Archive for July, 2025

“Evan Hansen” Tells a Riveting, Credibly Human Tale at the Muny

Posted in St Louis Theatre, tagged , , , , , , , , on July 30, 2025| Leave a Comment »

Dear Evan Hansen
Book by Steven Levenson, Music & Lyrics by Benj Pasek and Justin Paul
Directed by Rob Ruggiero
Choreographed by Beth Crandall
The Muny
July 29, 2025

Michael Fabisch (center) and Cast
Photo by Emily Santel
The Muny

The Muny is continuing it’s impressive track record with another impeccable production in their 2025 season, and it’s a new one for this company. The Tony-winning musical Dear Evan Hansen is one of the more debated shows I’ve witnessed lately, but this production makes a strong argument for the sheer humanity of its characters, and especially its lead, played in a tour-de-force by a talented young actor. There’s a lot to think about here concerning friendship, the need for connection, and difficult moral choices, and this production, directed by Muny veteran Rob Ruggiero, gets the tone just right, all the while highlighting the memorable Pasek and Paul score and featuring some eye-catching production values. 

As the show begins, Evan Hansen (Michael Fabisch) is about to begin his senior year of high school, and he’s not exactly looking forward to it. Dealing with social anxiety and feeling like an outcast from his peers, he wishes he could make friends, talk to his crush Zoe Murphy (Afra Sophia Tully), and fit in more at school. He also wishes his mom, Heidi (Jackie Burns)–a nurse who also attends night school in hopes of becoming a paralegal–was around more. He’s also not so sure about the assignment his therapist gave him involving writing letters to himself, although he writes one at school in a moment of stress and it’s found by surly classmate Connor Murphy (Joshua Bess)–Zoe’s brother–which is then followed by a tragedy that begins a chain of events that eventually leads Evan into a situation that first helps him to feel more connected, but then spirals out of control. It’s a story about connection, but also the lack of it, and how the desire to belong can tempt a person to dishonesty and more.

Still, unlike some of the opinions I’ve seen from fans online, I don’t see Evan as a “bad guy”. I see him as imperfect, like we all are, and caught in a situation that is too big for him to handle on his own, while also being somewhat pushed into it by classmates Jared (Bryan Munar) and Alana (Savy Jackson) who have their own mixed motives. Also, as Evan grows closer to the Murphy family–Zoe and her parents Larry (Rob McClure) and Cynthia (Maggie Lakis)–he feels a sense of belonging that he has longed for from his own family, even though Heidi has tried her best as a single parent. 

That’s another aspect of this show that I love–it focuses not just on the teens, but on the parents, and the struggle for connection between parents and children, and the idea that even the most well-meaning of people can screw up. This show doesn’t have all the answers, but it’s a vivid portrayal of that struggle for connection and belonging, and the efforts to fix relationships when they’re broken. It also looks at the role of social media in today’s world, especially among teens.

The excellent set by Michael Schweikardt and video design by Kevan Loney are dynamic and powerful, with the social media posts projected all around the vast Muny stage, and the scenic elements moving up, down, and around as needed, keeping up with the brisk pace of the plot. The costumes by Joseph Shrope work well for the characters, and the lighting by Rob Denton and sound by John Shivers & David Patridge add much to the setting and tone of the story. There’s also a great Muny orchestra led by music director Roberto Sinha.

The cast is simply fantastic, led by the immensely relatable, vocally impressive Fabisch as Evan. Fabisch brings out all the conflicting aspects of Evan’s character clearly while remaining sympathetic, even in the first part of Act 2 in which Evan becomes the most frustrating as a character. When his moment of truth arrives, though, Fabisch’s Evan makes you feel it, and his moments with Burns’s also excellent and sympathetic Heidi toward the end are especially powerful and convincing. There are also strong turns from Tully as the conflicted Zoe, and from Lakis and McClure as the grieving Cynthia and Larry, whose sense of sorrow and yearning for connection is palpable. There are also memorable performances from Jackson as the ambitious Alana, Munar as the snarky Jared, and Bess as Connor, who appears both as himself and, later, as a sort of personification of Evan’s doubts and fears. This show also makes excellent use of the Muny’s Teen Ensemble, who lend support with energy and enthusiasm.

