Archive for November, 2024

New Jewish Theatre Takes Theatregoers on a Lively “First Date”

Posted in St Louis Theatre, tagged , , , , , , , on November 25, 2024| Leave a Comment »

First Date
Book by Austin Winsberg, Music & Lyrics by Alan Zachary & Michael Weiner
Directed and Choreographed by Lee Anne Mathews
New Jewish Theatre
November 21, 2024

Mitchell Henry-Eagles, Will Bonfiglio, Molly Wennstrom
Photo by Jon Gitchoff
New Jewish Theatre

Have you ever been on a blind date? I haven’t, but after seeing New Jewish Theatre’s production of the musical First Date, I feel like I know all I need to know about the topic. First Date is a small-cast musical that had a relatively short run on Broadway, and its tone is mostly comic with a bit of a hopeful air that maybe there is someone out there for everyone, but it might take persistence and broadening your expectations. With likable leads and an enthusiastic supporting cast, this is a quirky, eventful look at the modern dating scene, especially for middle class city dwellers.

Although the Broadway production was set in New York City, a few tweaks have been made to the script to move the action to St. Louis for this version. Here, in a relatively upscale restaurant/bar, we meet Aaron (Mitchell Henry-Eagles), who has never been on a blind date before and is nervous, while also trying to keep his mind off his ex-fiancée, Allison (Greta Rosenstock), who still looms large in Aaron’s mind, while his best friend Gabe (Jayson Heil) also appears in imaginary form to encourage Aaron to move on. The somewhat geeky Aaron soon meets his date for the evening, Casey (Molly Wennstrom), a quirky aspiring artist who is a veteran of blind dates and has had a series of disastrous relationships with “bad boys”, and is wary upon finding out that Aaron is not her usual type. The pair have been set up by Casey’s happily married sister, Lauren (Grace Seidel), and Lauren’s husband, Kevin, who works with Aaron.  Among the figures such as Lauren, Allison, and Casey’s bestie Reggie (Drew Mizell)–who keeps calling to offer Casey a “bail-out” of the date–who either “appear” in the would-be couple’s minds or from elsewhere, there’s also the Waiter (Will Bonfiglio), who is determined to make his guests’ lives entertaining for the time they are there, including leading a production number with the other staff that he supposedly wrote himself. Meanwhile, we see the progression of Aaron’s and Casey’s date, from skeptical first impressions, to sharing details of their lives, and trying to sort out the voices in their heads and figure out whether they actually want to pursue a relationship beyond this one encounter. It’s a funny show, with memorable songs and well-drawn characters–especially the two leads, and the Waiter who essentially serves as Narrator/Master of Ceremonies/Commentator on the Action. 

The cast is great, with much in the way of presence and enthusiasm, and strong voices. Wennstrom and Eagles make an excellent will-they-or-won’t-they pair, with chemistry that builds naturally but also effectively keeps viewers guessing, at least for a while, since the show is fairly predictable in most of its arcs. Both performers portray a believable mixture of trepidation and vulnerability, and Wennstrom especially has an impressive voice.  Bonfiglio is a delight as the Waiter, as well, with strong comic timing and hilariously snarky charm. Heil, Mizell, Seidel, and Rosenstock each play a variety of characters in addition to the ones listed above, providing some memorable comic moments.  These four also form a strong supporting ensemble in the group numbers. The direction and choreography,  both by Lee Anne Matews, are thoughtful and energetic, with a “quirky rom-com” sort of vibe that’s appropriate for the subject matter.

The technical qualities are top notch, as is usual for this company. John Stark’s set is effective, with a fun setup giving it an appropriate restaurant vibe, including seating some audience members at tables mixed in with the tables containing the members of the ensemble. The fantasy elements are well-realized by means of the set and the excellent lighting by Denisse Chavez. Amanda Werre’s sound design is also strong, as is the first-rate on-stage band led by music director Larry D. Pry. 

First Date is a fun show, playing out the highs and lows of the dating scene with humor and heart. Its two leads make a convincing pair to root for, especially, even though there are moments of indecision that drag out a little too much. Still, this is an entertaining, mostly upbeat way to end an excellent 2024 season for the New Jewish Theatre. 

