Archive for October, 2024

The Rep’s “Roommate” is a Well-Cast Character Study With Intriguing Issues to Ponder

Posted in St Louis Theatre, tagged , , , , , , on October 31, 2024| Leave a Comment »

The Roommate
by Jen Silverman
Directed by Rebekah Scallet
Repertory Theatre of St. Louis–Steve Woolf Studio Series
October 25, 2024

Kelley Weber, Nancy Bell
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

The Rep’s Steve Woolf Studio Series is back in its familiar location with a production of Jen Silverman’s fascinating two-character dramedy The Roommate. Starting off as somewhat of an Odd Couple-type tale of two roommates with contrasting personalties, the story evolves into an examination of societal expectations, self-expression, and more. At the Rep, as directed by Rebekah Scallet, this is a superbly cast show featuring two excellent local performers, as well as featuring especially impressive production values.

The story is set in Iowa, in a modest, cozily decorated house owned by the somewhat socially awkward Sharon (Kelley Weber), who has recently gone through a divorce and has lived something of a sheltered life in the Midwest. Feeling lonely, Sharon has advertised for a roommate, who turns out to be Robyn (Nancy Bell), a more worldly-wise former denizen of the Bronx, New York, who gives the sense that she’s trying to start a new life in a completely new place. Sharon meets Robyn with a mixture of trepidation and excitement, as Robyn is so different from everyone else she knows–vegan, gay, city-raised and into growing “medicinal herbs”,  while Sharon herself hasn’t experienced much outside of what’s been expected of her. As the two get to know one another, they form a friendship and it becomes clear that both have regrets and secrets, with their lives being changed in various ways that may or may not be healthy or legal. 

This is a fascinating study of contrasting characters and their influence on one another, as well as exploring the effects–both positive and potentially negative–of one woman who has been used to a life with few attachments and restrictions suddenly coming into the life of someone who has spent her life being told “no” either directly or indirectly. The interplay between the characters is what makes the story, and the actors are fantastic, with Weber’s initially reticent but increasingly enthusiastic Sharon and Bell’s more experienced but secretive Robyn working especially well together, with strong chemistry and a believable growing bond as well as credible degree of tension. Both performers have strong presence, excellent comic timing (especially Weber), and impressive emotional range. These characters are the show, essentially, the performance make the show immensely engaging.

The world of these two characters is well-realized by means of Robert Mark Morgan’s stunningly realistic set. It seems like the audience is sharing the home with the roommates, adding a level of engagement to the already intriguing story. Lou Bird’s costumes suit the characters well, with both Sharon and Robyn having an array of outfits that reflect their personalities as the story develops. There’s also excellent work from lighting designer Jayson M. Lawshee and sound designer Kareem Deanes, bringing the small-town Iowa location and atmosphere to life.

The Roommate represents a welcome return for the Steve Woolf Studio Series at the Rep. It’s a story that covers a lot of issues, and will give audiences much to think and talk about in terms of relationships with new friends, parents and adult children, and the influence of “bolder” personalities on those who might not seem as bold. With two excellent starring performances and an impressive set, this is a show that’s well worth checking out.

Kelley Weber, Nancy Bell
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis is presenting The Roommate as part of their Steve Woolf Studio Series until November 17, 2024

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Simple, Effective Staging, Memorable Cast Highlight Upstream’s Classic “Dream”

Posted in St Louis Theatre, tagged , , , , , on October 23, 2024| Leave a Comment »

Life is a Dream
by Pedro Calderón de la Barca
Translated by G.J. Racz
Directed by Philip Boehm
Upstream Theater
October 18, 2024

Jerry Vogel, Reginald Pierre
Photo by ProPhotoSTL.com
Upstream Theatre

Upstream Theater is known for its St. Louis premiere productions, as well as highlighting shows from around the world. I don’t know if its latest show, Life is a Dream, is a local premiere, but it’s likely to be the first exposure to this Spanish classic for a lot of local theatregoers. It’s a classic work of theatre written by a playwright who has been referred to as “the Spanish Shakespeare”, although it doesn’t seem to be as well known in the USA as it should be. Whether you are familiar with this work or not, the production at Upstream, translated by G.J. Racz and directed by Philip Boehm, is an energetically staged, well-cast production that’s sure to provide an ideal introduction to the uninitiated (like myself).

