Archive for April, 2025

Upstream Takes a Harrowing, Symbolic Journey in “Meet Me at Dawn”

Posted in St Louis Theatre, tagged , , , , , on April 19, 2025| Leave a Comment »

Meet Me at Dawn
by Zinnie Harris
Directed by Larissa Lury
Upstream Theater
April 12, 2025

Michelle Hand, Lizi Watt
Photo by ProPhotoSTL
Upstream Theater

Two people are stranded on an island–or is it really an island? Waves crash against sand, and the couple try to figure out what’s happening, and how to get back home. That’s essentially the setup for Zinnie Harris’s highly symbolic, heavily emotional play Meet Me at Dawn, which is currently being staged by Upstream Theater at the Marcelle, directed by Larissa Lury and starring two excellent local performers, Lizi Watt and Michelle Hand. Mystery is an important element of this relatively short but powerful story, but what isn’t mysterious at all is the obvious talent on display in this fascinating, remarkable production.

As the play begins, Robyn (Watt) seems to be stranded in an unspecified space, isolated and starkly lit, but when her partner Helen (Hand) appears, it becomes clear that they are stranded on a beach after a boating accident. Both are soaking wet and confused, trying to figure out where they are and how to get help. As the story progresses, it soon becomes clear that not everything is as it may seem, as the two encounter an evasive woman who speaks oddly (acted by both performers in turn), and doesn’t seem to be able to help. Robyn especially seems mixed up, soon finding herself confronting memories that don’t seem to match up with what is happening. As the two take stock of their lives together, and desperately try to find their way back home, new revelations make it increasingly obvious that there is more going on here than first meets the eye. It’s a profound emotional journey exploring aspects of hope, disappointment, attachment, and especially grief.

I can’t explain much more because I don’t want to spoil it, but this is a compelling and multi-layered, symbol-filled journey into the minds and hearts of these characters, remarkably acted by Watt and Hand, who make a credible couple and who both make memorable impressions on this harrowing, thoughtfully constructed journey of discovery and denial; reminiscence and regret. In terms of emotional expression, drama and moments of humor, these two hit all the beats with just the right emotional resonance, and it’s a fantastic turn from both, who manage to be compelling and all the more relatable as what is actually happening becomes even more clear. 

The sensory experience is also profoundly affecting, with Patrick Huber’s blend of abstraction and realism in the detailed set forming an ideal base for the action, and Tony Anselmo’s fantastically realized, evocative lighting adding much to the overall emotional power and enigmatic tone of the story. There’s also excellent work from Lou Bird on costumes and Kristi Gunther on sound. Also, the universal nature of a lot of the emotions, along with the “out of time” feel of a lot of the story, is emphasized in the wise choice not to use British accents here, even though the language of the play makes it clear that the playwright is UK-based. 

Meet Me at Dawn is a thoughtful, emotional experience. It’s a cleverly constructed tale that makes the most of its roughly 90-minute runtime to explore aspects of love and grief with remarkable sensitivity and richly drawn characters. It’s a show that you just might find yourself thinking about for a long time after you leave the theatre. 

Lizi Watt, Michelle Hand
Photo by ProPhotoSTL
Upstream Theater

Upstream Theater is presenting Meet Me at Dawn at the Marcelle until April 27, 2025

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Midnight’s “This Will Be” is a Fitting Celebration of Subject, Performers

Posted in St Louis Theatre, tagged , , , , , on April 17, 2025| Leave a Comment »

This Will Be: The Spirit & Soul of Natalie Cole
Written and Directed by Joe Hanrahan
The Midnight Company,
April 11, 2025

Kimmie Kidd
Photo by Todd Davis
The Midnight Company

Joe Hanrahan’s Midnight Company has another “Cabaret Theatre” piece in its repertoire now, having just opened at the Blue Strawberry as a showcase for the works of a celebrated singer (well, two really), and serving as a showcase for three excellent performers, and particularly the stunningly talented headliner, Kimmie Kidd. Structured as something of a staged documentary, This Will Be: The Spirit & Soul of Natalie Cole is a fairly comprehensive overview of Cole’s music and career. It’s also a tribute to themes of nostalgia, growing up, and parents’ enduring influence on their children. 