 

Molly Wennstrom, Mitchell Henry-Eagles and Cast
Photo by Jon Gitchoff
New Jewish Theatre

The New Jewish Theatre is presenting First Date at the J’s Wool Studio Theatre until December 8, 2024

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PPA Alumni Reflect, Ponder, and Educate in Engaging “As Told by Us”

Posted in St Louis Theatre, tagged , , , , , , , , , on November 20, 2024| Leave a Comment »

As Told By Us
PPA Alumni Theatre Company
November 17, 2024

PPA Alumni Theatre Company recently came to Greenfinch Theater & Dive to tell their stories in the form of two intriguing and engaging one-act plays reflecting personal relationships and experiences. It was an entertaining and sometimes educational mix of comedy and drama, featuring some memorable performances.  Here are some brief thoughts:

“Go Before I Do”
by Hazel McIntire
Directed by Eric Satterfield

Katie Leemon
Photo by RayBay Creates
PPA Alumni Theatre Company

In this story, Katie Leemon as the bartender gives the audience thoughts about life and drink recipes before a Daughter (Jocelyn Padilla) and Father (David Nonemaker) enter the bar and engage in occasionally tense conversation about their views of life, relationships, city vs. small town living, and more. It’s an intriguing relationship, with the idea being that the daughter doesn’t necessarily realize what she can learn from her father until it may be too late, although the story is a bit talky.

All three players turn in engaging performances with Leemon’s Bartender being the obvious standout. The staging is simple, with a fairly basic set featuring the bar and a table and chairs that serve the story well, and good work from lighting and set designer Bess Moynihan in establishing and maintaining the mood of the production.

 

“Don’t Be a Hero, Thank You”
by Katie Leemon
Directed by Rachel Tibbetts

LaWanda Jackson
Photo by RayBay Creates
PPA Alumni Theatre Company

This play was the highlight of the production for me, dealing with the complex topic of re-entry into the outside world after release from prison with humor and occasional poignancy, and featuring a thoroughly winning performance by LaWanda Jackson as Kate, who is adjusting to her new life and reflecting on her time while incarcerated. There’s also fun use of projections by Eric Satterfield to illustrate Kate’s points that cover topics of maintaining friendships, dating, getting used to life on the “outside” and more. There’s fun recurring segment about “How to Make a Prison Christmas Tree” that runs throughout the play, as well. 

Jackson is excellent, plain and simple, with the right blend of comic timing and credibility in the more serious moments. There’s also a strong turn from Kristen Strom in a variety or roles, including one of Kate’s best friends from prison, Sara, who is struggling with her own unique issues after getting out. This is an engaging and educational show with a strong sense of pacing and excellent use of the set and props. It’s an enlightening look at the experience of incarceration for those who haven’t experienced it, and I imagine it would be especially relatable for those who have. 

Overall, As Told By Us was an engaging, memorable theatrical experience featuring memorable themes and performances, and working especially well at the Greenfinch venue. It offers insights into aspects of the human experience that not everyone may have lived, but that are important to know for purposes of empathy and understanding. 

 

 

 

 

 

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Well-Played Characters Tackle Serious Subjects in First Run’s Engaging, Somewhat Talky “Elephants’ Graveyard”

Posted in St Louis Theatre, tagged , , , , , on November 20, 2024| Leave a Comment »

Elephants’ Graveyard
by Marjorie Williamson
Directed by Rob Corbett
First Run Theatre
November 16, 2024

Jan Meyer, Gwrynneth Rausch
Photo by John C. Lamb
First Run Theatre

First Run’s latest premiere production, by local playwright Marjorie Williamson, takes on some serious subject matter and packages it in the form of relatable characters, especially for viewers of the Baby Boom generation. Elephants’ Graveyard focuses on two longtime friends with contrasting personalities, well-played by a pair of excellent local performers and featuring impressive production values for their small space. It’s a story that will provoke much in the way of thought and discussion about issues of life, death, friendship, and personal connection.

