Archive for June, 2025

The Muny’s “Bring It On” is Sweetly Goofy, High-Energy Fun

Posted in St Louis Theatre, tagged , , , , , , , , , , , on June 20, 2025| Leave a Comment »

Bring It On: The Musical
Libretto by Jeff Whitty
Music by Tom Kitt & Lin-Manuel Miranda, Lyrics by Amanda Green & Lin-Manuel Miranda
Directed by Denis Jones
Choreographed by Jennifer Weber
Cheer Consultant & Choreography by Ryan Martin O’Connor
The Muny
June 17 and June 19, 2025

Jonalyn Saxer (Center) and Cast
Photo by Phillip Hamer
The Muny

Bring It On: The Musical is an appropriate opening show for the Muny’s 2025 season, with it’s enthusiastic, high-energy production and highly entertaining story with a large dose of hamminess and goofball humor. It took me two tries to finally see the whole show, since the Tuesday show was rained out after the first act, but I’m glad I finally got to see it, because while the first act is fun, the second act is better. Also, the acrobatic, turbo-charged cheerleading routines take it up a notch later in the show, which is an entertaining blend of traditional Broadway and hip-hop styles, along with some superb dance routines choreographed by Jennifer Weber, who is perhaps best known for &Juliet. It also has a connection to Muny Artistic Director/Executive Producer Mike Isaacson, making it an ideal show for the Muny’s colossal stage.

The story does take a bit of time to get going, after a promising opening number featuring Campbell (Jonalyn Saxer) and her Truman High School cheerleading squad. Campbell is an earnest, cheer-obsessed rising senior who starts out wanting nothing more than to be the captain of her squad and guide them to a championship at Nationals. She has the support of fellow cheerleaders, the ditzy and bossy Skylar (Katie Riedel) and Skylar’s BFF Kylar (Regine Sophia), as well as Campbell’s goofball boyfriend Steven (Sean Harrison Jones), along with perky, somewhat worshipful newcomer Eva (Taylor Sage Evans), so everything looks promising going into the school year. Then however, there’s a twist, as Campbell is abruptly informed that school redistricting has assigned her to a new school, Jackson High School, that features a totally different social scene and doesn’t even have a cheerleading squad. Instead, they have a hip-hop dance crew led by Danielle (Kennedy Holmes) and her friends Nautica (Ayla Ciccone-Burton) and La Cienega (AJ Paramo). They’re also joined by the Bridget (Katy Garaghty), a former classmate of Campbell’s who has also been redistricted, and who finds a much more welcoming atmosphere at Jackson, having been seen as something of an outcast at Truman. 

While this show largely revolves around Campbell’s personal journey of self-discovery, it also features themes of individuality, self-expression, inclusivity, friendship, honesty, and what “winning” really means. I appreciate that it isn’t really presented as “good school’ vs. “bad school”, although the Truman squad is decidedly more stereotypically “cheerleadery” than Jackson’s. Still, there’s only one real villain here, and despite Evans’s fantastically over-the-top performance as Eva, I’m not even sure a villain was necessary. It’s a fun show that increases in energy and focus as it goes along, and especially after the transfer to Jackson. Also, I think some of the Truman characters (especially Steven) are just essentially forgotten about later in the show, but for the most part, this is fun, high-energy dance-and-cheer fest that features excellent performances all around, especially from the perky-and-earnest Saxer as Campbell, Holmes as the tough-but-fair Danielle, and the scene-stealing Garaghty as the outspoken and eminently likeable goofball Bridget. There are also good turns from Bryce Williams as laid-back DJ–and potential love-interest for Campbell–Randall; Riedel and Sophia as the perky Skylar and Kylar; and Kevin Trinio Perdido and Brandon O’Neal Bomer as Jackson guys Twig and Cameron. There’s great support all around from the strong ensemble, including the Muny’s enthusiastic Teen Ensemble.

The singing is great, with a mix of styles mostly in the pop and hip-hop range, with an expected element of “classic Broadway” along for good measure.  The ensemble is fantastic, and the dance and cheer sequences are dazzling, featuring the cheer direction of University of Kentucky cheer coach Ryan Martin O’Connor and actual Kentucky cheerleaders making up the majority of the squads. There’s also an excellent Muny Orchestra led by music director Anne Shuttlesworth.