The play has somewhat of a complex blend of subplots and characters. Although this is a Spanish play, the setting is in Poland, in the court of the fictional King Basil (Jerry Vogel), who has been influenced by fear of bad omens concerning his only son and heir, Segismund (Reginald Pierre). Because of his interpretation of certain weather patterns and other signs, Basil has been afraid that his son will become a tyrant if he is allowed to rule, so the king has locked the prince up in a tower to be raised by his tutor Clotaldo (Gary Glasgow). Not surprisingly, the young man has grown up bitter and confused, and although the King has designs to leave his throne to the Duke of Moscow, Astolf (Mitchell Henry-Eagles)–whom he has agreed to allow to marry his niece, Stella (A. J. Baldwin)–Basil has become overcome with remorse, deciding to summon Segismund to court and reveal his identity, to see how he will react to his newly disclosed royal position, with the plan to just tell him its all a dream and send him back to the tower if he reacts badly. That sounds like a great idea, right? Meanwhile, a Russian noblewoman, Rosaura (Jennifer Theby-Quinn) has shown up at the tower disguised as a man and accompanied by her servant, Clarion (Alan Knoll), meeting Segismund and Clotaldo before they are taken to court, and without knowing that Clotaldo has a secret that directly affects Rosaura, who in turn has unfinished business with Astolf. All these stories weave together in complicated and sometimes surprising ways involving secrets, hidden identities, confusion between dreams and reality, and more. It’s a fascinating show that can be a little confusing at times, and the ending will certainly be fodder for debate, but I won’t say more because that will spoil the drama.

While this is mostly a drama, there is a fair amount of comedy, as well as some action in the form of well-choreographed fights directed by Michael Pierce, who along with Bryce A. Miller, plays a variety of “guards, servants, and soldiers”. The set is simple but striking, designed by Patrick Huber and consisting of a slatted wooden platform with an ethereal backdrop, lit with whimsical flair by Steve Carmichael. There are also remarkably detailed costumes by Michele Friedman Siler and excellent sound design by Philip Boehm and Sabria Bender. The production looks period-specific and distinctive, adding much to the overall effect of the production.

The cast is first-rate, led by standout turns from Vogel as the conflicted King Basil, Pierre as the constantly frustrated but determined Segismund, Glasgow as the secretive but loyal Clotaldo, and Theby-Quinn has the persistent Rosaura. Henry-Eagles and Baldwin are also memorable as Astolf and Stella, and Knoll is a delight as the devoted but hapless Clarion, who has many of the show’s best comic moments, but also some memorable dramatic moments. Pierce and Miller lend strong support in their various roles, as well. It’s a strong ensemble all around, and the brisk staging helps to maintain the flow of the many interwoven plots. There are some slower, talkier moments, but for the most part, this is play that moves fairly quickly despite its fairly long running time.

Life is a Dream is considered an international classic of theatre, but I have to admit I wasn’t familiar with it before seeing this production. Upstream Theater does an excellent job of introducing works like this that should be better known to audiences in St. Louis. And their productions are staged with consistent excellence. This production at the Marcelle is a wonderfully cast, cleverly staged show that’s both entertaining and thought-provoking. It’s a thoroughly intriguing theatrical experience. 

Jennifer Theby-Quinn, Gary Glasgow
Photo by ProPhotoSTL.com
Upstream Theater

Upstream Theatre is presenting Life is a Dream at the Marcelle Theatre until November 3, 2024

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Strong Performances, Clever Staging Breathe Life into “Lungs” at Albion

Posted in St Louis Theatre, tagged , , , , , on October 23, 2024| Leave a Comment »

Joel Moses, Nicole Angeli
Photo by John Lamb
Albion Theatre

Lungs
by Duncan Macmillan
Directed by Ellie Schwetye
Albion Theatre
October 17, 2024

As I think about it, I don’t think the title of the play is ever spoken in the script of Albion Theatre’s latest production, Duncan Macmillan’s Lungs. Still, even though lungs aren’t actually mentioned specifically, the theme of breath, and the giving and sustaining of life–is highlighted in various ways throughout this simple but expansive story concerning a relationship in various stages. In Albion’s simply but thoughtfully staged production, the characters stand out especially due to the memorable performances of two outstanding local actors.

I was most familiar with Macmillan’s work because of his oft-performed one-person show Every Brilliant Thing, which I’ve seen staged locally by three different companies. Lungs expands the cast by one, as a two-hander featuring two characters identified only as M (Joel Moses) and W (Nicole Angeli), whose story begins in the middle of a life-altering conversation and continues through various situations and struggles over the course of a number of years. The characters are a dating couple who are considering the possibility of having a child, but that’s only the beginning. Throughout the course of the story, we see the conflicts and changing dynamics of their relationship and their lives, as well as both characters’ concern for the environment and revisiting the question of whether or not they are “good people”. Although there is a basic plot, and their are many ups and downs in their lives, the characters essentially are the story here, and even though there are some frustrating aspects of their personalities as well as a fair amount of stereotyping, the story is a strong showcase for two talented performers, who breathe life and energy into a story that seems like it could easily be a drag without ideal casting and strong direction.