Although many of the issues dealt with here are universal, the theme here is very much Boomer-focused, using songs that people who came of age in the late 1960s would resonate with by artists like Bob Dylan, Joni Mitchell, Neil Young, and more. The characters–longtime friends Smitty (Jan Meyer) and Margaret (Gwynneth Rausch)–also talk much about their experiences in their younger years such as attending Woodstock, participating in Vietnam war protests and the sexual revolution, among other things. The two are both in their 70s and have much to look back on in their lives, but they are not sure what they will be able to look forward to. The more outgoing, well-traveled, amorously adventurous Smitty talks about not having the energy to live the life she’s had before, while the more “conventional” Margaret has recently lost her husband and is dealing with a cancer diagnosis. Margaret has lived a life full of family, friends, and obligations to others, while Smitty has lived more of a carefree adventurous life with few long-term attachments. Their friendship has endured despite their differences, and they both enjoy their regular “tea parties” at Smitty’s place, where they talk, reminisce, and drink. It soon becomes obvious, though, that the generally upbeat Margaret isn’t as well as she has been letting on, and Smitty has to deal with the very real prospect of losing her closest friend, while both women take stock of their lives and try to figure out what’s really important to both of them.

This is an intriguing story, and the characters are well-defined and engaging, although there isn’t much in the way of action. Most of the story is the two women sitting at a table and talking, although there’s much to talk about and, especially as presented by these two talented performers, it never gets boring. There are some moral dilemmas presented and much to think about in terms of end-of-life issues as well as the idea of what constitutes a life well lived. It’s alternately funny, heartwarming, heartbreaking, and poignant.

The connection between the friends is the highlight of the production, with richly portrayed characterizations by the excellent Meyer and Rausch, who both manage to convey many layers to their characters and motivations. The connection between the two is strong, and both have strong presence and energy. Rausch does a commendable job portraying a believable arc for Margaret, and Meyer gives Smitty a believable mix of cynicism and worldliness. This is a character-driven play, and the casting is essential to make it work. This production has hit a home run in that department.

The set, by director Rob Corbett, is impressively detailed, becoming something of a character in itself and reflecting Smitty’s personality and the changes in the seasons and the characters’ situations with remarkable clarity. There’s also excellent work from lighting designer Nathan Schroeder and sound designer Jenn Ciaverella in setting and maintaining the overall atmosphere and reflecting the characters, who are also impressively outfitted by costume designer Tracey Ann Newcomb in ways that reflect their personalities and character arcs.

There’s some difficult and occasionally intense subject matter here, dealing with sensitive and sometimes controversial issues revolving around illness, death, and reflections on personal life choices and relationships. It’s sure to provoke much in the way of thought and discussion. It’s well worth seeing for the strongly realized performances, and should be relatable especially to Boomers and those who are close to them. It’s an intriguing, promising new work given a strong production from First Run Theatre. 

First Run Theatre is presenting Elephants’ Graveyard at the Kranzberg Arts Center until November 24, 2024

 

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WEPG Brings Dark Comedy Home to the Midwest in Well-Cast “Butcher of Baraboo”

Posted in St Louis Theatre, tagged , , , , , on November 20, 2024| Leave a Comment »

The Butcher of Baraboo
by Marisa Wegrzyn
Directed by Renee Sevier-Monsey
West End Players Guild
November 15, 2024

Jan Niehoff, Joseph Garner, Steph House, Anna Blair
Photo: West End Players Guild

Halloween is over, and Thanksgiving is coming soon. It looks like West End Players Guild has decided to split the difference with their latest play. Marisa Wegrzyn’s dark comedy has the creep factor of Halloween along with awkward family moments which are often associated with Thanksgiving, with a touch of the Coen Brothers’ film Fargo thrown in for good measure. While this show is not for all tastes, at WEPG it’s a well-staged presentation featuring excellent pacing and a memorable cast.