Visually, the show is a stunner, with a bright, dynamic set by Anne Beyersdorfer, striking video design by Caite Hevner, and dazzling lighting by Jason Lyons. The costumes by Tristan Raines and wigs by Ashley Rae Callahan also contribute much to the overall look and vibe of the show. The sound by John Shivers and David Patridge is also well done, despite one slight mic issue early in the show on Thursday.

The Muny is a vibrant St. Louis tradition, and its latest season is looking especially promising with its confident introduction of Bring It On: The Musical. The characters are fun, the story is heartfelt with a deliberate air of goofiness, and while the story takes a while to really get going, it’s non-stop entertainment once it does. It’s a good start to a new season, and I’m look forward to the rest of the shows in this highly-anticipated Muny lineup. 

Taylor Sage Evans, Kennedy Holmes, Jonalyn Saxer
Photo by Phillip Hamer
The Muny

The Muny is presenting Bring It On: The Musical in Forest Park until June 22, 2025

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SDT’s Well-Cast “Frankie and Johnny” is a Gritty, Emotional Character Study

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

Frankie and Johnny in the Clair De Lune
by Terrence McNally
Directed by Gary F. Bell
Stray Dog Theatre
June 14, 2025

Stephen Peirick, Mara Bollini
Photo by Sarah Gene Dowling
Stray Dog Theatre

“Love is messy and beautiful.” That’s a tagline for the show that’s featured on the marquee outside Stray Dog Theatre’s Tower Grove Abbey performance space for their latest production, Terrence McNally’s Frankie and Johnny in the Clair de Lune. SDT always posts a memorable saying, line or quote related to their current production on that signboard, and this one is particularly appropriate, considering the quality of McNally’s script and the staging by director Gary F. Bell featuring two talented local performers.

The “Clair de Lune” in the title refers to a famous Debussy piano piece as well as the literal moonlight to which the characters refer throughout the story. As also mentioned in the title, the story follows Frankie (Mara Bollini) and Johnny (Stephen Peirick), who work together in a New York City diner–she’s a waitress and he’s the new cook. We meet them at her apartment following their first sexual encounter, following a dinner-and-a-movie date, and the early suggestions are that this is intended to be the start of something more serious. Or is it? The problem here is that, while Frankie and Johnny are obviously attracted to one another, they are very different in personality and attitudes toward life, and both have suffered various disappointments and personal struggles over the years, as their conversation soon reveals. Both characters have their obvious flaws, but there’s also an undeniable pull toward one another that becomes more clear as they share their stories, even though Johnny is prone to oversharing and Frankie is guarded and hesitant. It’s a fascinating look at an unfolding “will-they-or-won’t they” connection that can either be left as a one night stand or be developed into something more. Also, despite the obvious character flaws, and how easy it would be to make Johnny look like a predatory creep, McNally makes a concerted effort to not go there with the character.

The casting and direction is key, as well, since the characters have to be watchable and to some degree relatable for a story like this to work. It’s a delicate balance of conversation, chemistry, and attempted empathy, as two hurting people reach out to one another and try to figure out if they can work as a couple. Peirick’s talkative Johnny comes across as sincerely well-meaning, for the most part, if a bit on the oversharing side. He’s effusive in the romantic language, and the also excellent Bollini’s clearly guarded Frankie displays a mixture of annoyance, curiosity, and fascination with this guy who isn’t what she first thought he would be. These are relatable, highly personal portrayals, and both performers excel, individually and as a pair. Director Bell’s thoughtful staging manages to both be frank and respectful to the characters as genuine, flawed humans searching for a real connection.

The set by Bell is an appropriately detailed representation of a small New York apartment, with a credibly “lived-in” vibe. Tyler Duenow’s lighting adds much in the way of atmosphere to the proceedings and late-night setting, with also excellent work from Justin Been on sound design, as the music and radio are important elements of the story, and the clarity of the dialogue is also essential. Bell’s costume design also works well for the characters, even though they (and especially Johnny) don’t wear a lot of clothes throughout the show.

Frankie and Johnny in the Clair de Lune is an intense, intimate, highly personal  look at a couple struggling with past regrets and clinging to the possibility of finding something good together. It’s definitely for mature audiences, as there is frank discussion of sex and intense subject matter, strong language, and sexual situations. It’s a thoughtfully scripted, well directed  character study, showcasing two especially strong lead performances by excellent local performers.