Fortunately, this production has both of those key elements, and some simple but elegant staging and technical aspects that add to the drama. Angeli, as the often overthinking W, and Moses, as the insistently optimistic but impatient M, are both remarkable, presenting a credible and fascinating relationship of flawed characters who make the audience root for them despite some of their more frustrating actions. The emotional range an chemistry add to the drama, and both performers work together with expert ability and presence.

The set by Erik Kuhn is simple and clever, with three wooden platforms arranged at different angles. Tony Anselmo’s lighting adds much to the atmosphere and the building sense of tension in the story, Ellie Schwetye’s sound design is effective, and Tracy Newcomb’s costumes suit the characters well. 

Lungs is an intriguing story, well told and especially well acted at Albion Theatre. It’s a show I hadn’t seen before, and this is an excellent introduction. It’s another fascinating work from one of St. Louis’s newer theatre companies that is continuing to make an indelible impression on local audiences. 

Nicole Angeli, Joel Moses
Photo by John Lamb
Albion Theatre

Albion Theatre is presenting Lungs at the Kranzberg Arts Center until November 3, 2024

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Midnight Company Entertains with Tuneful “Final Dress”

Posted in St Louis Theatre, tagged , , , , , on October 23, 2024| Leave a Comment »

Final Dress
by Joe Hanrahan
Directed by Joe Hanrahan
The Midnight Company
October 11, 2024

Kelly Howe, Paul Cereghino
Photo By Todd Davis
The Midnight Company

Joe Hanrahan and The Midnight Company have continued in their new venture into cabaret-theatre hybrid shows, with their latest, Final Dress, striking just the right balance between those two art forms. Featuring Hanrahan and frequent headliner Kelly Howe, along with strong support from actor and musician Paul Cereghino, this show manages to tell a clear and coherent story while highlighting some (mostly) well-known songs from various eras and genres. 

The unfortunate aspect of this production is that its run–at Greenfinch Theater & Dive earlier this month–was entirely too short. It could use a revival, however, since I think so far, this has been the company’s most successful effort at staging a show that has cabaret elements, but genuinely seems like a play. It’s not a super deep story, but it’s an engaging one, as singer Betty (Howe) and her collaborator/accompanist Jimmy (Cereghino) rehearse for Betty’s new show the following evening, and the two share a believable, friendly rapport with a credible sense of musicality that highlights strong vocals from Howe and strong playing and vocals form Cereghino. The two performers are soon surprised by Harvey (Hanrahan), who calls Betty by a different name and seems to know her from a previous time when she was a more active performer back East. His approach is somewhat laid-back, but mildly threatening all the same, and soon it seems like Betty is essentially singing for her life, although the tone of the show doesn’t quite get as ominous as Harvey seems to imply. 

It’s an entertaining show, highlighting music from different times and styles, including songs made famous by Frank Sinatra, Judy Garland, Carole King, Barbra Streisand, Amy Winehouse, Alanis Morrissette, and more. Howe’s voice is memorable and impressively versatile, and she has strong stage presence as well. Cereghino is affable and musically proficient as Jimmy, and Hanrahan has a slight air of menace as Harvey, but manages to be engaging as well, also performing a pleasant Jimmy Durante-like rendition of the  classic “One for My Baby (and One More for the Road)”, which is perhaps best-known for Sinatra’s version. 

The setting is intimate, with just the three players, a piano, microphones, and some chairs. There’s a little in the way of “stage business” and one costume change, but this is a story simply told, and well-sung and performed. Aside from one song which I found to be dated and awkward, the repertoire is memorable and works well with the story, although it could be beefed up a bit and the stakes raised somewhat, since the “threat” never seems all that serious. As Hanrahan and Howe have also done with their Linda Ronstadt tribute show Just One Look, I hope they find more times and places to perform this piece. It’s worth seeing by more than just a few patrons over a few days. 

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“Nevermore” is a Well-Sung, Fascinating Musical Thriller at SDT

Posted in St Louis Theatre, tagged , , , , , , , , on October 16, 2024| Leave a Comment »

Nevermore: The Imaginary Life and Mysterious Death of Edgard Allan Poe
Written and Composed by Jonathan Christenson
Directed by Justin Been
Choreographed by Maggie Nold
Stray Dog Theatre
October 10, 2024

Drew Mizell (center) and Cast
Photo by John Lamb
Stray Dog Theatre

It’s October, and it’s common for theatre companies to do a “spooky” show in keeping with Halloween. Stray Dog is getting in the spirit of the season with a fascinating, well-staged bio-musical about famed 19th Century writer Edgar Allan Poe, who is best known for the dark subject matter of some of his poems and stories. It’s a small cast show with most cast members playing several roles, and it has a pre-recorded soundtrack backing the singers, but what shines forth in this production especially is the high quality of the singing, as well as the look and overall dark and mysterious tone of the show.