Dear Evan Hansen is a complex show that deals with some especially difficult issues, but its overarching theme about the importance of connection and communication in relationships is clear, along with the message that people matter, even when they may feel insignificant. It’s a powerful piece of theatre, especially well staged at the Muny. Fabisch is especially one to watch, as well, and the cast around him is strong. It’s another first-rate production in the Muny’s summer season. 

Rob McClure, Maggie Lakis, Afra Sophia Tully
Photo by Phillip Hamer
The Muny

The Muny is presenting Dear Evan Hansen in Forest Park until August 3, 2025

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Tesseract’s “Steel Magnolias” Features Strong Cast, Memorable Atmosphere

Posted in St Louis Theatre, tagged , , , , , on July 30, 2025| Leave a Comment »

Steel Magnolias
by Robert Harling
Directed by Kathryn Bentley
Tesseract Theatre Company
July 27, 2025

Victoria Pines, Margery A. Handy, Joana Dominguez, Lynett Vallejo, Lillie Self-Miller
Photo: Tesseract Theatre Company

Tesseract Theatre Company is currently staging a well-known, oft-staged play in way you may not have seen it before. Best known for the 1989 film based on Robert Harling’s play, Steel Magnolias was also filmed again for television in 2012 with an almost all-Black cast. Tesseract’s production is in a similar vein as the more recent movie, with an all POC cast while maintaining the play’s 1980s Louisiana setting. The casting and direction by Kathryn Bentley honors the setting of the play while also granting a fresh perspective on the characters, while also highlighting the universality of the play’s themes of friendship, family, and the happiness and sorrows of life throughout the changing seasons. 

Unlike the films, which added characters and scenes, the cast and setting of Steel Magnolias the play is simple–six characters, one location. The center of the action is the beauty parlor that Truvy (Joana Dominguez) runs out of her home’s converted garage, and as the play opens, she hires on a new employee–the timid Annelle (Lillie Self-Miller). Soon, we meet the regulars of the shop, including the town’s former First Lady, Clairee (Victoria Pines), the snarky Ouiser (Tammy O’Donnell), and mother and daughter M’Lynn (Margery A. Handy) and Shelby (Lynett Vallejo) as the two prepare for Shelby’s wedding. The main focus in this story is on these two, as the protective M’Lynn is concerned for the health of Shelby, who has diabetes and has been advised by her doctor not to have children. When she does become pregnant, this is cause for more concern for M’Lynn. There’s much in the way of “Southern charm” and culture throughout, with a few modifications reflecting the casting that work well and add a new perspective to the story while also maintaining the spirit of the play.

There are triumphs, tragedies, quirky stories, and a good deal of Southern humor, directed with attention to time, place, and character by Kathryn Bentley, and played with credible energy and engaging humor and warmth by the strong cast, although there are a few moments in which the comic timing could be improved, and there was bit of struggling with lines at times. The cast is strong across the board, with Handy and Vallejo especially shining as the protective M’Lynn and an especially upbeat and memorable Shelby. Pines is also excellent as the cosmopolitan Clairee, and O’Donnell has some fun comic moments as the hilariously crass Ouiser. Dominguez as Truvy is also warm and likable, and Self-Miller is especially convincing as Annelle, who undergoes quite a bit of change throughout the story. The ensemble chemistry and friendship bond is strong among the cast, and there’s a good measure of humor and poignancy, including an especially well-handled fourth act, where the drama comes out in force, but the sense of humor and hope are still there to balance it out.

The set by Brittanie Gunn is detailed and well-appointed, with a credible 80s vibe, and the costume and wig design by Shevaré Perry also adds an authentic, stylish flair. There’s also good work from Cheyenne Grooms on lighting and Stan Chisholm on sound. Overall, the look and feel of the Louisiana beauty shop, circa 1989 is well established and maintained, and the characters are given a suitable stage to shine.

Steel Magnolias is a popular show, and many theatre companies have presented it over the years. Tesseract’s latest production keeps the familiar 1980s vibe but adds an additional perspective that brings out a strong sense of the characters from a different angle. It’s well-cast, it’s full of heart and energy, and it’s likely to provoke laughter and tears from the audience. I’ve been impressed by Tesseract’s work lately, and this show is another fine example. 

