Archive for May, 2025

The Black Rep’s “Radio Golf” Features Strong Cast, Compelling Story

Posted in St Louis Theatre, tagged , , , , , on May 31, 2025| Leave a Comment »

Radio Golf
by August Wilson
Directed by Jon Royal
The Black Rep
May 23, 2025

Reginald L. Wilson, Ronald L. Conner, Velma Austin
Photo by Keshon Campbell
The Black Rep

The Black Rep is one of the most consistently excellent theatre companies in St. Louis, and their latest production, August Wilson’s Radio Golf, is a remarkable example of that excellence. Directed by Jon Royal, Wilson’s insightful drama features a first-rate cast and an insightful, challenging script by one of America’s more celebrated playwrights. Even though it takes place in 1997, this story still resonates in a lot of areas of this country today. 

This is the final play in Wilson’s “Century Cycle”, which the Black Rep has now produced in its entirety twice over the years. Each play takes place in a different decade of the 20th Century, mostly in the Hill District of Pittsburgh, PA. Here, it’s 1997, and the neighborhood has been in a consistent period of decline. Real estate agent and aspiring mayoral candidate Harmond Wilks (Reginald L. Wilson) opens up an office in the area for Bedford Hills Redevelopment, Inc.–an organization he runs along with his wife Mame (Velma Austin) and college friend and banking executive Roosevelt Hicks (Ronald L. Conner).  The organization is planning to break ground soon on an ambitious residential and retail production with the aim of revitalizing the neighborhood, although that aim also requires the demolition of many of the existing structures in the area. Amid personal ambitions and goals for the neighborhood and city, the group is presented with a new obstacle in the form of Elder Joseph “Old Joe” Barlow (Ron Himes), who has apparently been bought out by the corporation but is still making efforts to paint and maintain his house, to the increasing consternation of Harmond and especially Roosevelt. Upon researching the matter, Harmond is increasingly troubled by what he finds concerning the legality of his company’s efforts to purchase the house. Longtime neighborhood resident Sterling Johnson (Kelvin Roston, Jr.)–who went to school with Harmond–supports Old Joe and organizes community protests to save the house. As the situation goes on, Harmond faces the dilemma of what to do and where his loyalties and sense of morality lie.

The play takes a personal look at real issues that still face American cities today, with older, declining, and largely Black neighborhoods seeking recovery, and debates about what true revitalization should look like, as corporate interests clash with the needs and desires of longtime community residents. Harmond, who grew up in the neighborhood and whose desire to “save” it seems genuine, is thrust into the center of the debate as his loyalties and goals are tested. It’s a fascinating play, with well-drawn characters who make a strong impression on the audience, especially as played by the excellent cast assembled here by director Royal. 

As Harmond, Wilson is an ideal protagonist, conveying real sympathy as well as a credible struggle as his goals, hopes, and plans are challenged. Wilson projects a realistic air of leadership and compassion that help make his dilemma believable. Wilson is supported by Austin in a credible turn as the increasingly conflicted Mame, who obviously loves Harmond but is increasingly confused by his actions and intentions. Conner, as Roosevelt, is also strong as the upwardly mobile, golf-loving Roosevelt, whose quest for corporate success provides a challenge to Harmond’s dilemma. There are also especially strong turns from Roston as the principled Sterling and especially Himes in a fantastic, scene-stealing performance as Old Joe, who becomes the emotional and moral heart of this show. 

The world and era of the play are well-realized by means of Jim Burwinkel’s well-appointed set and Mikhail Lynn’s excellent props. The costumes by Shevare Perry are detailed and suited to the period and characters, as well. There’s also fine work from lighting designer Jayson Lawshee and sound designer Justin Schmitz, helping to maintain a consistent atmosphere for the story.

The Black Rep does great work, and Radio Golf is an impressive example of a superlative theatrical tradition. It’s a compelling, still-relevant play by an important playwright, well cast and well staged. It speaks not only to the 1990’s, but also to today. 