The structure is a little odd, but it works, especially as a vehicle for the Kidd’s remarkable talents and presence. Kidd is essentially the narrator, telling Cole’s story and singing most of the songs, as well as sharing some personal remembrances of “Little Kimmie” discovering Cole’s music as a child growing up in St. Louis. The role of Natalie Cole is acted primarily by Christina Yancy, who along with Dareis Lambert as Natalie’s father Nat King Cole–sings backup along with Kidd on a series of Natalie’s hit songs like the memorable title song, as well as “Inseparable”, “I Live For Your Love” and more, including a tribute to her late father on the classic “Unforgettable”, which Natalie recorded as a duet with her father’s recorded vocals, and which Kidd performs her with Lambert, who has a few memorable solo moments including the Nat King Cole classic “Nature Boy”. 

Backed by an excellent combo featuring music director Colin Healy on piano, Bradley Rohlf on percussion and backing vocals, Kidd is the undisputed star of this show, although Lambert and Yancy lend excellent support as well.  Kidd sings Cole’s classic songs with energy, style, and sheer vocal power and excellence. The story of Cole’s life is also compelling, as young Natalie grew up fairly sheltered as the daughter of one of America’s first “mainstream” Black celebrities, and then discovered more of the world after her father’s death when she was a teenager and she grew up and attended college in Massachusetts and became involved in a more varied music scene including rock ‘n roll. The story covers her relationship with first husband and musical collaborator Marvin Yancy, along with struggles with addiction and the continuing influence of her father throughout her life, even long after his death.  Front and center throughout is Kidd and the memorable soundtrack of Natalie Cole’s enduring hits. 

It’s a thoroughly entertaining evening, especially for fans of Natalie Cole and Nat King Cole. There’s only one more performance scheduled, but judging from the full, enthusiastic audience on opening night, I won’t be surprised if this gets additional dates, like previous cabaret theatre productions from The Midnight Company. It’s a fun, educational celebration of musical talent from two legendary singers as well as the remarkable talent of its headlining performer. 

 

Dareis Lambert
Photo by Todd Davis
The Midnight Company

Christina Yancy
Photo by Todd DAvis
The Midnight Company

 

 

 

 

 

 

 

 

 

 

The Midnight Company is presenting This Will Be: The Spirit & Soul of Natalie Cole at the Blue Strawberry, with one more performance on April 18th, 2025

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“With” Takes a Rough and Compelling Look at a Couple in Crisis at STLAS

Posted in St Louis Theatre, tagged , , , , , on April 14, 2025| Leave a Comment »

With
by Carter W. Lewis
Directed by Annamaria Pileggi
St. Louis Actors’ Studio
April 6, 2025

Whit Reichert, Donna Weinsting
Photo by Patrick Huber
St. Louis Actors’ Studio

Carter W. Lewis is a gifted, thoughtful playwright who has already had two short plays performed at St. Louis Actors’ Studio as part of their LaBute New Theater Festival, with one of these, “Percentage America” winning a St. Louis Theater Circle Award for Best New Play in 2018 (tied with SATE’s First Impressions). Now, STLAS is presenting their first production of a full-length play by Lewis, the compelling, tragicomic With. This in-depth look at a long-married couple in crisis is a terrific showcase for two tour-de-force performances by two veteran local performers, and although it’s a relatively short play, it takes on quite an emotional journey with these two memorable characters. 

This is somewhat of a difficult play to describe, since the unfolding story could be too easily spoiled, and it’s best to find out what’s happening as it happens. The set-up involved Minnie (Donna Weinsting) and Clifford Habberdeen (Whit Reichert), a loving but bickering married couple who are both experiencing health crises–physical for Minnie (a cancer diagnosis) and mental for Clifford (dementia). They’re enduring a hard winter in the house they’ve lived in for decades, and over the course of the show, they reflect on their life together, their relationship with their estranged adult son, and their plans for the future. As the story goes on, it becomes clear that there are secrets being kept, and Minnie especially seems to be taking advantage of Clifford’s memory lapses for what she seems to believe is his own good. They are one of those “can’t live with them, can’t live without them” sort of couples, and the increasing urgency makes their interdependency become all the more obvious as the winter rages on and decisions need to be made.

The story is especially well constructed, with elements that are mentioned in passing becoming more important later on, and the characters being especially well-drawn, with their relationship being especially realistic. The ups and downs in this couple’s relationship are especially credible, as is their undeniable bond and chemistry, which is especially well played by the remarkable Reichert and Weinsting. Both are strong actors, and I’ve seen them both in many plays in the past, and this is an astounding achievement for both. The fastidious, cranky Clifford and the insistent, anxious Minnie are made memorable by these two extraordinary performers. The humor, drama, intensity, and urgency all comes across along with the clear sense of love these characters share. It’s a journey that can be quite harrowing at times, and these two take the audience along for the ride without missing a beat.