The title refers to Valerie (Jan Niehoff), who we first see sitting at her kitchen table in Baraboo, Wisconsin, cleaning a meat cleaver. She works as a butcher, and seems to take pride in her work. She also just casually keeps a gallon of blood in her fridge like it’s no big deal, although it is to help her sister, Gail (Anna Blair), who is a local police officer. I’m not spoiling why, but I will say it’s darkly funny, like much of this play and its quirky and not-entirely-likable characters. There’s also Midge (Tori Shea Cole), Valerie’s adult daughter who still lives with her mom. Midge is a pharmacist who may be using her position in not entirely ethical ways, to say the least. Valerie’s husband and Gail’s brother, Frank, has been missing and presumed dead for a year, and there’s much tension in the family for various reasons. There’s also Gail’s other brother, Donal (Joseph Garner), who likes to talk and who looks forward to having another child with his somewhat shy, seemingly naive wife, Sevenly (Steph House), who is originally from Provo, Utah, and doesn’t seem as enthusiastic about adding to their already large brood of six. There are several interweaving strands to this plot, involving personal secrets and regrets, family tensions, ice fishing, butcher knives, pharmaceuticals, and the suggestions of murder, although nothing seems to go exactly as viewers might expect.

The plot is full of twists, some funny, some disturbing, some both, and some that can be interpreted either way depending on the viewer’s point of view. There’s a distinctly Upper Midwest vibe to the story and characters that also adds much in the way of atmosphere and tone. As mentioned before, these characters aren’t easy to like, but they are well-drawn and, for the most part, their motivations are reasonably clear.

What’s essential in a show like this is pacing and characterization, and this production manages both of those elements especially well. The cast, led by Niehoff’s gruff, secretive Valerie and Cole’s even more secretive Midge, is first-rate, playing all the comedy with its disturbing edge and just the right moments of depth. Blair is also a standout as the complicated Gail, who has more going on than audiences will first realize. Blair has some especially hilarious physical moments. There’s also Garner, who manages to make the talky, somewhat domineering Donal more watchable than his type would be in real life, and House is also impressive as the initially bland-seeming Sevenly, whose initially soft-spoken character is hiding a fair amount of tension and trouble of her own. The dynamics between these contrasting personalities and the threats to reveal various secrets they hide provide much of the conflict, humor, and dark edge of this story, and this excellent cast carries out their assignment especially well. 

The set by director Renee Sevier-Monsey also impresses in being both detailed and specifically characterful. The lighting-also by Sevier-Monsey, casts the appropriate mood, with strong support from Morgan Maul-Smith’s sound design. There’s no costume designer credited, but whoever assembled the outfits is also to be commended, because they fit the characters well and add much to the overall vibe of the story, as do Anna Blair’s props.

This is one of those shows that’s not going to appeal to everyone, especially concerning its often crass and occasionally downright disturbing subject matter, and its tendency to veer from comedy to the edge of despair. Still, at West End Players Guild, The Butcher of Baraboo features a highly energetic cast, excellent pacing, and a consistent sense of atmosphere and theme. If you have a strong stomach and don’t need to love the characters to be able to be entertained by them, you might want to give this show a try.

Jan Niehoff, Tori Shea Cole, Anna Blair, Joseph Garner, Steph House
Photo: West End Players Guild

West End Players Guild is presenting The Butcher of Baraboo at Union Avenue Christian Church until November 24, 2024

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Tesseract Enchants with Poignant, Well-Sung “Anastasia”

Posted in St Louis Theatre, tagged , , , , , , , , , , , on November 15, 2024| Leave a Comment »

Anastasia the Musical
Book by Terrence McNally
Music and Lyrics by Stephen Flaherty and Lynn Ahrens
From the Play by Marcelle Maurette as Adapted by Guy Bolton
Directed by Brittanie Gunn
Choreographed by Michelle Sauer
Tesseract Theatre Company
November 14, 2024

Sarah Wilkinson, Aaron Fischer
Photo by FF
Tesseract Theatre Company

Tesseract Theatre Company has become especially ambitious lately, staging more musicals, and generally “bigger” shows than ever before. Their latest production, Anastasia the Musical, continues this trend, but also manages to “shrink” the show to an almost intimate production that focuses largely on character and singing, but also features production choices that make the most of the small-ish theatre space at the Marcelle and their more limited resources appear more as an asset than a limitation. With smart direction, energetic choreography, a consistent artistic vision, and a great cast, this is more proof that Tesseract is living up to its ambitions.