Ron Himes
Photo by Keshon Campbell
The Black Rep

The Black Rep is presenting Radio Golf at Washington University’s Edison Theatre until June 8, 2025

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Tesseract’s “POTUS” is a Well-Choreographed Madcap Farce

Posted in St Louis Theatre, tagged , , , , , , on May 31, 2025| Leave a Comment »

POTUS: Or, Behind Every Great Dumbass Are Seven Women Trying to Keep Him Alive
by Selina Fillinger
Directed by Jessica Winingham
Tesseract Theatre Company
May 22, 2025

Angela Jean Hetz, Kelly Schnider, Kimmie Kidd, Isa Davis, Sarajane Clark, Angelia Prather
Photo by Florence Flick
Tesseract Theatre Company

Farces are fun. They’re wild, chaotic, and unpredictable; or that’s how they appear onstage. The reality, however, is that every “chaotic” move has to be precisely choreographed so that it only looks like chaos to the audience. Still, it has to be believable, and the cast and director need to be up to the task. All those requirements are met with enthusiasm in Tesseract’s new production of Selina Fillinger’s wild, raunchy, satirical POTUS: Or, Behind Every Great Dumbass Are Seven Women Trying to Keep Him Alive, directed with precision by Jessica Winingham. 

The characters and situations are exaggerated, as is expected for this type of play, but the resemblance to modern politics is jarringly recognizable. The characters are all women who are in some way connected to an unseen womanizing, buffoonish president–referred to only as “POTUS” throughout the play–who is currently involved in an international nuclear proliferation conference. His chief of staff Hariette (Kelly Schnider) and press secretary Jean (Sarajane Clark) begin the story trying to deal with an inflammatory comment POTUS has made about the First Lady, Margaret (Kimmie Kidd), and the reactions of various countries involved in the talks. This is only the beginning of the difficulties, however, as other issues arise concerning a possible pardon for the president’s brash, drug-dealing sister Bernadette (Angelia Prather), and a seemingly flighty, pregnant young woman named Dusty (Isa Davis) shows up for an appointment with Harriette and also looking for POTUS. And then there’s Stephanie (Angela Jean Hetz), a nervous, insecure personal assistant who is worried she’s about to be fired, and then gets even more erratic after taking some “Tums” given to her by Bernadette. As the story goes on, the situation gets wilder, and a shocking event at the end of Act I makes things even more precarious, causing the women to scramble to find a solution to their problem. Meanwhile, journalist Chris (Laurell Renea Costello) is trying to find out as much as possible for a “big scoop” of a story while the others scramble to keep her out of the loop. 

So much happens in this play, it’s becomes somewhat difficult to keep track of what’s happening at various moments, but that’s the nature of this type of play. The characters are all broadly drawn, which again is usual for a farce. There is an intriguing subversion of stereotypes in some of the characters–particularly Dusty, who proves to be far more savvy than she first appears, and Bernadette, who turns out to be especially resourceful. The cast is excellent, led by Clark and Schnider as the ones who seem to be the most in charge, and a hilarious turn from Hetz as the increasingly unpredictable Stephanie. Kidd is also memorable as the strong-willed Margaret; Prather shows excellent comic bravado as Bernadette; Davis is hilariously determined as Dusty; and Costello is also strong as the persistent Chris. All players show cohesive chemistry and excellent comic timing, carrying out the madcap plot with precision and top-notch comic timing.

The pacing is fast and well orchestrated, making use of a deceptively simple but clever set by director Winingham that consists largely of a series of moveable archways that are rolled into place at various times as the situation requires. There’s also excellent lighting by Tony Anselmo and sound by Michael Musgrave-Perkins that work well to carry the theme and mood of the show. The costumes by Mary Bobbins are well-suited to the characters, as well. 

POTUS is a wild, irreverent, crass, and ultimately hilarious farce that lampoons modern American politics–and the views on women in political roles vs. men–with sharp wit and wild situations. The script can be hard to follow at times, but the execution here is especially strong and well-timed. It’s a riotous, fast-moving, “R-rated” farce that brings lots of laughs and much to think about.