The technical aspects of the productions are also excellent, with the meticulously detailed set by Patrick Huber, along with Huber’s fantastic atmospheric lighting create a compelling world in which these characters live. There’s also excellent work from costume designer Teresa Doggett, and props and sound designer Emma Glose. I’m constantly amazed at how well this company is able to use their small performance space, and this play is another excellent example. 

With is a challenging, thought-provoking play and an astute character study. There’s a lot going on here, and a lot to think and talk about. It’s also an exemplary showcase for two fantastic performers at the top of their game. There’s one more weekend to catch it, and I highly recommend checking it out. 

Whit Reichert, Donna Weinsting
Photo by Patrick Huber
St. Louis Actors’ Studio

St. Louis Actors’ Studio is presenting With at the Gaslight Theater until April 20, 2025

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SATE’s “Aphra Behn Festival” Impresses with Thoughtful, Imaginative Stories

Posted in St Louis Theatre, tagged , , , , , , , , , , , , on April 13, 2025| Leave a Comment »

Ninth Annual Aphra Behn Festival
SATE Ensemble Theatre
April 5, 2025

Image: Sate Ensemble Theatre

SATE’s annual Aphra Behn Festival ran last weekend at the Chapel, reflecting the company’s theme for its 2025 season: the “Season of Adventure”. All three plays featured here explore that theme in different ways, and they are each especially entertaining and thought-provoking in their own ways. This is an excellent lineup of plays, with first-rate casts and thoughtful direction. Here are some brief thoughts about all three entries:

“Felicity” by Dylan Molloy, Directed by Ashwini Arora 

This play is part coming-of-age story, part sci-fi, and overall a fascinating look at two young people and their relationships with each other and the world around them. The two characters are remarkably played by Lyd Foss as Will and Rose Shawver as June. The two are childhood best friends who are facing the reality of growing up in a world where their future seems bleak, but the imminent launch of the spaceship Felicity in an effort to colonize Mars gives them a moment to reflect on their place in the world, as well as how they relate to each other and their peers.

The sci-fi elements here are subtle but clear, and there are also themes of climate change, economic disparity, and strict class structure. It’s one of those “five minutes in the future” sort of stories, which adds a compelling backdrop to the main attraction, which is these two intriguing characters and their interactions, which show their close bond as well as the threats from growing up and pressures of outside expectations. The setup here, and the conversations, seem entirely natural and credible. This is a play that’s made even more powerful by the thoughtful performances and direction. It’s a thought-provoking, profoundly insightful story.

Scenes from Pierrot’s Blanket by Meredith Lyons, Directed by Christina Yancy

This delightful presentation is apparently a series of vignettes from a larger work, centering on traditional French “Sad Clown” character Pierrot, or Pierre (Joseph Garner), and a sort of love-interest character known as “Blanket” (Miranda Jagels Félix), who become involved in a series of comic escapades that are also contain degrees of romance and poignancy. There’s also a great deal of physicality involved, involving mime and physical comedy.

Garner is a delight in a highly expressive performance as the earnest Pierre, who finds himself in various situations including working in a high-pressure restaurant kitchen presided over by an imperious chef (Jan Niehoff), and as a guest performer on a late night talk show hosted by the excellent Niehoff. Jagels Félix is also excellent as the elusive, flirtatious Blanket, and Kaylyn McCoy provides strong support as an apprentice chef and the talk show announcer. This is a highly entertaining story and it made me curious about what the full show is like.

“The Inferno is for B*tches” by Aurora Behlke, Directed by Kayla Lindsay

The evening got a hard-rocking finale in this clever, creative show following a high school student, Heaven (Celeste Genevieve Gardner) trying to salvage her grade after having failed to finish an essay on Dante’s Inferno by performing a “visual essay” of sorts in the form of a punk-rock concert and skit, aided by her twin cousins Manny (Bradley Rohlf) and Mannie (Claudia Barney), who play in her band as well as playing characters in a sort of reenactment of the Inferno story  casting Heaven in the central role, as she has been apparently banished to hell for pirating the movie Detective Pikachu on her family’s computer. 

This show is a lot of fun, featuring a good representation of what the Inferno is about while also giving it a driving punk score and lots of modern youthful attitude. Gardner is full of energy and likable personality as Heaven, and Barney and Rohlf are also strong in their supporting roles and musical skills. This is a hilarious, thought-provoking, musically memorable show that leaves a strong impression and works well as a finale for the festival.