The show is essentially based on the animated film from 1997, but also from the previous non-musical stage version by Marcelle Maurette, which formed the basis for the 1956 film starring Ingrid Bergman. Much of the film score is here, including perhaps its most well-known song, “Journey to the Past”, but thankfully the story has been modified to bring it a little more “down to Earth” and removing the zombie-like Rasputin as the villain and having a much less cartoonish antagonist in Gleb (Donald Kidd), a Bolshevik official who has reasons of his own to oppose the scheme of the enterprising Dmitry (Aaron Fischer) and Vlad (Kent Coffel) to pass off young amnesiac street sweeper Anya (Sarah Wilkinson) as the Grand Duchess Anastasia, who is rumored to have survived the assassination of the rest of her family. For those three, however, things get complicated as what starts out as a scam develops into burgeoning feelings between Anya and Dmitry, and Anya starts recovering memories that suggest maybe she really is the long-lost Grand Duchess. Also, Anastasia’s grandmother, the Dowager Empress (Margery A. Handy) waits in Paris and has grown weary of the long line of imposters who have written her letters claiming to be her granddaughter. Vlad, who used to be a member of the Romanovs’ court, has a former romantic connection with the Dowager’s lady-in-waiting, the Countess Lily (Kimmie Kidd), and he and Dmitry hope they can use her influence to get Anya seen by the Dowager. Meanwhile, Gleb is still on their trail, and Anya isn’t sure what’s going to happen when and if she does regain her memories.

As an animated film, and as a show produced on Broadway, this was a grand, sweeping, relatively large cast story. Here, on stage at the Marcelle, it’s a thoughtfully staged smaller cast show that still manages to keep a sense of scale despite space and cast-size limitations. Kudos to director Brittanie Gunn for the character-focused staging, choreographer Michelle Sauer for energetic and memorable dancing and movement, and the band led by music director Zach Newman for emphasizing the lushness of the score, even though there are moments when the music can overpower the singers, although that seems to be a regular issue with this venue. There’s also well-realized set design by Todd Schaefer that evokes early 20th Century Russia and Paris in an elegant way, augmented by Kevin Bowman’s atmospheric lighting and Sarah Gene Dowling’s detailed, period-specific costumes.

The cast is excellent, and the singing is exceptional from everyone involved. In addition to the remarkable performance of Wilkinson as a thoroughly believable Anya, there’s also a strong turn from Fischer as the initially scheming but gradually won over Dmitry. The scenes between these two are a highlight, as are all of the moments with Coffel as the charmingly enterprising Vlad and Kimmie Kidd as the stylish Lily. Donald Kidd is effective and in strong voice as the conflicted Gleb, and Handy is also strong as the grieving Dowager Countess. The entire ensemble is impressive, with the rest of the players filling a variety of roles as needed. Tiélere Cheatem, Scott Degitz-Fries, Ella Drake, Danielle Feinstein, Julia Gilbert Gaglio, Lindsey Grojean, Jaelyn Hawkins, Stephanie Merritt, Jacob Schmidt, and Kelvin Urday all deserve credit for their versatile, energetic performances and excellent singing, with some memorable ensemble numbers including “Stay, I Pray You”–featuring Cheatem in a poignant solo–as well as the lively “Paris Holds the Key” and more. The music here is a special highlight of this production, with lush harmonies and strong, clear vocals.

Anastasia the Musical is another excellent musical offering from Tesseract Theatre Company. You may know the animated film, but this show takes that story and brings it a degree of depth and poignancy that I haven’t seen in previous versions of this story. It’s a story of determination, discovery, and hope, well-staged by this excellent cast and creative team.