Tammy O’Donnell, Margery A. Handy
Photo by Florence Flick
Tesseract Theatre Company

The Tesseract Theatre Company is presenting Steel Magnolias at the Marcelle Theatre until August 10th, 2025

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Two Excellent Actors Walk Into NJT’s Humorous, Heartfelt, Thoughtfully Staged “War”

Posted in St Louis Theatre on July 30, 2025| Leave a Comment »

Two Jews Walk Into a War…
by Seth Rozin
Directed by Rebekah Scallet and Aaron Sparks
New Jewish Theatre
July 24, 2025

Gary Glasgow, Chuck Winning
Photo by Jon Gitchoff
New Jewish Theatre

The latest production from the New Jewish Theatre isn’t a long play, but it has a lot to say in it’s relatively brief running time. Featuring two excellent local performers and inspired by a true story, Two Jews Walk Into a War… takes an intriguing approach to its premise of two characters who don’t get along being essentially forced to work together in a hostile environment. And it’s a comedy, making for an intriguing and fascinating exploration of important topics and mixing its humor with poignancy and depth.

The story begins with Ishaq (Gary Glasgow) and Zeblyan (Chuck Winning) standing beside a coffin in an otherwise empty synagogue as the occasional sound of gunfire can be heard from outside. Soon, we find out that their mutual friend and mentor has recently died, leaving a note entrusting the synagogue to them, the last two Jews in Kabul, Afghanistan.  The problem is that these two men are not only very different–they hate each other. Despite their constant bickering and mutual dislike, however, they are forced to unite in a common goal, which is to regrow the Jewish population in the city. They also decide that their goal requires a new Torah for the synagogue, since their last one was stolen. The plan seems simple at first–the older, devout Ishaq will recite the Torah from memory, but since his hands are shaky, the younger, less studious Zeblyan will find the parchment needed and write down the words as Ishaq dictates.

The process may seem simple, but in practice it turns out to be more complicated than either man could have predicted, as their contrasting personalities, mutual dislike, and the ensuing debates that occur as Zeblyan inevitably questions what he’s writing down becomes the fodder for comedy, as well as reflection on the state of life in Kabul, along with the history of the Jewish community there and the reasons the two have decided to stay while their friends and loved ones have left. Their discussions include the nature of faith and belief in a God who allows the kind of suffering they and their ancestors and fellow Jews have experienced over the centuries. The dialogue is sharp and quick-witted, and the characters are well-drawn, with both men coming across as stubborn and persistent even though they don’t have a lot in common otherwise, although the process of working toward their mutual goal carries an implied promise of a growing understanding of one another–that is, if they can listen through all the bickering and missteps along the way.

The characters make this play what it is, which is thought-provoking and frequently hilarious, and the two actors give top-notch performances. Glasgow brings a quiet determination and decided air of resolution to the role of Ishaq, who is the more “traditonal” of the two. Winning, for his part, brings energy and presence to the role of the more modern-minded, frequently questioning Zeblyan. The friction between these two very different men is made clear in the performances, but so is their mutual determination, which just might bring them closer together if they let it. It’s a dynamic-duo type of performance, with each actor energizing the other and adding to the overall tension and humor of the play. All the various debates give the audience something to think about in the midst of the laughter, as well, and the pace is brisk while giving the marvelous actors time to portray their characters with crisp comic timing and reflective insight as needed. 

Lily Tomasic’s detailed set, as is usual for NJT, is well realized and lends an air of authenticity to the story, as do Michele Friedman Siler’s excellent costumes. There’s also notable work in lighting by Michael Sullivan and sound by Kareem Deanes in creating and maintaining the mood and atmosphere, especially in the form of the tense environment of war-torn Kabul.

A comedy set in the middle of a war zone may seem odd, but this one works especially well considering the memorable characters and strong performances. It’s also likely to bring authentic tears along with the laughter. It’s a fine example of thoughtful, thought-provoking theatre from this company. 

