , on December 5, 2023| Leave a Comment »

Into the Woods
Music and Lyrics by Stephen Sondheim, Book by James Lapine
Directed by Robert Quinlan
Choreographed by Ellen Isom
New Jewish Theatre
November 30, 2023

Cast of Into the Woods
Photo by Jon Gitchoff
New Jewish Theatre

Into the Woods has become something of a modern classic of musical theatre. It’s become especially popular with regional and school theatre groups, and I can see why, since the subjects it deals with are relatable to most, considering the foundational fairy tales on which the story is based. Also, from what I’ve seen, it’s especially adaptable in terms of style and theme, and many directors over the years have staged their own unique concepts without actually changing the script. At New Jewish Theatre, director Robert Quinlan has staged a quickly paced, smaller-cast version in the round, with an excellent, versatile cast and an especially approachable tone.

The story is well-known, made up of a collection of fairy tales mashed together, with an original story to tie them together–of a Baker and his Wife hoping to break a curse so they can have a child. In carrying out the directions of the Witch who lives next door–who has her own reasons for wanting to break the spell–the Baker and his Wife encounter several familiar characters–including Cinderella, Rapunzel, and their respective Princes, along with Little Red Riding Hood, the beanstalk-climbing Jack, and the Big Bad Wolf, among others. The story gets into motion quickly, and never really stops moving, as the characters are determined to get their wishes in the first act, without much thought of how their actions affect others. The second act then deals with the consequences of those actions, with an overriding theme of “be careful what you wish for”, as well as an emphasis on community and how selfish goals can have unforeseen repercussions.

The look and tone of this production are both simple and elaborate at the same time, with a versatile, shifting set by C. Otis Sweezey, colorful costumes by Michele Friedman Siler, and atmospheric lighting by Jayson M. Lawshee helping to set the mood, which emphasizes earth tones and natural elements, with some movable trees and other set pieces, along with a simple but clever puppet of Jack’s cow, Milky-White, operated by Matt Billings, who also plays Cinderella’s Prince. There’s also a 3-piece musical ensemble led by music director Larry D. Pry, who also serves as the Narrator of the story. All of these elements along with the brisk pacing help to maintain the whimsical, fairy-tale-like tone as the story unfolds.

The cast is excellent, as well, led by the personable Molly Wennstrom and Kevin O’Brien as the Baker’s Wife and the Baker, and by the strong-voiced Sarah Gene Dowling as the Witch. There’s also a memorable performance from Kristen Joy Lintvedt as the determined Cinderella, as well as Aliyah Jacobs as an energetic Little Red, and Matthew Cox as both Jack and the royal Steward. Most of the cast members play multiple roles, and all are strong, including Billings as Cinderella’s Prince and Milky-White, Kevin Corpuz as Rapunzel’s Prince and Cinderella’s stepsister Lucinda, Sarah Wilkinson as Rapunzel and Florinda, and Phil Leveling in a fun turn as the Wolf, the Mysterious Man, and Cinderella’s Stepmother. It’s a strong ensemble, with a great deal of energy and chemistry, as well as excellent vocals.

Overall, this journey Into the Woods is well worth the trip. With strong direction and pacing, as well as a consistent sense of theme, this show tells its tale with style and heart. And Stephen Sondheim’s celebrated score is ideally represented, as well. It’s an excellent closing show for the New Jewish Theatre’s 2023 season.

Molly Wennstrom, Kevin O’Brien
Photo by Jon Gitchoff
New Jewish Theatre

The New Jewish Theatre is presenting Into the Woods at the J’s Wool Studio Theatre until December 17

This review was originally published at kdhx.org

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