There’s also great work across the board from lighting designer Erik Kuhn, costume designer Tyler White, and  projection designers Kayla Lindsay and Ellie Schwetye, sound designers Christina Yancy and Schwetye. The technical aspects of all shows contributed to the overall look and vibe of this festival, and added much in the way of entertainment value. Overall, this was a thoroughly impressive Aphra Behn Festival, and I hope each of these shows can have a life beyond their initial performances. 

 

 

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WEPG Explores Relationship Crises, Memorable Characters “At the Wedding”

Posted in St Louis Theatre, tagged , , , , , on April 10, 2025| Leave a Comment »

At the Wedding
by Bryna Turner
Directed by Anna Blair
West End Players Guild
April 4, 2025

Alexis Monsey, Steph House
Photo by Anna Blair
West End Players Guild

West End Players Guild’s latest production, Bryna Turner’s At the Wedding, packs a lot of character into its roughly 75 minute running time. It also features some fun participatory elements, so the audience gets to “attend” the show’s titular wedding along with its central character, Carlo (Steph House). Although the plot is fairly predictable, the characters, especially Carlo herself, are well-drawn, and the cast is particularly strong, as are the various elements that help to achieve and maintain the overall modern wedding atmosphere. 

Carlo starts out sitting at a table the wedding reception, telling a story about love and loss that comes across as emotional and oversharing. We find out that she’s attending the wedding of her ex-partner, Ava (Angela Healy) to a man who is only ever referred to as “the Groom”, and she’s still processing her feelings about the split even though it seems like some time since she and Ava broke up.  Through the course of the evening, Carlo meets with various members of the wedding party, guests, and others while trying to deal with her own feelings of rejection and inadequacy and trying to find the strength and hope to move on. Among the people she encounters are bridesmaid Carly (Alexis Monsey), with whom Carlo has an adversarial relationship; wedding guest Eli (Kevin Hester), who is something of a romantic and is full of quotes from Coleridge’s The Rime of the Ancient Mariner; mother-of-bride Maria (Deborah Dennert), who is drowning her sorrows after finding out her ex-husband has brought his new girlfriend to the wedding; and the somewhat mysterious Leigh (Nachalah Duclerne), a wedding guest who forms a flirtation with Carlo and tries to convince her to skip out on the rest of the reception. There’s also Victor (Matt Anderson), a dutiful but somewhat exasperated waiter at the venue, who seems to mostly just be hoping to finish out this job and get home to his own partner. Through the series of interactions, a few hints are dropped that some of these people may be more than what they first seem, although for the most part, this is about Carlo and her attempts to deal with her own feelings and life goals, as well as coming to terms with her breakup and Ava’s moving on in her life. 

The story is somewhat predictable, as previously mentioned. It’s fairly easy, for instance, to figure out some of the relationships that aren’t immediately spelled out. The point of this story, though, is more about the characters than the plot, and especially, it’s about Carlo, it is played with humor and cranky energy by the excellent House, who portrays a credible emotional journey as the events unfold. There are also strong supporting turns from Dennert as the personable but somewhat bitter Maria, Duclerne as the enigmatic Leigh, Anderson as the somewhat tired Victor, and Monsey as the snarky Carly, Healy as the likable Ava, and especially Hester in a winning performance as the persistently hopeful, somewhat geeky Eli. 

The wedding reception atmosphere is achieved by some fun touches such as passing out bubbles, toasting beverages, and birdseed to audience members, and encouraging the audience to sing along with the guests when they break into a rousing rendition of “Sweet Caroline”. The set by director Anna Blair is simple but effective, with excellent sound by Blair and lighting by Renee Sevier Monsey. The staging is well-paced and thoughtful, with excellent use of music (Audra Angelique is the DJ), and all the songs well-chosen for the scenes in which they are used.

At the Wedding isn’t an intricately plotted show, and there are predictable elements, but the memorable characters and semi-immersive wedding reception setting help to make it entertaining and engaging. The blend of humor and drama works reasonably well, and House’s performance–as well as Hester’s–help to lift this play to another level. It’s a good show to check out from West End Players Guild. 