The story is told largely in flashback, as the famous writer Poe (Drew Mizell) is traveling on a train and meets a troupe of actors who recognize him and start acting out his story. The group of six players (Michael Cox, Heather Fehl, Stephen Henley, Kevin O’Brien, Dawn Schmid, and Sara Rae Womack) join in telling Poe’s story, which each of the performers playing several roles. The story follows Poe from his childhood with his parents–who are also performers–and his siblings Henry and Rosalie. As he gets older, he and his siblings are orphaned and sent to live with different families, with Edgar staying with Jock and Fanny Allan, who influence his life in various ways. In young adulthood, Edgar becomes involved with kindred spirit Elmira, who likes his dark and creepy stories and has some of her own, but her parents don’t approve and encourage her to marry into a “better” family. The story then follows the ups and downs of Edgar’s career as a writer, as well as personal struggles with substance abuse, along with his marriage to his young cousin Virginia “Sissy” Clemm. The important biographical points are covered, if sometimes out of order, with the ominous and mysterious tone being kept up throughout, leading up to some surprising revelations and an emotional ending.

The score is pervasive and memorable, with a pre-recorded soundtrack (which was apparently required to be used), which works reasonably well even though I don’t prefer them. The music utilizes the ranges of the singers well, especially the fantastic Mizell’s crystal clear higher range. Mizell has loads of presence as Poe, with a stunning voice and impressive emotional range. The entire cast is strong, as well, with the supporting players handling their multiple roles well. Particular standouts include Schmid as the kind but troubled Fanny Allan and as the devoted Sissy; Womack as the delightfully quirky Elmira; and Henley as Poe’s  optimistic and loyal older brother Henry. Everyone has excellent moments, and the ensemble singing is marvelous.

The show looks great, with an ominous tone maintained by a purple-and-black color palette and a clever multi-level set by director Justin Been. Sarah Gene Dowling’s costumes are also a highlight, with impressive detail and style. The lighting by Tyler Duenow dazzles, emphasizing the shadows and changing moods in the story, and there’s also good work from sound designers Been and Wade Staples–although it was somewhat difficult to hear the singers at the beginning–as well as music director Jennifer Buchheit.

Nevermore is an ideal show for the Halloween season, especially for fans of Gothic horror and mystery, and Poe in particular.  Bolstered by a top-notch leading performance and an excellent ensemble, this is a show that’s both entertaining and appropriately unsettling. It’s an educational experience, as well, and a thoroughly memorable production.

Cast of Nevermore
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre is presenting Nevermore: The Imaginary Life and Mysterious Death of Edgar Allan Poe at the Tower Grove Abbey until November 2, 2024

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Contraband’s Well-Cast “Am I Dangerous?” is a Fascinating Work in Progress

Posted in St Louis Theatre, tagged , , , , , on October 12, 2024| Leave a Comment »

Am I Dangerous?
by e.k. doolin
Directed by Tress Kurzym
Contraband Theatre
October 9, 2024

Allison Sexton, Jade Cash
Photo by Jennifer A. Lin
Contraband Theatre

Contraband Theatre is presenting another intriguing play at the Chapel, after last year’s production of Jacob Juntunen’s See You In a Minute, which was my favorite new play last year. This year’s production, e.k. doolin’s Am I Dangerous? is also an intriguing, thoughtfully staged show that tackles a lot of issues, particularly concerning women and society’s expectations of what a woman should be. It’s a fascinating production, with a great cast and a striking look and atmosphere, although the promising script could use some revision and clarification.

Inspired in part on the sort-of Shakespeare play Pericles, Prince of Tyre, this story focuses on some of the supporting characters from that play, and especially on the very minor character of Philoten (Allison Sexton), who is essentially given her own new story. Philoten is the teenage daughter of Dionyza (Zahria Moore), who is serving as a sort of religious and political leader while the men of the town in which they live are off at sea. The story is told largely in flashback, beginning as Philoten arrives at the Temple of the Sky, Sea, and Earth, expecting punishment because she says she has killed her mother, but she won’t explain the details. The denizens of the temple then use a shell that Philoten has brought as means to bring back key memories in her life, examining her life and relationships, as well as the influence of her mother, her rebellious foster sister Marina (Jade Cash), and Lychorida (Rachel Bailey), who takes care of Marina and who also has developed a close relationship with Philoten as well as an adversarial relationship with Dionyza. Examining these relationships and seeing them from new angles challenges Philoten to look more closely at her own life and see how she has been influenced by societal expectations, especially those of her strict mother. Issues brought up include societal expectations for women in terms of morality, behavior and appearance, as well as sexuality and body image. There’s also an environmental angle, looking at climate change and humans’ influence on the condition of the earth. 