Stephen Peirick,, Mara Bollini
Photo by Sarah Gene Dowling
Stray Dog Theatre

Stray Dog Theatre is presenting Frankie and Johnny in the Clair De Lune at the Tower Grove Abbey until June 21, 2025

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“Colder Than Here” at Albion is a Thoughtful, Well-Cast Darkly Comic Look at Death and Dying

Posted in St Louis Theatre, tagged , , , , , on June 16, 2025| Leave a Comment »

Colder Than Here
by Laura Wade
Directed by Robert Ashton
Albion Theatre
June 13, 2025

Livy Potthoff, Susan Wylie, David Wassilak, Anna Langdon
Photo by John Lamb
Albion Theater

Comedies about death aren’t new, but English playwright Laura Wade’s Colder Than Here is an especially clever, thoughtfully constructed one. Currently being staged by Albion Theatre and directed by Robert Ashton, this show features a well-chosen cast and memorable characters whose relationships and emotional journeys are surprisingly relatable. It’s a relatively small cast, but the production leaves a big impression as a weighty topic gets an incisive but sensitive examination. 

What’s the most fascinating to me about this story is the gradual but sure depiction of growth in the characters’ relationships and attitudes as the reality of terminally ill Myra’s (Susan Wylie) impending death gets closer and more immediate. The premise is that Myra has enlisted her daughters–the more erratic, immature Jenna (Livy Potthoff) and the older, more “responsible” Harriet (Anna Langdon) to help her find a “green” burial place for her. She also orders a cardboard coffin that she plans to paint and has clear instructions for her family–including her somewhat prickly, reserved husband Alec (David Wassilak)–about her funeral. As the story starts out, Myra seems a bit more upbeat about the situation than you might expect, although that changes as the story and her illness progress. The various characters have their own ways of coping–or trying not to–with the eventuality of Myra’s death, as Alec immerses himself in the tasks of getting the boiler fixed and repairing a space heater, Jenna deals with a strained relationship with her current boyfriend, and Harriet struggles with Jenna’s neediness and always having to to be the dependable daughter. Over the course of the show, more burial grounds are visited and relationships and attitudes evolve, all told with a witty, occasionally sharp tone that still manages to be believable and thoughtfully handled. It’s clear that there are regrets in this family, and the idea of losing Myra–who is essentially the “glue” of the family–is obviously not welcomed, but it’s also clear that these characters are trying to reach out to one another in their own particular ways. It’s alternately humorous, heart wrenching, and persistently hopeful, and an impressively constructed script.

The characters are embodied in remarkably true-to-life performances led by Wylie as the insistent, earnest Myra, who is clearly the emotional center of her family. There are also strong turns from Wassilak as the guarded but caring Alec, Langdon as the somewhat fussy but also caring Harriet, and especially Pothoff as the initially somewhat grumpy but increasingly involved Jenna. The four make a thoroughly believable family, and the British wit and reserve work especially well in this work, thoughtfully directed by Ashton. Gwynneth Rausch also provides memorable narration of scenes that were originally presented as projections, but (with permission) have been presented here by an onstage narrator.

The sights and sounds of this production add to the overall witty and gently incisive tone of this piece, with versatile set design by Kristin Meyer and evocative lighting by Michelle Zielinski. There’s also strong work from sound and projection designer Ted Drury, particularly in the “grave scouting” scenes. The costumes by Tracey Newcombe are also well done and appropriate for the characters and early 2000’s UK setting, and special kudos go to Jeff Kargus for the construction of the cardboard coffins used in the show.

I had heard good things about Laura Wade’s works before, but I hadn’t been able to see one of her plays until this production. I’m grateful to Albion that such a superbly cast, well-staged version of Colder Than Here has served as my introduction to this talented playwright’s work. It’s another success from the consistently excellent Albion Theatre.

David Wassilak, Susan Wylie, Anna Langdon
Photo by John Lamb
Albion Theatre

Albion Theatre is presenting Colder  Than Here at the Kranzberg Arts Center until June 29, 2025

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Funny, Frantic “Murder For Two” Is Violently Hilarious at STAGES

Posted in St Louis Theatre, tagged , , , , , , on June 16, 2025| Leave a Comment »

Murder For Two
Book & Music by Joe Kinosian, Book & Lyrics by Kellen Blair
Directed by Michael Kostroff
STAGES St. Louis
June 12, 2025

Ian Fairlee, Jeremiah Ginn
Photo by Phillip Hamer
STAGES St. Louis

Murder mysteries are popular fodder for comedies, it seems, with hits like Clue, The 39 Steps, the musical A Gentleman’s Guide to Love and Murder, and many more. I guess there’s something in the heightened characterization and melodrama inherent especially in old fashioned Agatha Christie-style mysteries that makes a great basis for laughs. The latest show from STAGES St. Louis, Murder for Two, is in this vein, with a tagline that says it “puts the laughter in manslaughter”. And there are lots of laughs here, with clever staging, great casting and characterization, frantic piano playing, and fun production values that add to the riotous, slapstick atmosphere of this violently entertaining show. 