Cast of Anastasia the Musical
Photo by FF
Tesseract Theatre Company

The Tesseract Theatre Company is presenting Anastasia the Musical at the Marcelle Theatre until November 24, 2024

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Fun Revised “Peter Pan” at the Fox Takes a New Look at a Familiar Classic

Posted in St Louis Theatre, USA Theatre, tagged , , , , , , , , , , , , , , on November 14, 2024| Leave a Comment »

Peter Pan
A Musical Based on the play by J. M. Barrie
Lyrics by Carolyn Leigh, Book by Morris (Moose) Charlap
Additional Lyrics by Betty Comden, Adolph Green, and Amanda Green
Additional Music by Jule Styne, Additonal Book by Larissa Fasthorse
Directed by Lonny Price
Choreographed by Lorin Latarro
The Fox Theatre
November 13, 2024

Nolan Almeida, Hawa Kamara
Photo by Matthew Murphy
Peter Pan US Tour

Peter Pan is a classic Broadway musical that has been filmed several times over the years. It has been a hit with audiences in the past, but parts of it have become dated over the years, and the latest production, featuring new additions to the book by Larissa Fasthorse and now on tour at the Fox, has worked to fix some of the problematic elements while retaining the overall spirit and classic story and score. This production, led by several dynamic performers and an energetic young lead, works well as a family favorite and a refreshing update in that, while it does make a few necessary changes, it’s still very recognizably Peter Pan.

One of the more obvious changes is apparent from the outset. The story still starts by introducing the Darling siblings–Wendy (Hawa Kamara), John (William Foon)–and Michael (Camden Kwok) and their harried parents (Shefali Deshpande as Mrs. Darling, Cody Garcia as Mr. Darling), but the setting is no longer Victorian England but the present day, and the dog Nanna has been replaced by a distracted human babysitter, Liza (Hannah Schmidt). This setup works surprisingly well, with the idea of youth vs. “growing up” being introduced in the children’s interests and Mr. Darling’s hyperfocus on his work. Soon, Peter Pan (Nolan Almeida) arrives, and the story plays out essentially as before, but with an elevated role for Tiger Lily (played at this performance by Bailey Frankenberg) and fellow Native American denizens of Neverland, who are given a brief but poignant backstory. There are also the orphaned Lost Boys, who follow Peter and are looking for a mother, and the vengeful Captain Hook (also Garcia), who leads a bumbling gang of pirates and hope to follow through on a personal grudge against Peter. As before, the story is full of humor, adventure, swashbuckling sword fights, and the classic score featuring familiar songs like “I Gotta Crow”, “I’m Flying”, “Distant Melody” and more, with a few additions including the lively “Friends Forever” for Peter and Tiger Lily and their followers, which is a welcome replacement for an outdated previous song.

The performances and staging are lively and energetic, with a charming performance from Almeida as the determinedly youthful Peter, and by Kamara as the resourceful Wendy, who has strong chemistry with Almeida as well as with the delightful young Foon and Kwok as her brothers. Frankenberg, filling in for principal Raye Zaragoza as Tiger Lily, is also excellent and a strong dancer. Garcia in a dual role as Mr. Darling and as the vain, scheming Captain Hook is hilarious and full of energy, supported in a fun comic performance by Kurt Perry as his First Mate, Smee. There’s also a delightful ensemble of Lost Boys, Pirates, and Tiger Lily’s tribe that provide much in the way of humor, enthusiasm, and athletic dancing choregraphed by Lorin Latarro. 

The production values are especially impressive and adaptable for a tour, with a versatile set by Anna Louizos that features some clever transitions, as well as thrilling projections designed by David Bengali and dynamic flying moments choreographed by Paul Rubin. There are also colorful costumes by Sarafina Bush, as well as striking lighting by Amith Chandrashaker. 

Overall, this Peter Pan is a lot of fun, with action, humor, and lots of heart. It’s a welcome and appropriately updated production that works well while keeping the essence of the story of the struggle between the desire to grow up fast and maintaining the adventure and freedom of youth. It’s an entertaining, tuneful and visually stunning treat for all ages. 