Kelly Schnider, Sarajane Clark
Photo by Florence Flick
Tesseract Theatre Company

The Tesseract Theatre Company is presenting POTUS: Or, Behind Every Great Dumbass Are Seven Women Trying to Keep Him Alive at the Kranzberg Arts Center until June 1, 2025

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Smart, Delightful “& Juliet” Remixes Shakespeare at the Fox

Posted in St Louis Theatre, USA Theatre, tagged , , , , , , , , on May 22, 2025| Leave a Comment »

& Juliet
Music and Lyrics by Max Martin and Friends, Book by David West Read
Directed by Luke Sheppard
Choreographed by Jennifer Weber
The Fox Theatre
May 20, 2025

Rachel Simone Webb, Teal Wicks and Cast
Photo by Matthew Murphy
& Juliet North American Tour

& Juliet is, in my estimation, quite possibly the perfect jukebox musical. I’ve had a bit of a love-hate relationship with jukebox shows, considering a lot of them come across as more of a collection of acted out songs with a contrived book, but there are exceptions. & Juliet, which I first saw in London before it opened on Broadway, not only has a witty, cleverly constructed book, but it puts its collection of hit pop songs written or co-written by Max Martin to excellent use, often making them seem like they were written for this show. The look, sound, and overall  vibe of this show is smart, funny, and thoroughly entertaining, and the North American tour now playing at the Fox is a fantastic iteration of this marvelous show. 

The show is often described as “what would happen if Juliet didn’t die at the end of Romeo & Juliet?” While that description is essentially true, there’s a lot more than that to this plot. I think of it as sort of a marital conflict worked out through theatre, as the premise has William Shakespeare (Corey Mach) about to open his new tragedy when his wife Anne Hathaway (Teal Wicks) shows up and puts a wrench in his plans, declaring his ending unsatisfying and wanting to write her own, for deeper reasons that will be revealed as the show goes on. So Shakespeare hands Anne his quill and she takes over, as Juliet (Rachel Simone Webb) gets her grand entrance, alone in a tomb, singing the Britney Spears classic “Baby One More Time”. The grieving Juliet then goes on an adventure–with continued wrangling for the quill between Shakespeare and Anne–that gives her a group of friends, including her nurse Angélique (Naima Alakham), best friend May (Nick Drake), and other best friend April (a self-insert played by Anne herself). Their journey takes them to Paris, where they meet the shy François (Jaydon Nget), who is being pressured by his father Lance (Paul Jordan Jansen) to either marry or join the army. There’s also a surprise connection between Lance and Angélique, as various entanglements and confusions lead to rushed decisions, unexpected attractions, and many surprises including the appearance of Romeo (Daniel J. Maldonado).

As the story plays out, many themes are explored including journeys of self-discovery including personal agency, gender roles and identity, marital tensions, and parent-child conflictions, along with secrets and revelations and a soundtrack of familiar songs (and one new one–“One More Try”) that are integrated into the story about as well as I’ve ever seen in a jukebox musical. It’s funny, it’s bold, it’s thoughtful and heartfelt, and an excellent blend of Shakespearean themes with modern values and ideas, with a fun aesthetic that combines both eras. 

This is such a fun show, with excellent dramatic structure and fitting all the subplots in well. For me, the most important figures are Juliet and Anne, since Anne basically starts the action and Juliet starts out as something of an avatar for issues that Anne is exploring, although the other characters get their moments to shine, as well. Webb is fantastic as Juliet, with the requisite stage presence and powerful vocals that make Juliet immensely relatable, and Wicks is also terrific vocally, comedically and dramatically as the persistent Anne. Mach is also fun as the somewhat self-centered Shakespeare, displaying strong chemistry with Wicks in their perpetual sparring. Maldonado is also strong as the somewhat goofy, charming but flighty Romeo. There are also excellent turns from Alakham (the understudy) as the loyal, somewhat secretive Angélique and Jansen as the comically stubborn Lance. There’s also a believable relationship between Lance and the endearingly nerdy François, played with believable charm by another understudy, Nget, who also has credible chemistry with Drake’s conflicted, but also funny and likable May. There’s a first-rate ensemble as well, who are involved in various roles from before the story even officially starts, and who support the vibrant production numbers with clever, energetic modern dancing choreographed by Jennifer Weber. It’s a great cast all around, doing justice to the hard-driving soundtrack of hits from the 1990’s and 2000’s that many in the audience will recognize. 