As the title suggests, there are only two performers in this show, who play all the characters and also provide musical accompaniment taking turns at the piano,  sometimes jockeying for position, and sometimes playing together. One actor plays police officer Marcus Moscowicz (Quinn Corcoran, standing in for principal Ian Fairlee)  along with a few extra voices, while the other performer (Jeremiah Ginn) plays all the other characters, who become suspects in the murder of mystery novelist Arthur Whitney, who appears as a dummy “body” on the stage throughout most of the show. The suspects include Whitney’s theatrically ambitious wife Dahlia and his persistent grad student niece Steph, along with famous ballerina Barrette Lewis, psychiatrist Dr. Griff, three streetwise young boys’ choir members, and a firefighter. There’s also an invisible character, another police officer named Lou, who accompanies Marcus on the investigation and serves as something of a confidant for characters’ emotional stories. When the lead detective is late to arrive, Marcus is assumed to be a detective and tries his best to solve the case before the real one arrives. 

That’s the setup, and once the story gets going, the characters and situations quickly become wackier and wackier, with a backstory for everyone–including Marcus, who is still reeling from a previous relationship that ended in disaster. There are hidden secrets, surprise relationships and revelations, and lots of frenzied singing and piano playing from the two energetic leads, with both excelling in their roles. Ginn, in the somewhat showier role, is truly fantastic, making quick changes between characters with mannerisms and minimal prop changes, from the insistently theatrical Dahlia to the amorous Barrette, to the clever and persistent Steph, and more. Corcoran is also a treat as the eager, protocol-obsessed, lovelorn Marcus, and the two work together especially well, with their dueling piano skills impressing all the more. The staging is crisp and fast-paced, with lots of surprises. The script can get a bit too silly at times, but I suppose that’s the point of a show like this, although I thought some plot points (particularly Marcus’s obsession with impressing Barrette) were dragged out a little too much. Still, the energy is remarkable, and the laughs are nonstop, with the audience being especially appreciated in the performance I saw. I plan on going back to catch Fairlee’s performance at some point in the run*, but I had no regrets about seeing the marvelously talented Corcoran in the role.

The overall stylized, frantic tone of the production is aided by the excellent production values, including the marvelous, versatile set by Ann Beyersorfer. The evocative mood lighting by Sean M. Savoie and excellent sound design by Hankyu Lee also add much to the overall atmosphere of the show. Erica Jo Lloyd’s costumes suit the characters well and work well in facilitating the relatively minor changes when Ginn changes characters. Ginn also gets kudos for his music direction, as the piano playing is a key element (pun intended) to the overall frantic atmosphere of this show.

In short, I’ll say that Murder for Two slays ’em in the aisles. If comic murder, intrigue, delightfully over-the-top characters and non-stop laughs are what you’re looking for, you’ll find it at the Kirkwood Performing Arts Center under the expert direction of Michael Kostroff. It’s a fun start to a new summer season for STAGES. 

Jeremiah Ginn
Photo by Phillip Hamer
STAGES St. Louis

STAGES St. Louis is presenting Murder For Two at the Kirkwood Performing Arts Center until June 29, 2025

*ADDENDUM–I managed to see the show again on June 18th, which featured both Ginn and Fairlee, and I can say now that Fairlee is also impressive as Marcus, with a clear, strong voice and terrific piano skills. I also thought there was a bit more of a spark of energy between these two performers, possibly because they will have rehearsed together more. Fairlee comes across as a little sharper with the comic timing as well, but I will reiterate that Corcoran is also excellent, and that no matter who you see in this production, you’re in for a hilarious, entertaining show. I also want to add that I love the audience participation element that’s included late in the show, and that it worked well for both performances I saw.