While this is an intriguing story and the characters are intriguing, there are moments when the dialogue can veer a little too close to being preachy, and there are so many issues dealt with that it seems like there isn’t quite enough time to do all of them justice. Also, although Philoten is the main character, she often comes across as the least developed in terms of personality. This makes sense to a degree, because her figuring out who she is forms a major focus of the play, but often it seems like the rest of the characters have more developed plotlines. Sexton does an excellent job with what she is given, but this character could use a little more to do rather than simply reacting to what’s happening around her.

The rest of the cast is also strong, with a commanding performance from Moore as the domineering Dionyza, as well as Cash as the amorously adventurous Marina, and Bailey in a  strong turn as the determined Lychorida. These three also double as the temple spirits, delivering excellent moments of mystery and enigmatic energy. All four cast members work together well, with memorable energy and terrific ensemble chemistry.

The look of this production is simply striking, with an elegant classical-inspired set by Erik Kuhn and eye-catching costumes by Tress Kurzym. There’s also excellent work from lighting designer Theresa Comstock and sound designer De’Janna Hand, creating a vivid world for these characters to inhabit and serve as an ideal backdrop for this thought-provoking story.

Although it definitely seems to go its own way, it may help in understanding Am I Dangerous? if you’re more familiar with the story and script of Pericles, which I haven’t seen or read (although I read a synopsis after seeing this play). Still, even if you’re coming into this show with little or no knowledge of its source, the issues dealt with here are especially timely and immediate for modern, mature audiences. While the script could use some editing and condensing, and the characters (especially Philoten) could be given more to do, I find this an especially promising script that is sure to provoke much thought and valuable conversation.

Zahria Moore, Rachel Bailey
Photo by Jennifer A. Lin
Contraband Theatre

Contraband Theatre is presenting Am I Dangerous? at The Chapel until October 26, 2024

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Somewhat Predictable “Red Jasper” at the Gaslight Features Strong Cast, Memorable Characters

Posted in St Louis Theatre, tagged , , , , , on October 11, 2024| Leave a Comment »

Red Jasper
by Michael Madden
Directed by Suki Peters
Michael Madden Productions
October 6, 2024

Nancy Nigh, Carmen Garcia, Ben Ritchie
Photo Courtesy of Michael Madden Productions

Playwright Michael Madden has brought his play, Red Jasper, to St. Louis, where he grew up, featuring a local cast and crew and performing at the Gaslight Theater. This is a local premiere, although the show has been staged before in California and Illinois. It’s essentially a dramedy with some traditional “rom-com” movie trappings, although the subjects being covered are serious. It’s a promising show, although some of its elements are predictable and have been done before. Its biggest strength is in its characters, and especially in its excellent cast.

The story takes place mostly at a hospital’s infusion center, where Isadora or “Izzy” (Nancy Nigh) is receiving chemotherapy treatments for her breast cancer, which has recently returned after a two year remission. There, she shares her life philosophies with Abby (Carmen Garcia), the nurse, and meets recently widowed fellow patient Tom (Ben Ritchie), who is also receiving treatments for an undisclosed condition, although it’s made fairly clear that he doesn’t have cancer. The two form an attraction, although Izzy is initially put off by the hostile attitude of Tom’s daughter Samantha (Rhiannon Creighton), who is obviously angry at her father for some reason. Izzy investigates, but her perceptions of Tom seem to fluctuate. as their relationship haltingly builds. Meanwhile, both Izzy and Tom struggle in their relationships with their adult children, as we find out what Sam is upset about, and Izzy deals with the neglect of her career-minded lawyer son Scott (Caleb D. Long) as well as residual issues from the breakup of her marriage.

The characters and situations are believable, and the relationships are convincing, particularly between the patients and Abby, between Tom and Samantha, and the growing attraction between Izzy and Tom. The show also employs some classic “rom-com” conventions especially in the music between scenes, which the audience will probably recognize as being used in modern classic films of genre like When Harry Met Sally, Sleepless in Seattle, and You’ve Got Mail. As for the plot, however, I figured out two of the major points early on, with one important element being telegraphed in the very first scene. There are some fun “quirky” comic moments to lighten the drama, and the drama is well-played even if it is fairly easy to guess what’s going to happen (or in one case, what has already happened). The pacing is strong, as well, and the relatively short running time goes by briskly. 