Visually, the show is as dazzling as it is entertaining, with a unique look and vibe that blends Elizabethan stylings with modern touches, as evidenced by Soutra Gilmour’s striking, versatile set, Andrzej Goulding’s marvelous projections and video design, and Paloma Young’s colorful, stylish costumes. There’s a sense of action throughout this show–everything keeps moving–and this momentum is supported by the excellent band led by conductor and keyboardist Andre Cerullo. There’s also eye-catching lighting by Howard Hudson and strong sound design by Gareth Owen. It’s a unique, cohesive look, feel, and overall energetic presentation.

Ever since I first saw & Juliet in London in early 2020, I’ve been waiting for a chance to see it again. It’s such a fun, clever show that should appeal not only to fans of the music, but also to Shakespeare fans and anyone who likes a good story that blends elements of classic theatre with a bold,  contemporary twist. There is some mature content and strong language, so I would rate it as essentially “PG-13” going by movie ratings.  This touring production is entertaining from start to finish, and a delight to see, hear, and experience.

Corey Mach and Cast
Photo by Matthew Murphy
& Juliet North American Tour

The North American tour of & Juliet is running at the Fox Theatre until June 1, 2025

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Strong Cast, Creative Vision Highlighted in Well-Cast New “Scream, Echo. Scream.”

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

Scream, Echo. Scream.
By Summer Baer
Directed by Lize Lewy
Hosted by Metro Theater Company
May 10, 2025

Scream, Echo. Scream. is a new play with a deep history and lore. It’s an intriguing effort by local performer Summer Baer, directed and produced by Lize Lewy, and with a background in Greek mythology that’s brought to life with striking immediacy by a small but determined, highly engaging cast. On stage in the rehearsal studio at Metro Theater Company in Grand Center, this is a fascinating look at relationships, nature, secrets, and connections. 

The thoughtfully constructed script has a strong grasp of the stories on which it is based, but also goes its own way with them to create an engaging, challenging story with consistent themes and memorable characters. The premise is that nymphs from around the world gather every hundred years in Laurel Grove, at the tree that was once their fellow nymph Daphne, who transformed into a laurel tree as protection from the unwanted advances of the persistent and menacing Greek god Apollo. As the play begins, the regulars–naiads Peyto (Kristen Strom) and Ozark (Frankie Ferrari) and oread Echo (Summer Baer)–are joined by an eager but somewhat naive newcomer, the dryad Socotra (Sarah Lantsberger). Over the course of the story, the personal connections and conflicts develop, as Socotra learns and explores, Ozark challenges and confronts, Peyto hides secrets and struggles with personal guilt, and Echo tries to keep an upbeat mood but also deals with her own challenges in communication while only being able to repeat what others say. As the “sisters” engage in memorial rituals, sing stunning harmonies, and bicker back and forth, they also share regrets that fewer and fewer of their sisters are coming to the requiems, and that they keep finding the stones that nymphs leave behind before they disappear. The connection to environmental stewardship and neglect is strongly implied, as are the concepts of interdependence and friendship, as well as issues of past trauma and how it affects lives in the present and future. 

The show manages to hold interest through means of excellent theming, musical interludes, and top-notch performances by the cast, who all work together with remarkable chemistry and believability. Strom, as the secretive, guilt-ridden Petyo, and Ferrari, as the loving but confrontational Ozark, form a strong relationship here, and Lantsberger portrays Socotra with an amiable eagerness and intelligence. Baer’s Echo is the heart of this story, and Baer shines in the role, bringing much sympathy, energy, and sensitivity to the role. All four players work together especially well, and their voices blend together beautifully in the harmonizing sequences.  

The show is also a memorable sensory experience, with a simple but stunning set designed by Baer, focused on the impressively designed laurel tree, which also works as a showcase for Erin Riley’s stunning lighting. There’s also excellent work from composer and sound designer Bryn McLaughlin, as the show’s haunting score augments the story admirably. Baer’s costumes are also strong, whimsically and colorfully designed and suiting the characters well. 

Summer Baer has already established herself as an excellent performer in the St. Louis theatre scene, but now she has effectively added “playwright and designer” to her resume. The thoughtful direction by Lize Lewy and impressive performances of the entire cast and creative team add much in the way of mystery, drama, humor, and quality to this promising new play. It’s a fascinating story well-told. 