Cast of Peter Pan
Photo by Matthew Murphy
Peter Pan US Tour

The National Tour of Peter Pan is running at the Fox Theatre until November 24, 2024

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Young Liars Fascinate with Riveting, Thought-Provoking “Wolf Kings”

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

Wolf Kings
Created by Maggie Conroy and Chuck Harper
Texts Adapted from and inspired by the Writings of Angela Carter, Alphonse Daudet, Marie de Rabutin-Chantal Sevigne, Benjamin Walker, with original material written by Chuck Harper and the Ensemble
Directed by Chuck Harper
YoungLiars
November 7, 2024

Frankie Ferrari, Kay Ailee Bush
Photo: Young Liars

YoungLiars is presenting a new show for the first time in a few years. This time, this bold, adventurous theatre company is taking their audience on a compelling, philosophical, fairy-tale influenced trip to a dystopian world and a thoughtful exploration of myths and archetypes, resistance, loyalty, friendship, and betrayal in their stylized, memorably cast new work Wolf Kings, currently being staged at The Chapel. Featuring a striking atmosphere and fascinating characters, this is a show that keeps its audience engaged and guessing through its 90 minute runtime and even beyond, making for a unique theatrical experience. 

There’s so much going on in this relatively short show that I feel obligated to warn audiences to pay attention to everything that happens, as much as possible. I also can’t describe the plot in too much detail because discovering what’s going on is a major strength of this piece. It’s also not made entirely clear what’s happening at first. The promotional materials mention a group of women who have weekly meetings “as an antidote to their dystopian daily lives” by engaging in a “clandestine theatrical soiree”. What’s not made clear, though, is exactly what they are escaping, and how they came to have these weekly meetings. Before the characters start appearing, there’s some audio that suggests some kind of battle or war, but that’s the only real clue we are given before the action actually begins. We don’t even know the time or place, although the overall vibe suggests Europe in the period between the World Wars, but there’s some more modern music played at times, and some references that suggest various times and settings. Also, the five women (Ashwini Arora, Frankie Ferrari, Keating, Maggie Conroy, Kay Ailee Bush) are joined by one man (Cassidy Flynn), who seems to regularly join the group but is warned that tonight, he wasn’t expected to be there and, after he insists on staying, he’s warned that he may very well regret his decision. 

The group engages in various games, songs, and readings, including a fun rendition of the old English music hall song “I Was a Good Little Girl ‘Til I Met You” which allows Flynn to show off an impressive higher vocal range. It’s all sort of whimsical and theatrical for a while, with degrees of snark and gradually increasing ominous undertones, as the group members play as aristocratic French ladies exchanging “compliments” and then stage a dramatic rehearsal of sorts, acting out the Little Red Riding Hood story with added elements including various men who meet Little Red on her journey and want different things from her. All the while, there are stories of a menacing and mysterious Wolf, along with exercises in divination and the specter of danger and  betrayal. That’s about all I can say without spoiling too much, but I will say this is a fascinating show, with a plot that unfolds carefully and artfully, and had me thinking about it for days after the show ended. It’s at once surprising, entertaining, and unsettling, covering concepts of loyalty, secrecy, trust, resistance, and reckoning. 

Even though I wish there was a little more backstory, the world the show creates is vividly realized, as the characters arrive one by one and remove the sheets covering various items of furniture, revealing the group’s secret hiding place from the outside world. The costumes by Marcy Wiegert offer a stylish flair and degree of theatricality to the proceedings. There’s also exquisitely crafted and timed lighting by Morgan Brennan and sound by Chuck Harper that punctuates the story with just the right blend of whimsy, mystery, and growing sense of ominous dread. There’s also excellent work from choreographer Mikey Thomas for the memorable dance moments throughout the show.

As for the cast, everyone is excellent, playing their parts with energy and strong ensemble chemistry. Flynn and Ferrari especially shine, giving multi-layered performances with an impressive range of emotions. Keating, Arora, Conroy, and Bush are also strong in their various roles, making the tone shifts and ultimate sense of urgency thoroughly convincing.