The cast is the biggest strength of this production, with Nigh bringing convincing energy and believably conflicting emotions to the role of Izzy, and Ritchie in a likable performance as the amiable but evasive Tom. Garcia is also excellent as Abby, who has become as much of a friend as a nurse to Izzy. There are also fine supporting turns by Creighton as Samantha and Long as Scott. The actors work together well, with strong ensemble chemistry and good balance between the comic and dramatic elements of the story.

The medical environment is portrayed believably by means of Caleb D. Long’s detailed set, which also features the kitchens from Izzy’s and Tom’s apartments. There’s also effective lighting design by John Wilper that adds to the overall tone of the show, and good use of the aforementioned transition music.

Red Jasper is a convincing story, for the most part, with the characters and performances being the true highlight. Although it does have its predictable elements, it’s an engaging portrayal of a cancer patient’s story and various relationship difficulties, both romantic and familial. It all fits well into the familiar Gaslight Theater space and provides an intriguing theatrical experience for St. Louis audiences.

Ben Ritchie, Rhiannon Creighton
Photo Courtesy of Michael Madden Productions

Michael Madden Productions is presenting Red Jasper at the Gaslight Theater until October 13, 2024

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Simply Staged “Turn of the Screw” at WEPG is a Well-Cast Thriller

Posted in St Louis Theatre, tagged , , , , , , on October 11, 2024| Leave a Comment »

The Turn of the Screw
by Jeffrey Hatcher
Directed by Morgan Maul-Smith
West End Players Guild
October 4, 2024

Rob McLemore, Payton Gillam
Photo by John Lamb
West End Players Guild

It’s October, and in the spooky Halloween mindset, West End Players Guild is presenting a haunting, impeccably cast thriller. Featuring only two performers playing all the roles, this simply staged adaptation of Henry James’s classic The Turn of the Screw by playwright Jeffrey Hatcher is a fascinating mystery with an edge of creepiness that works especially well for this season. The biggest highlight of this show is its marvelous cast.

Cast members Payton Gillam and Rob McLemore are billed in the program as simply “The Woman” and “The Man”, respectively, although Gillam plays one role throughout the story, while McLemore plays several. The Woman is a governess, hired by a mysterious man to take charge of his orphaned niece and nephew on his family’s country estate called Bly. She befriends the only other adult on the premises, the housekeeper Mrs. Grose, and quickly meets and loves Flora, the little girl who is either unwilling or unable to speak. Soon they are joined by the boy, 10-year-old Miles, who has been dismissed from his school for undisclosed “unspeakable” reasons. As the governess gets to know the children and the house, she soon begins to see ghostly apparitions, apparently of a man and  woman who used to work at the house, and she becomes increasingly obsessed with finding the cause of the haunting and driving the spirits away. Are the ghosts real? Why is the governess so preoccupied? What do the children know? This mystery unfolds in an increasingly suspenseful narrative as the Woman looks for answers to the mystery that threatens to consume her and affects her perception of reality and her health, as well as the wellbeing of those around her.

The tone of this show is in keeping with the Gothic thriller genre, with its setting, characterization, and overall vibe. The cast is stellar, led by a strikingly convincing performance from Gillam as the initially somewhat naive but increasingly obsessed governess. Gillam plays every scene with credible energy and a palpable sense of growing suspicion. Also excellent is McLemore in a variety of roles, from the imperious, evasive Gentleman who hires the Woman, to the kindly Mrs. Grose, to the enigmatic young Miles, who becomes a major focus of the Woman’s suspicions, and obsession. The growing suspense is well-maintained in the brisk pacing from the actors and director Morgan Maul-Smith, with the sense of enigma and mystery insistently ramping up to keep the audience interested, and guessing.

The production values here are impressive, even in their simplicity. The relatively basic set by Maul-Smith is an effective backdrop for the action, augmented by strikingly effective lighting also designed by Maul-Smith that underscores the classic Gothic tone of the story. There are also impressively detailed costumes by Tracey Newcombe that add to the credibility of the story. Even though there aren’t any flashy sets or special effects, the pacing, lighting and overall tone-setting help to aid the audience’s imagination of what is happening.

Whether you are familiar with the source novel or any of its film adaptions or not, The Turn of the Screw at West End Players Guild is a riveting, thoroughly suspenseful story led by a fantastic two-person cast. It works well for this time of year, as well. If you’re looking for some classic Gothic horror/suspense/mystery for Halloween season, this is a great show to check out.