Chuck Winning, Gary Glasgow
Photo by Jon Gitchoff
New Jewish Theatre

The New Jewish Theatre is presenting Two Jews Walk Into a War… at the J’s Wool Studio Theatre until August 10, 2025

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Star Quality is on Dazzling Display in the Muny’s Impeccably Staged “Evita”

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

Evita
Lyrics by Tim Rice, Music by Andrew Lloyd Webber
Directed and Choreographed by Josh Rhodes
Tango Choreography by Junior Cervila
The Muny
July 19, 2025

Katerina McCrimmon
Photo by Phillip Hamer
The Muny

The Muny has done some fantastic productions over the years, and I’ve been attending shows there since 2004. With their latest production of Andrew Lloyd Webber and Tim Rice’s Evita, however, I think they may have outdone themselves. In fact, the way this show is cast, directed, and designed, it fits so well on the colossal Muny stage that it almost appears as if the show was written for this venue. With an ideal cast featuring a dazzling star performance in the title role, this show is a must-see for anyone who loves to see the best of musical theatre in St. Louis.

The classic rock opera about the famous and controversial Argentinian First Lady Eva Perón has been staged around the world since beginning as a concept album 1976, then opening on stage in London in 1978 and on Broadway in 1979. It’s structured as a rock opera, with sung dialogue and very few spoken lines, featuring music styles ranging from pop to rock to tango and more. In  my mind, it’s Lloyd Webber’s best score, and there’s a marvelous Muny Orchestra here led by music director Ben Whitely that brings out all the passion and style of the music. 

Evita isn’t a straightforward bio-musical, either. It tells Eva’s story of how she rose from obscurity to fame to political power and influence in 1940s and 50s Argentina, but it also critically examines her influence, motives, and appeal, as well as the people’s adoration of her as something like a saint. The character of Che (Omar Lopez-Cepero) is onstage from the beginning, representing the everyday Argentinian people as the Perón regime rises to power and the ambitious Eva (or “Evita” as she is often referred to by her admirers) becomes an actress, then a political figure and icon, eventually dying young (of cancer) while still in the midst of her fame and influence. 

Many celebrated performers have brought their “star quality” to the leading role over the years, and here at the Muny, the part is taken by the fantastically talented Katerina McCrimmon, who recently headlined the national tour of Funny Girl that I saw when it came to the Fox. She was excellent in that, and she shines here as well, with incredible stage presence and a powerful voice that’s more than up to the task of singing this celebrated score with memorable songs like “Buenos Aires”, “Rainbow High”, and “Don’t Cry For Me, Argentina”. McCrimmon owns the stage, and also shares it well with equally excellent co-stars Omar Lopez-Cepero as the show’s “voice of people”, Che, and the glorious-voiced opera and Broadway vet Paulo Szot as Juan Perón. Both of these performers have strong chemistry with McCrimmon.

Other standouts include Daniel Torres as Augustin Magaldi, a popular singer who becomes involved with young Eva and first brings her to Buenos Aires; along with Sabrina Santana in a  notable cameo role as a young mistress of Perón’s who is sent away after Eva moves in, performing the memorable “Another Suitcase in Another Hall” with heartbreaking emotion and strong vocals. There are also two tango dancers, Noelia Guerrero and tango choreographer Junior Cervila, who make an indelible impression dancing with energy and passion in two featured numbers including a particularly moving rendition of “You Must Love Me” (which was written for the 1996 film) sung by McCrimmon as the two dance. There’s also a fantastic ensemble playing various roles and adding to the overall spirit of the show with enthusiasm, excellent singing, and dynamic dancing choreographed by director Josh Rhodes. 

The set by Adam Koch is strikingly effective, as well, augmented by memorable video design by Steven Royal and dazzling lighting by Paige Seber. The use of the stage’s turntable is especially notable here, adding style and emotional emphasis to Eva’s famous balcony scene and adding a smooth and energetic sense of movement as the story unfolds. Brian C. Hemesath’s costumes are meticulously designed and crafted, as well, suiting the characters and mid-century Argentinian setting particularly well. 

Evita at the Muny is among the best shows I’ve ever seen there, and that’s not hyperbole. It’s a truly fantastic show, with emotion, energy, excellent movement and vocals, and a first-rate cast that includes a remarkable rising star in the leading role. This is a classic show brought to life with stunning immediacy, and it’s not to be missed. 