Wolf Kings is a fascinating play. It provides so much to think about as an exploration of well known fairy tales as well as familiar themes and that growing tone of mystery and suspense. It’s a welcome return to the stage for YoungLiars, and an intellectually and artistically stimulating theatrical exercise. 

Cassidy Flynn, Keating
Photo: Young Liars

Young Liars is presenting Wolf Kings at The Chapel until November 23, 2024

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St. Louis Shakespeare’s Fast-Paced “Julius Caesar” Features Memorable Performances

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

Julius Caesar
by William Shakespeare
Adapted by John Wolbers, Edited by Aarya Locker
Directed by Aarya Locker
St. Louis Shakespeare
October 31, 2024

Cast of Julius Caesar
Photo by Gerry Love
St. Louis Shakespeare

Julius Caesar is a well-known historical tragedy from William Shakespeare, but the title is somewhat deceptive. Although the story certainly revolves around the titular Roman ruler, and he is the catalyst for the action, Caesar isn’t really the main character. The main focus is on his close associate Marcus Brutus and several of the other conspirators who  become suspicious of Caesar’s ambition and move to take drastic steps to curtail it. With memorable lines and speeches, as well as an ominous tone, the show works as an excellent acting showcase, and as staged in a fast-paced, somewhat streamlined adaptation by St. Louis Shakespeare, it makes a strong, memorable impression featuring an excellent local cast.

The story starts off as Caesar (Ryan Lawson-Maeske) returns triumphant to Rome from battle, and amid the shouts of praise from the throngs of people awaiting him, he’s met with an ominous warning from a Soothsayer (Aarya Locker) to “beware the Ides of March”, which is coming up very soon. As his ally Mark Anthea (Ricki Franklin) supports him, others fear Caesar’s apparent ambition and lead a conspiracy to kill him. One of the most persistent voices in this movement, Cassius (Sam Hayes) leads the effort to recruit Caesar’s close friend Brutus (Chuck Winning) to their cause, and after much rumination, Brutus agrees. I don’t think it’s a spoiler to mention that the group–including Cassius, Brutus, Casca (Kelli Rao), Decius Brutus (Creighton Markovich), Trebonius (Don McClendon), and Metellus Cimber (Tammy O’Donnell)–succeeds in its plan, but thanks to the famous oratory skills of Anthea, and the military opposition led by Anthea and Octavius Caesar (Mo Moellering), the conspirators’ success isn’t as complete as they had wished. These events are taken from history, with mystical elements including the Soothsayer’s prophecies and various portents and omens emphasized for drama.

This version of the play, adapted by John Wolbers and edited by director Aarya Locker, is fast-paced and focuses on the key events, as well as the relationships between major characters, moving into military action in the latter parts of the play, featuring dynamic fight choreography by Todd Gillenardo. The cast is strong, led by Winning in a thoughtful portrayal of the conflicted Brutus; Hayes as the persistent, belligerent Cassius; Franklin as the loyal Anthea; Lawson-Maeske in a regal turn as Caesar; and a stirring performance from Locker as the Soothsayer. It’s a strong cast all around, with many of the players commendably playing several characters and admirably minimizing any confusion. 

There are memorable dramatic moments as well, and an overall ominous tone that’s well-maintained through excellent use of lighting designed by Kristin Gunther and sound by Charlie Hartley. The costumes by Sam Hayes are bold and colorful, and Charles Winning’s set is appropriately classically styled, featuring pillars and colorful banners, and a stage setup that serves as an excellent base for the quick-moving action of the story.

This is a relatively short production, with a run time of a little over two hours, but the times goes by briskly. It’s a memorable, character-focused Julius Caesar that provides all the historical Roman atmosphere that one might expect, with an emphasis on character and ominous drama. There’s only one performance left to see, so especially for Shakespeare fans and Roman history aficionados, I highly recommend trying to catch it.

Chuck Winning, Sam Hayes
Photo by Gerry Love
St. Louis Shakespeare

St. Louis Shakespeare is presenting Julius Caesar at the Donn Lux Family Performing Arts Theatre at Lift for Life Academy until November 2, 2024

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