Payton Gilliam, Rob McLemore
Photo by John Lamb
West End Players Guild

West End Players Guild is presenting The Turn of the Screw at Union Avenue Christian Church until October 13, 2024

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SATE’s “Tempest in a Teapot” is a Whimsical, Fascinating Emotional and Literary Journey

Posted in St Louis Theatre, tagged , , , , , , , , , , on October 2, 2024| 1 Comment »

Tempest in a Teapot
By Shualee Cook
Directed by Rachel Tibbetts
SATE Ensemble Theatre
September 26, 2024

Chrissie Watkins and Cast
Photo by Joey Rumpell
SATE Ensemble Theatre

If you love Shakespeare and the works of Lewis Carroll, then SATE’s latest show is for you! Even if you’re not a huge fan of one or both these writers, however, there’s a lot to learn in this world premiere performance of local playwright Shualee Cook’s Tempest in a Teapot. It does help to be familiar with the source material to some degree, but still this is a fascinating, character-driven look at growing up, self-discovery, and how lives can be affected by others’ opinions and actions in expected and unexpected ways. 

The story here blends history and fantasy, as Alice Liddell (Chrissie Watkins) lives in Victorian-era Oxford and, as she is reaching young adulthood, has to grapple with the expectations of society and her professor father (Adam Flores), who expects her to marry well and settle down, while Alice isn’t sure what she wants to do. Enter Reverend Charles Dodgson, otherwise known as Lewis Carroll (John Wolbers), who visits after a long absence, making Alice have to reckon with her past as the inspiration for Carroll’s Alice in Wonderland books. As Alice is trying to make sense of her life, she is visited by the Cheshire Cat (Kay Ailee Bush), who coaxes her back to Wonderland, where the Mad Hatter (Flores), the March Hare (Keating), and the Dormouse (Summer Baer) await. Since Carroll had recently recommended that Alice read Shakespeare’s The Tempest, the Wonderland residents decide to read the play and act it out, casting Alice as Miranda–although she also ends up playing other roles, as well as featuring in flashback sequences about her own life. Carroll becomes Prospero, with the others playing a variety of roles as Alice is forced to confront her feelings about being Carroll’s “muse”, as well as trying to figure out who she is amid the expectations of the society in which she lives, along with her own family. What ensues is a cleverly constructed mashup of the Wonderland stories, The Tempest, and the intersecting lives of Alice and Lewis Carroll, with a good deal of humor and emotional reflection along the way.

As mixed up as the story may seem, and considering my Alice in Wonderland knowledge comes mostly from film adaptations, I found this story surprisingly easy to follow. It helped to read the Wikipedia pages for Alice Liddell and Lewis Carroll at intermission, but generally, this was a fairly straightforward “coming of age” tale couched in whimsy and fantasy, with vivid characterization and a strong, enthusiastic cast, led by the truly fantastic performances of Watkins and Wolbers, who portrayed a believable relationship and credibly complex characters. The rest of the cast is also strong, with energetic turns from Keating, Baer, and Flores, and an added air of confrontation and mystery from Bush. All of the players work especially well together, emphasizing the concept of “ensemble” as SATE constituently does so expertly.

The look and style of this piece is also memorable, with a versatile set design by Bess Moynihan and Ellie Schwetye that fits well in the Chapel performance space. There are also especially clever costumes by Liz Henning and Kayla Lindsay that add to the overall whimsicality of the proceedings and characterizations. Moynihan’s lighting and Schwetye’s sound design also contribute ably to the overall vibe of the show, as do the  props by Cecile “Cece” Entz and Katherine Leemon.

My only major regret about this production is that the show isn’t still running, because I would be telling everyone with even a mild interest in the subject matter to see this play. Tempest in a Teapot takes a clever concept and gives it life by means of a strong cast and vibrant staging. It’s another fun and thoughtful show from SATE.

Chrissie Watkins, John Wolbers
Photo by Joey Rumpell
SATE Ensemble Theatre

Conclusion–I regret that I wasn’t able to get this review out before the show closed.

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Impeccably Staged “Ragtime” Impresses at STAGES

Posted in St Louis Theatre, tagged , , , , , , , , , on October 1, 2024| Leave a Comment »

Ragtime
Book by Terrence McNally, Music by Stephen Flaherty, Lyrics by Lynn Ahrens
Directed by Deidre Goodwin
Choreographed by Michelle Potterf
STAGES St. Louis
September 25, 2024

Cast of Ragtime
Photo by Phillip Hamer Photography
STAGES St. Louis

Ragtime is a big, intense show, with historical significance and a profound, timeless message. I’ve seen three productions of the show now, all in St. Louis, with the latest being the truly superb production currently running at STAGES St. Louis. It’s a show that’s sweeping in scope, with thoughtful staging and strong performances that lend a personal element to the story, and the production values are simply stunning.