Cast of Evita
Photo by Phillip Hamer
The Muny

The Muny is presenting Evita in Forest Park until July 24, 2025

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Trust, Control, and Satire Feature in STLAS’s Intriguing New LaBute Festival

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

11th Annual LaBute New Theater Festival
St. Louis Actors’ Studio
July 13, 2025

It’s Festival time again for STLAS. Their Annual LaBute New Theater Festival, named for playwright Neil LaBute, is now in its 11th edition, with a selection of plays in which the prime issues seem to revolve around personal relationships and trust, as well as challenging societal structures, with a trend toward the sharply satirical in at least half of the shows presented here. As always, it’s an intriguing showcase for the works of largely lesser-known playwrights, providing memorable roles for talented local performers. 

While the writers are different for each play, the works are helmed by two directors, each taking three plays, and with six actors (Maclean Blanner, Claire Coffey, Tyler Crandall, Xander Huber, Reagain Posey-Mank, and Sarah Wilkinson) taking various roles as the shows demand. The technical team is consistent throughout, with sets and lighting by Patrick Huber, props by Emma Glose, costumes and wigs by Abby Pastorello, and sound by STLAS.

The background set is essentially the same as it has been at past festivals–a dark gray back wall with a recessed area in center, and with each play’s title and author projected at the beginning. It’s a format that has worked for STLAS consistently for this festival, and it works well this year, too, allowing a sort of “blank canvas” for the directors and designers to build their shows’ “worlds” as needed. 

Here are a few thoughts about the individual plays:

“TEOTWAWKI”
by Aleks Merilo
Directed by Bryn McLaughlin

Sarah Wilkinson
Photo by Patrick Huber
St. Louis Actors’ Studio

It’s the end of the world as we know it (that’s what the title stands for), and Wilkinson is sitting alone beside a ham radio setup, sending a broadcast out into the ether, hoping someone will hear. Apparently there has been some cataclysmic event, and Wilkinson is looking to see if anyone else is out there. Her pleas are passionate, even desperate, but what is really going on here? I can’t say much else, because that would spoil it, but I will say that there’s a lot to think about here, and Wilkinson gives a truly fantastic performance. There’s also fine support from Crandall, Huber, and Posey-Mank in smaller roles, but Wilkinson is star here. It’s a bold start for this year’s collection of shows. 

“Poor Me”
by Tracy Carns
Directed by Bryn McLaughlin

Former roommates have a spat. That’s the “easy” way to describe this play, but there’s a lot more going on here than just an argument. Tad (Huber) is apparently the son of the landlord of the apartment building, and he’s married and moved out of the unit that is still being occupied by Cleo (Claire Coffey), a struggling artist. The ongoing struggle between “haves” and “have-nots” is addressed here, as well as issues of personal loyalties and independence. The dialogue is sharp and characters well-drawn, with strong performances from both players here, with Coffey’s stubbornly insistent Cleo especially memorable. 

“Hungry Women”
By Melissa Maney
Directed by Avery Harrison

Megan Posey-Mank, Maclean Blanner, Claire Coffey
Photo by Patrick Huber
St. Louis Actors’ Studio

This play is the most elaborate and pointed of this year’s offerings, with strong costume design and use of lighting, as well as a message that provides much to talk and think about. Subject-wise, this is more in the “extreme” satirical category, as a group women in what appears to be the 19th Century ponder their existence after an event of some sort that has killed all the men in their town, and potentially elsewhere. Each of these women–Eden (Posey-Mank), Mary (Blanner), Ruth (Coffey), and Vic (Wilkinson)–have seemingly different reactions at first, but the bold, brash Vic encourages a radical solution to their dilemma at which the others initially balk. I’m not going to say much else, other than that the title seems to have a multi-layered meaning. The performances are enthusiastic and excellent here, with strong chemistry among the actors, and the issues raised here are certainly worth talking about, even it if does seem to major more on shock value. Still, there are important issues to discuss that are raised here, and I’m guessing this will be the most talked-about show of the festival, which I guess is the overall point. 