Scream, Echo. Scream is playing at the Metro Theater Company space until May 24, 2025

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Aquarian Rising Productions’ “Johnnie Taylor” is Close Look at Changing Times, Character Conflicts

Posted in St Louis Theatre, tagged , , , , , on May 2, 2025| Leave a Comment »

Johnnie Taylor is Gone
by Gregory S. Carr
Directed by Thomasina Clarke
Aquarian Rising Productions
April 26, 2025

Image: Aquarian Rising Productions

Aquarian Rising Productions is a relatively new local theatre company, centering on Black artists and experiences, and, according to the press release for their latest production, “will focus on theatre from a Black perspective, drawing from all playwrights and genres”. Their newest show, Johnnie Taylor is Gone, is the work of local playwright Gregory S. Carr, drawing the attention on a particular time and place in St. Louis, with many local references. It features a cast of local performers under the direction of Thomasina Clarke, in a story that will be relatable to some and educational to others. 

The story takes place in a North St. Louis bar called the Golden Zodiac Lounge, where owner Strong (Archie Coleman) and longtime employee Annie (Mardra Thomas) keep the atmosphere geared for an “old school” over 30 crowd, and a prominent jukebox features soul, jazz, and R & B hits largely from the 60’s, 70’s, and 80’s. The time in the early 2000’s when the younger crowd is more interested in hip-hop hits from Nelly and others, represented by Jay-G (Sequoi Edwards), the son of an estranged old friend of Strong’s. Jay-G operates his own establishment geared for the younger crowd, which is doing well while Strong struggles to pay his expenses and keep the lights on while maintaining his old-school standards. The Zodiac also has its cast of regulars and workers, including servers Bette (LaWanda Jackson)–a single mother who is supporting a young son–and the chronically late Wanda (Arriel Cummings), who seems to have more than a professional relationship with Strong, and who also is receiving mysterious notes from Jay-G. There are also longtime customers Bruh (Juan Smith) and Pace (Jeremy Thomas), who swap stories about old times, and Bud (Jaz Tucker), who gets teased by the others for only seeming to want to date white women, even though he also seems close to local police officer Judy (Iesha Edwards). There’s also Churchill (Don McClendon), who shows up unexpectedly much to Annie’s dismay, as the two have a connection that is soon revealed. Over the course of the story, drama unfolds as relationships are tested, romances are teased, and old values clash with new as many, many local St. Louis references are dropped, leading to a few fairly predictable situations, a bit of repetitious dialogue, and a conclusion that seems a too easy, although the characters are memorable and the sense of time and place are especially well-established. 

The setting and time have been well-realized in this production, as director and set designer Clarke has made the most of the church sanctuary space at the Jefferson Avenue Mission by thoroughly transforming it into the the Golden Zodiac Lounge, with a bar, dartboard, tables and chairs, decorated walls, and that well-situated jukebox. There’s also excellent work by costume designer Darrious Varner, outfitting the characters in clothes that suit their characters and the time period well. The lighting by Nathan Olvey and sound by Varner are also good for the most part, although there were noticeable issues and outages at the performance I saw (the second night of the run). The theming of this show is well done, and all the local references were alternately recognizable and educational to me.

The cast of local performers is enthusiastic and energetic, for the most part, led by the memorable duo of Coleman and Mardra Thomas as Strong and Annie, who are essentially the heart and soul of this story. These two have credible presence and chemistry as old friends with an underlying sense of something more. There are also memorable turns from Tucker, Smith, and Jeremy Thomas as trio of longtime regulars and friends, and Edwards as the personable Judy. Thes rest of the cast lend fine support as well.

Although the play does tend to have dips in energy at times, and the first act can be a bit long, for the most part this is an entertaining, informative examination of changing times and values, with a vivid sense of setting and time. It’s a very St. Louis story, with a very St. Louis cast and crew. It’s an intriguing production from a newer organization in the St. Louis theatre scene, and I look forward to seeing more of what this company has to offer in the future. 