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New Line Revisits “Rent” With Energy and Passion

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

Rent
Book, Music, and Lyrics by Jonathan Larson
Directed by Scott Miller and Chris Moore
New Line Theatre
May 31, 2025

J. David Brooks, Nathan Mecey and Cast
Photo by Jill Ritter Lindberg
New Line Theatre

Closing out a season of new productions of shows they have previously staged, New Line is now revisiting the modern classic, Pulitzer Prize-winning Rent. A show that essentially revitalized Broadway in the 1990s, this show plays as somewhat of a period piece today, as closely tied as it is with the 1990s New York “Bohemian” scene. Still, there’s a lot of urgency and relatability to be seen here, as evidenced by New Line’s new production directed by Scott Miller and Chris Moore, featuring a strong cast and excellent visuals and musical accompaniment. 

The story, inspired by Puccini’s opera La Bohème, follows a group of struggling artists in New York City’s East Village dealing with illness, homelessness, and encroaching gentrification. Aspiring filmmaker Mark (J. David Brooks) serves as the primary narrator, accompanied by his ever-present camera. Mark shares a loft with struggling musician Roger (Nathan Mecey), whose goal is to write one great song. The owner of their building is their former roommate Benny (Aaron Tucker), who has married into a wealthy family and is now demanding they pay rent or move out. This situation coincides with a situation on the adjoining lot, where the encamped residents are protesting an impending development, and performance artist Maureen (Sarah Lueken)–Mark’s ex–is planning a show in support of their cause. Also in their circle are Maureen’s conflicted new girlfriend, lawyer Joanne (Jazmine Kendela Wade), Mark and Roger’s old friend, out-of-work professor Tom Collins (Chris Moore), and Collins’ new love interest, drag queen and street performer Angel (Aarin Kamphoefner). There’s Mimi (Corrinna Redford), an ailing nightclub dancer who strikes up a halting romance with Roger, but who has secrets she’s hiding from him. Over the course of a year (winter to winter) we follow these characters and their hopes, dreams, struggles, and relationships including dealing with hardship, romance, tragedy, and hopeful second chances in the midst of financial struggles, relationship conflicts, HIV-related illness, and more.

This has become an especially well-known show in the past 30 years, with memorable songs like “Seasons of Love”, “La Vie Bohème”, and more. Here, the time, place, and atmosphere have been well-established by means of Todd Schaefer’s evocative set that somewhat calls to mind the set from New Line’s previous production of this show in 2014, with its prominent round table and moon motif, but with new additions evoking the loft and fire escapes of the city, allowing areas for performers to spread out and for Angel to perch and watch the action at key moments. There’s also striking lighting by Ryan Thorp and excellent sound by Ryan Day, along with memorable costumes by Zachary Thompson that evoke the mid-1990s setting and suit the characters well. The band, led by music director Randon Lane, provides a rocking soundtrack to the proceedings, and there’s also commendable work by tango choreographer Chelsie Johnston in the standout “Tango: Maureen” number ably performed by Brooks and Wade.

Although the cast takes a bit of time in the first act to find their energy, they are well-chosen and build up enthusiasm and momentum to present an ultimately powerful and dynamic production, with standout numbers including the truly stunning  reprise of “I’ll Cover You” in Act 2 led by Moore and supported by the powerful vocal harmonies of the entire ensemble. Brooks and Mecey lead the cast well as Mark and Roger, with strong support from the rest of the cast, with standouts including Kamphoefner as the memorable Angel, Redford as the persistent and ailing Mimi, Lueken as the confrontational Maureen and Wade as her often exasperated partner, Joanne, and the aforementioned Moore as Collins. The rest of the ensemble, playing various roles, includes Rafael DaCosta, Chelsie Johnston, Brittany Kohl, Gabriel Scott Lawrence, Sofia McGrath, Tawaine Noah, Rachel Parker, and Lauren Tenenbaum. It’s a cohesive ensemble featuring the strong singing that I’ve come to expect from New Line. 

If you love Rent, you’ll probably love this production. Even if you haven’t seen the show before, or even had a negative experience, I would recommend checking out this heartfelt, well-cast and especially well-sung staging. It’s a timeless classic with a timely immediacy that brings out the passion and energy for which this show is known and celebrated. 