“A Modest Proposal”
by David MacGregor
Directed by Avery Harrison

After the first part of the festival has closed with a “shocking” satire, the second part begins with another one, with a title that alludes to a famous satirical work by Jonathan Swift. As shocking and confrontational as that work was in its time (and now), this story has a similar approach, even though the “dilemma” and “solution” offered are different. Here, we see two corporate executives–CFO Posey-Mank and CEO Crandall–bemoaning all the various proposals they’ve been reviewing from a stream of consultants all offering variations on the same ideas, until a new consultant, Wilkinson, enters with a radical idea that shocks them at first, but soon exposes their own greed and selfishness and real sense of priorities. It’s a sharp skewering of corporate culture and greed, and all three performers do an excellent job with their characterizations and the overall tone of the story, although the corporate types portrayed here are kind of one-dimensional and therefore “easy targets”.

“Carpool”
by Dave Carley
Directed by Avery Harrison

This is a very short play, but it’s fun. Here, we have three white-collar office workers (Coffey, Huber, and Blanner) carpooling to work on a succession of days, with the road projected in the background to maintain the sense of movement. The banter between the characters, and the contrasting personalities adds to the comedy, as do the literary and theatrical references that may be noticed by those familiar with the works of T.S. Eliot and Samuel Beckett. This one comes across more as a sketch than a play, but it’s fun nonetheless, with strong performances and crisp comic timing all around. 

“Scenes From a Bookstore”
by Neil LaBute
Directed by Neil Labute

Tyler Crandall, Maclean Blanner
Photo by Patrick Huber
St. Louis Actors’ Studio

This work, by the festival’s namesake LaBute, is perhaps the playwright’s best work for the festival to date, at least in my mind. Many of LaBute’s past entries have come across more as scenes or acting exercises than plays, but this one has a story and genuine plot movement, with characters that come across as well-drawn and memorable. The characters are listed in the program as Him (Crandall), Her (Blanner), and She (Coffey), but one of them (importantly, I think) does have a name. This is a somewhat clever variation on the rom-com “meet cute” trope, but it also examines the repercussions of such an encounter when one or both of the parties involved is already in a committed relationship. As Crandall and Blanner–whose characters have apparently been previously involved–are reacquainted in a chance encounter at a bookstore and then later seem to regularly bump into each other again, we later are introduced to the man’s wife, Coffey, who soon begins to have her own suspicions. I think it’s clear here with whom we are supposed to sympathize most (the one who has a name), and I certainly do. It’s a clever exploration of relationships and expectations, and all three players are excellent. In my mind, this is most successful and fully-formed show of this year’s collection.

St. Louis Actors’ Studio is presenting The 11th Annual LaBute New Theater Festival at the Gaslight Theater until July 27, 2025

 

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STLSF Brings Shakespeare to the Zoo with Sweet-Natured, Hilarious “Romeo & Zooliet”

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

Romeo & Zooliet
by Jennifer Joan Thompson
Directed by Tom Ridgely
St. Louis Shakespeare Festival
July 11, 2025

Ricki Franklin, Jordan Moore
Photo by Theo R. Welling
St. Louis Shakespeare Festival

St. Louis Shakespeare Festival has performed its productions throughout the St. Louis area, including its main stage productions in Forest Park, to its Shakespeare in the Streets shows in specific neighborhoods, to its TourCo shows throughout the region. Now, the Festival is celebrating Shakespeare’s work in a new location–the St. Louis Zoo, with a fun new comedy adapted from one of the Bard’s most well-known tragedies. Romeo & Zooliet, written by Jennifer Joan Thompson and directed by Tom Ridgely, is decidedly more upbeat than its inspiration, and its focus on its location and a menagerie of fantastically crafted animal puppets adds much in the way of entertainment value, as do the lively performances by an enthusiastic and talented cast. 