Aquarian Rising Productions is presenting Johnnie Taylor is Gone at Jefferson Avenue Mission until May 4, 2025

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Energetic “Sunshine” from FNT Features Clever Staging, Memorable Performances

Posted in St Louis Theatre, tagged , , , , , , , on May 2, 2025| Leave a Comment »

Little Miss Sunshine
Music and Lyrics by William Finn, Book by James Lapine
Directed by Colin Healy
Fly North Theatricals
April 25, 2025

Ken Haller, Connor Becker, Eileen Engel, Zoe Klevorn, Dareis Lambert, Brian McKinley
Photo by Colin Healy
Fly North Theatricals

The trend for making popular films into stage musicals continues, on and off Broadway and around the world. While some of these shows turn out to be great, others make me wonder why the movie even needed to be made into a musical. Little Miss Sunshine, currently being staged by Fly North Theatricals at the Greenfinch Theater and Dive under the direction of Colin Healy, is a bit hit-or-miss for me as a show, despite its excellent team of celebrated creators William Finn and James Lapine. It has its moments, but I’m not sure it adds anything for viewers who have already seen the film. Still, FNT has taken the opportunity to assemble an enthusiastic cast and employ some inventive staging to fill their small space at the Greenfinch with a lively, entertaining show that makes the most of its resources. 

Essentially, if you’ve seen the film of Little Miss Sunshine, you know the plot of the musical. The focus is on the quirky, dysfunctional Hoover family from Albuquerque, NM, and particularly the determined young Olive (Zoe Klevorn). Olive, encouraged by her eccentric, hedonistic Grandpa (Ken Haller), has entered a child beauty pageant in California and has made it to the finals, so for various reasons, the whole family decides to drive her there in Grandpa’s old, unreliable VW Bus. Along for the ride with Olive and Grandpa are Olive’s parents Sheryl (Eileen Engel) and Richard (Brian McKinley), as well as their moody older son Dwayne (Connor Becker) and Sheryl’s depressed brother Frank (Dareis Lambert), who has just gone through a painful breakup. As the family makes their eventful trip, they deal with personality conflicts, relationship issues, and overarching hopes, fears, and regrets, culminating in the big contest finale that brings its own share of surprises. The cast is also supported by Parker Collier, who plays a variety of supporting adult roles, along with young Zy Beckley, Brynja Murphy, and Callum Thompson who play a chorus of Olive’s “Mean Girl” classmates as well as the other pageant contestants. 

While there isn’t really anything new here, and the songs aren’t as memorable as they could be–as well as many of them seeming more like snippets of musical dialogue rather than full songs–the staging here is fun and adds much in the way of drama. In fact, the collection of yellow rolling chairs that make up the “bus” can almost be considered characters in their own right, and they add  much in the way of energy and humor to the emotionally fraught road trip that is the centerpiece of this story. The detailed projection design by Healy along with the vivid set painting by Katie Orr also contribute vibrancy to the atmosphere, along with Bradley Rohlf’s lighting design, Kel Rolf’s excellent costumes and props, and Angela Healy’s energetic choreography of the “Shake My Badankadonk” beauty pageant finale sequence. The whole production is adapted to fit the Greenfinch space especially well.

As for the cast, the young performers especially shine, led by Klevorn in a dynamic, highly likable performance as the determinedly upbeat Olive. Becker is also strong in an emotional turn as Dwayne, who seems embarrassed by his family but is also clearly devoted to his little sister. Haller makes the most of his role as the quintessential “dirty old man”, Grandpa, as well as a few other memorable roles. Engel is in excellent voice and relatable as Sheryl, and McKinley is fine as Richard as well. Lambert, as Uncle Frank, also turns in a fine performance, and the rest of the ensemble is also memorable, especially Collier, who has fantastic comic timing and makes an especially strong impression in a variety of quirky roles. 

Overall, Little Miss Sunshine is an entertaining show that makes the most of its unconventional performance space. While I’m not sure this musical adaptation really needs to exist, this production from FNT justifies its existence with an enthusiastic cast and especially clever staging. It’s a fun experience, for the most part, and a showcase for some excellent local performers. 

Eileen Engel, Brian McKinley
Photo by Colin Healy
Fly North Theatricals

Fly North Theatricals is presenting Little Miss Sunshine at Greenfinch Theater & Dive until May 4, 2025

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