Chris Moore and Cast
Photo by Jill Ritter Lindberg
New Line Theatre

New Line Theatre is presenting Rent at the Marcelle Theater until June 21, 2025

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Melancholy, Moody, and Modern “Hamlet” From STLSF Illuminates Forest Park

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

Hamlet
by William Shakespeare
Directed by Michael Sexton
St. Louis Shakespeare Festival
May 30, 2025

Michael Khalid Karadsheh, Jennifer Ikeda, Glenn Fitzgerald and Cast
Photo by Phillip Hamer
St. Louis Shakespeare Festival

I love how versatile Shakespeare is. I’ve seen so many wildly different productions of the same plays over the years, and many of them have been marvelous. This latest production of Hamlet by St. Louis Shakespeare Festival, directed by Michael Sexton, is the Festival’s second. While their previous version, staged in 2010, was fantastic, this latest version couldn’t be more different but is also superb, and stunningly staged in the outdoor setting of Forest Park’s Shakespeare Glen. While the earlier version was a more “traditional” staging, this one has a stylish, Mid-Century Modern flair and some inventive staging choices that bring an air of challenging immediacy to the timeless classic play. 

As one of the Bard’s best-known plays, the story is fairly well-known, following the melancholy Danish prince Hamlet (Michael Khalid Karadsheh) as he is challenged by the ghost of his late father, the King (Larry Paulsen) to avenge the King’s murder by his brother, Hamlet’s uncle Claudius (Glenn Fitzgerald), who has also married the King’s widow, Hamlet’s mother Gertrude (Jennifer Ikeda). Supported by his friend Horatio (Reginald Pierre), Hamlet embarks on his revenge plan, while also adopting an air of “madness” that puzzles the court and disturbs those around him, including his sometimes love interest Ophelia (Sarah Chalfie) and her father, Claudius’s loyal and somewhat foolish counselor Polonius (Mark Nelson). With efforts involving a troupe of traveling players, Hamlet’s school friends Rosencrantz (Mitchell Henry-Eagles)  and Guildenstern (CB Brown), and Ophelia’s brother, Polonius’s son Laertes (Grayson DeJesus), the plan inevitably devolves into tragedy, with much reflection, hesitation, impulsive actions, and philosophizing along the way.

This is a well-known, much-studied classic for good reason, as there is much to ponder here for various audiences, generations, and cultures. This version adds an air of style and elegance, with a degree of dissonance provided by a haunting jazz-influence score by music director/composer Brandon Wolcott and memorably performed by onstage musician Brady Lewis. The set by Scott C. Neale is visually stunning and moveable, lending to some clever staging especially in the scene where Hamlet confronts his mother Gertrude in her chamber, where the action is largely shown from the point of view of the spying Polonius. The red and black color palate is also striking, augmented by other colors reflected in Oana Botez’s richly detailed costumes and Denisse Chavez’s evocative lighting. There’s also excellent work by choreographer Sam Gaitsch and fight and intimacy coordinator Zev Steinrock, contributing to the overall dynamic tone of the production.

Casting is key in Hamlet, particularly in the title role, and this production has chosen a Hamlet who leads with youth, energy, and emotion. Karadsheh is an ideal lead for this iteration of the story, bringing a dynamic and reflective presence that is both challenging and relatable. Hamlet drives the action here, and all the other characters are energized in their responses to Karadsheh’s bold interpretation. There are also strong turns from Chalfie as the tragic, conflicted Ophelia, Ikeda as a somewhat detached Gertrude, Fitzgerald as an evasive, scheming Claudius, Nelson as the well-meaning but somewhat buffoonish Polonius, Paulsen in several roles including the Ghost and the Gravedigger, and Pierre as the faithful Horatio. Special note is also due to DeJesus, who turned in a strong, fully-realized performance as Laertes after taking over the role from an injured Vaughn Pole at essentially the last minute. There’s also excellent support from the rest of the ensemble, including Brown, Henry-Eagles, Max Fiorello, Daisy Held, Charlie Mathis, and Ryan Omar Stack. 

The “Shakespeare in the Park” productions from STLSF are usually excellent, and this Hamlet is no exception, with an extra air of Mid-Century style and emotional immediacy. This is my favorite Shakespeare play, and the Festival has done it justice once again. There’s plenty of time to get to the Glen and see it before it fades into the mist of memory. 