 

Matt Anderson, Kevin Hester, Steph House
Photo by Anna Blair
West End Players Guild

West End Players Guild is presenting At the Wedding at Union Avenue Christian Church until April 13, 2025

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Energetic “Rock of Ages” at STL Has Strong Cast, Silly Plot

Posted in St Louis Theatre, tagged , , , , , , , , on April 10, 2025| Leave a Comment »

Rock of Ages
by Chris D’Arienzo
Arrangements and Orchestrations by Ethan Popp
Directed by Justin Been
Choreographed by Mike Hodges
Stray Dog Theatre
April 3, 2025

Dawn Schmid, Drew Mizell
Photo: Stray Dog Theatre

Where were you in 1987? I know some of my readers probably weren’t even born, and answers to that question will vary among those who were around. For me, I was in high school, and the subject of Stray Dog Theatre’s latest production, the jukebox musical Rock of Ages, is quite familiar to me. Still, the “affectionate parody” route that the script takes comes across as hit or miss, and the plot is aggressively silly. Still, what this show does have going for it is an excellent, enthusiastic cast, a memorable band, and a well-established sense of time and place. 

As I mentioned, I was in high school during the time this show is set, although I was more into “classic rock” (from the 60s and 70s) at the time, and the “hair metal” bands and performers that this story mostly focuses on were not among my favorites. I think that audience appreciation of this show will depend largely on what you think of the music and culture of the hard rock/heavy metal scene in the 1980s, although not all of the music in this show fits neatly into that category, and there are some hits that I think transcend the genre and have more wide appeal. The characters are also largely stereotypes, but the broadly comic tone does provide a good platform for performers to go all out, in both vocals and acting. 

The story focuses mainly on Drew (Drew Mizell), who works as bar staff for the Bourbon Room, a rock club on LA’s Sunset Strip. Drew is an aspiring musician who hopes to make it big. There’s also Sherrie (Dawn Schmid), a “small town girl” from Kansas who heads to LA to pursue an acting career, who meets Drew and becomes a waitress at the club. The two share an attraction, but of course there are obstacles–most of which seem obviously manufactured. Soon, fading rock star Stacee Jaxx (Clayton Humburg), who got his start at the Bourbon Room, is persuaded by the club’s owner Dennis (Jeffrey M. Wright) to perform his last show with his band, Arsenal, before launching a solo career. Jaxx turns out to be a Grade A jerk, to put it mildly, although Sherrie is too starstruck to notice this at first. Meanwhile, German businessman Herz (Jacob Wilkinson)–along with his meek son Franz (Luke A. Smith)–has arrived in town with a plan to redevelop the Sunset Strip, which would include the demolition of the Bourbon Room. Activist Regina Koontz (Sarah Polizzi), who was fired from her position at the mayor’s office for her opposition to the plan, leads a protest and attracts the attention of Franz. There are a few other subplots mixed in as well, all narrated by Dennis’s protege and Bourbon Room sound guy Lonny (Bradley Bliven).

As you can probably see, there are a whole lot of plots here. There are also a lot of cliches and stereotypes, and jokes that range from silly to crass, and the cast does seem to be having a lot of fun here. Mostly, the singing is great, with Mizell, Schmid, Humburg, and Jade Anaiis as Venus Gentleman’s Club proprietor Justice as standouts. Mizell and Schmid make a believable couple, and both give their all to their roles, although the role of Drew is somewhat bland as written. Schmid especially manages to inject a great deal of personality into her role, and Polizzi is also an acting standout with strong comic abilities. Bliven and Wright are also memorable as Lonny and Dennis, and Smith has some memorable moments as Franz, and the ensemble is strong as well, for the most part, especially vocally. Some of the roles are particularly underwritten or stereotypical, like Herz and especially Stacee Jaxx, who comes across as a completely one-note jerk despite Humburg’s excellent vocals and energy. There is dynamic choreography by Mike Hodges that lends pizzazz to the production numbers and memorable songs like “Here I Go Again”, “Don’t Stop Believin'”, “We’re Not Gonna Take It”, and more. 

The visuals here are especially strong, with a marvelously detailed set by Rob Lippert that evokes the look and vibe of a 1980’s hard-rock nightclub with remarkable effect. There are also colorful costumes by Collen Michelson that suit the characters well and effectively  reflect the time and subculture. The wigs by Sarah Gene Dowling are fun, as well, and Tyler Duenow’s lighting is fantastic. There’s also a great onstage band led by music director Mallory Golden. 

Ultimately, Rock of Ages at SDT manages to entertain despite the uneven script. I think it will especially appeal to people who not only remember this era firsthand, but who also love this style of music and these songs especially. It’s a goofy story, but the cast seems to be having a lot of fun. If you have fond memories of 1980s hard rock and heavy metal, I imagine you’ll enjoy this show. 

Cast of Rock of Ages
Photo: Stray Dog Theatre

Stray Dog Theater is presenting Rock of Ages at Tower Grove Abbey until April 26, 2025

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