Based on a novel by E. L. Doctorow that was previously adapted for film in 1981, Ragtime has a lot of characters and a complex, interwoven plot involving three groups in Turn-of-the-2oth-Century New York and beyond. First, there are the affluent white residents of New Rochelle, represented by Mother (Marissa McGowan), Father (Dan Fenaughty), Mother’s Younger Brother (Matthew Cox), Grandfather (Whit Reichart), and the Little Boy (Kyle Holmes), who live a privileged existence outside the hustle and bustle of New York City, where the Black residents of Harlem live and work, including ragtime musician Coalhouse Walker, Jr. (Tamar Greene); and where immigrants from Eastern Europe and elsewhere arrive daily, including Tateh (Brian Golub) and his daughter, the Little Girl (Zoe Klevorn). These characters’ lives start out separately but soon become entangled, as Coalhouse’s estranged girlfriend Sarah (Shereen Pimentel) and their infant son are taken in by Mother while Father is away on an expedition, and Tateh and the Little Girl briefly meet Mother and the Little Boy while heading to Boston from New York in search of a better life. Also, Coalhouse, who has been looking for Sarah, makes frequent trips to New Rochelle in his brand new Model T Ford car to woo her back, riling up racist fire chief Willie Conklin and his cronies (Scott Moreau) in the process, which eventually leads to tragedy and life-changing situations for all involved.

In the midst of the fictional stories, real historic figures such as Harry Houdini (Jonathan Cobrda), Evelyn Nesbit (Sarah Ellis), Emma Goldman (Elora Von Rosch), Booker T. Washington (Omega Jones), Henry Ford (Steve Isom), J.P. Morgan (John Flack) and others figure into the story, interacting with the main characters while also serving as representatives of the ideals and values of the times. It’s a sweeping, heavily plotted story but all the threads are fit together well, and the score by Stephen Flaherty and Lynn Ahrens is powerful, influenced by the sounds of the times including vaudeville and, obviously, ragtime. The band here, led by music director E. Reneé Gamez, is excellent, filling the stage with that marvelous score and supporting the actors’ excellent vocals well.

The cast is remarkable, and the most well-rounded I’ve seen in a production of this show, even though both previous productions I have seen were excellent. STAGES has taken this show to the next level, with a well-measured staging that emphasizes the emotion and scope while especially highlighting character and personal connection, and the stellar cast is a large part of why this staging works so well. From what I’ve seen before, the stories of Coalhouse and Sarah, and Mother’s journey of discovery have tended to overshadow Tateh’s story to a degree. Here, all three main stories seem to be given equal weight, with dynamic turns from Greene in a powerful portrayal of the increasingly determined Coalhouse, McGowan in a thoughtful and vocally impressive performance as Mother, and Golub shining as the enterprising and charming Tateh, who displays credible chemistry with McGowan. in his developing friendship with Mother. Pimentel is also remarkable as Sarah, making the most of her moments with Greene’s Coalhouse. Other standouts include Cox as the initially aimless Younger Brother, Von Rosch as the activist firebrand Goldman, Ellis as the perky starlet Nesbit, and Reichert in a fun, mostly comic turn as the curmudgeonly Grandfather. The child performers, Holmes and Klevorn, are also impressive, more than holding their own with the adult members of the cast. It’s a strong ensemble all around, with strong voices and vivid characterization, contributing much credibility and weight to this story.

This is a fantastic looking show, as well, with a vivid, dynamic set by Robert Mark Morgan that utilizes moving set pieces to excellent effect. There are also exquisitely designed costumes by Brad Musgrove that add to the visual interest of the story as well as the period setting and tone. Sean M. Savoie’s lighting is also dazzling, in keeping with the broad scope and epic tone of the story that’s being told. The sound mixing was a little uneven on the night I saw the show, with some characters being difficult to hear at times, but this did improve in the second act, and I hope it continues to improve as the show’s run continues.

This is, to put it simply, the best production of Ragtime I have seen. If you love this show, you won’t want to miss this, and if you haven’t seen it before, this is an excellent introduction to this stirring, thought-provoking show. It exceeded my lofty expectations, and it’s a powerful way to close out this already excellent season at STAGES. 

Shereen Pimentel, Tamar Greene
Photo by Phillip Hamer Photography
STAGES St. Louis

STAGES St. Louis is presenting Ragtime at the Kirkwood Performing Arts Center until October 20, 2024

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