Reginald Pierre, Larry Paulsen, Michael Khalid Karadsheh
Photo by Phillip Hamer
St. Louis Shakespeare Festival

The St. Louis Shakespeare Festival is presenting Hamlet in Forest Park’s Shakespeare Glen until June 22, 2025

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NJT’s Heartfelt, Personal “Heidi Chronicles” is More Than a History Lesson

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

The Heidi Chronicles
by Wendy Wasserstein
Directed by Ellie Schwetye
New Jewish Theatre
May 29, 2025

Joel Moses, Emily Baker, Will Bonfiglio, Ashwini Arora
Photo by Jon Gitchoff
New Jewish Theatre

I’ve been wanting to see Wendy Wasserstein’s The Heidi Chronicles since it won the Tony Award for Best Play and the Pulitzer Prize for Drama in 1989. Now, New Jewish Theatre has given me that opportunity with their excellent, impeccably cast, thoughtfully directed production now onstage at the J’s Wool Studio Theatre. A look at one woman’s experiences through academia and feminism from the 1960s through the 1980s, the play also serves as a compelling look at the experiences of a generation, as well as an education for those of us from succeeding generations. It’s more than a history lesson, though. It’s an intelligent, thought-provoking look at the changing times and a challenge for today’s world and future generations. 

The story follows art history professor and author Heidi Holland (Emily Baker), who we first meet as she’s teaching a class, with the audience as the students. Soon, however, the story flashes back to 1965, where young Heidi and her friend Susan (Kelly Howe) are at high school dance where Susan is eying an appealing unseen guy and trying to get the reluctant Heidi to find a dance partner. Heidi soon meets Peter (Will Bonfiglio), with whom she strikes up an instant rapport and with whom she develops a close bond. A few years later, Heidi is at a fundraiser for presidential candidate Eugene McCarthy when she meets charismatic journalist Scoop (Joel Moses), with whom she develops a rocky romantic relationship that eventually becomes a friendship when Heidi realizes she can’t deal with Scoop’s womanizing ways. These four characters interact through the decades, as Susan and Heidi become involved in various feminist causes, Peter comes out as gay and becomes a highly respected pediatrician, and Scoop starts an influential magazine aimed largely at the “Baby Boomer” generation of which all four characters are members. Over the years, their relationships evolve, the world changes and Heidi develops into the influential professor she eventually becomes, all the while searching for happiness and fulfillment in a world that sends conflicting messages to women about careers, motherhood, and “having it all”. Various other characters come into their lives, played by an excellent ensemble of performers (Courtney Bailey, Paola Angeli, Ashwini Arora, and Josua Mayfield) as Heidi and friends meet new people, interact with the media, and deal with the struggles of the 1960s, 70s, and 80s. 

The cast is marvelous, led by the impressive Baker as Heidi, a thoughtful academic who is looking for her place in a changing world while also trying to make it better for the women around her. Baker’s evolution from young, shy, and somewhat naive to older and reflective professor is highly credible, as are her bonds with her equally excellent costars. Bonfiglio is excellent as usual as the thoughtful, witty Peter, and Moses is a strong contrast as the charismatic, self-centered Scoop. Howe is also a treat as the ever-changing Susan, who eventually becomes about as 1980s “upwardly mobile career woman” as you can get without being a stereotype. These four form a strong core, while Bailey, Angeli, Arora, and Mayfield provide ideal support in various memorable roles. 

The whole vibe of this show is well realized by means of director Ellie Schwetye’s thoughtful staging and the overall “documentary” style theme, with an excellent movable set by Patrick Huber and vivid projections by Kareem Deanes. There’s also memorable period music that goes along with the projections, featuring recognizable hits of the times. Huber’s lighting and Schewtye’s sound design also help set and maintain the theme and tone, as do Michele Friedman Siler’s strikingly detailed costumes. If you lived through any of these decades (and I lived through two of them), you should recognize the look and feel of the eras. 

The Heidi Chronicles may seem a bit dated as a script to today’s audiences, but this production makes it as timely, immediate, and personal as I can imagine. Even if you’re not a Boomer you should find something informative and relatable here. I’m Gen X and I remember these times from a different perspective, although this show does a great job of presenting the “Boomer’s eye view” of these decades, and of the many ways American culture has evolved over the years–as well as ways it still needs to grow. This is an excellent, well-researched and performed production from New Jewish Theatre. 

Courtney Bailey, Paola Angeli, Kelly Howe, Emily Baker, Ashwini Arora
Photo by Jon Gitchoff
New Jewish Theatre

The New Jewish Theatre is presenting The Heidi Chronicles at the J’s Wool Studio Theatre until June 15, 2025

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