The show makes the most of the Zoo setting with an outdoor amphitheater set up in the middle of the Zoo’s Historic Hill area, featuring Scott C. Neale’s colorful and whimsical set representing a stage labelled “The Glowb” in reference to Shakespeare’s theatre, the Globe, but made by zoo animals who aren’t the best at spelling. The story is essentially a more “family friendly” version of Romeo and Juliet, enacted after hours at the zoo after all the humans have gone home, narrated by Peter the penguin (Ryan Omar Stack, Rae Davis) along with young penguin Penny (Genevieve Mazzoni, Sophia Stogsdill) and cousin Puff (Bryce Cleveland, Rian Page), a puffin. These three watch from the sidelines and reappear to comment at various times throughout the story, which follows the Shakespearean tale in a general sense, but made more upbeat and whimsical. The feuding factions here are Herbivores and Carnivores, with Romeo (Jordan Moore) being a prairie dog looking to find a BFF he can have endless playdates with, after having been rejected by Rosaline, a flamingo. He and his buddy Mercutio the red panda (Jacob Schmidt) end up crashing a “Carnivore Party” held by grizzly bear Lady Capulet (Nisi Sturgis), who is intent on setting up her daughter Juliet (Ricki Franklin) with “apex predator” Paris the alligator (Ryan Omar Stack) as a new Best Friend, but he seems more interested in her as food, and Juliet isn’t so sure she wants to be a carnivore anyway. When she and Romeo meet, of course the sparks fly, and they are determined to be Best Friends Forever. Of course, there are obstacles, and Juliet’s hippopotamus Nurse (Olivia Scicolone) and Friar Lawrence, an owl (Jeff Cummings), try to help while Juliet’s tiger cousin Tybalt (Rae Davis) tries to interfere. 

The story basically follows the original plot, with some clever and often hilarious modifications in keeping with the more comic and family friendly tone. I don’t think it’s a spoiler, for instance, to say that nobody dies in this version, but the alternatives are appropriate and add to the overall story and animal characterizations, and still contribute well to the overall moral of putting aside petty quarrels and loving people for who they are.

The portrayals here are marvelous, as well, with Moore’s Romeo given a sweet, lovably emotional characterization and some winning moments including a show-stopping “Shakespeare’s greatest hits” monologue towards the end of the show. Moore’s interactions with Franklin’s lively and likably fierce Juliet are a highlight as well, as are Sturgis’s domineering Lady Capulet, Scicolone’s devoted Nurse, Cummings’ wise but somewhat bumbling Friar Lawrence, and Schmidt’s excellent dual turn as the mischievous Mercutio and slow-moving tortoise Friar John. Stack is also a treat in three roles as Peter the penguin, the sea lion Prince of Zoorona, and the ravenous Paris–who is more interesting here than his usually bland characterization in the original play. Davis makes the most of the role of the belligerent Tybalt, as well, and the child performers are also excellent. It’s a cohesive ensemble that makes the most of all of their roles, and expertly operate their elaborate, remarkably detailed puppets designed and created with impressive flair by Michael Curry Design.

The other technical aspects of the production are also superb, with memorable costumes by Raquel Adorno, mood-enhancing lighting by Jesse Klug, and strong sound design by Stephen Ptacek. There’s also a fun musical score by Jeffrey “JQ” Qaiyum, energetic choreography by Sam Gaitsch, and exciting fight choreography by Zev Steinrock. The outside setting at the Zoo provided an ideal backdrop for the show, as well, with the sounds of real animals sometimes being heard, and the real prairie dog and sea lion habitats nearby, that spectators pass on their way to the performance area.

Having the show outdoors also presents a challenge, considering the sometimes hard to predict St. Louis summer weather, and there was a small stoppage for rain on opening night, but it was handled well, and the audience was treated to a fun rain delay playlist of songs as they waited for the show to resume. There was also a bit of a technical issue with the sound late in the show, but that was also handled especially well by the cast and crew. 

The whole spirit of Romeo & Zooliet is one of hope, friendship, and reconciliation, with the whimsical, childlike tone of the story doing well to carry the themes and message of the story. The characters are especially memorable, as well. It’s an immensely entertaining blend of animals, nature, humanity, and the magic of theatre.

Ryan Omar Stack, Nisi Sturgis (on stage), with Set and Audience
Photo by Theo R. Welling
St. Louis Shakespeare Festival

St. Louis Shakespeare Festival is presenting Romeo & Zooliet at the St. Louis Zoo until August 17, 2025

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Midnight’s Well-Cast “Pride and Joy” Features Family Struggles, Sitcom Style

Posted in St Louis Theatre, tagged , , , , , on July 13, 2025| 1 Comment »

Pride and Joy
by Colin McLaughlin
Directed by Carl Overly Jr.
The Midnight Company
July 10, 2025

Joe Hanrahan, Lavonne Byers, Alicen Moser
Photo by Kristina Schall DeYong
The Midnight Company

The Midnight Company’s latest production is a new play that’s also something of a throwback. Deliberately styled in the form of a classic sitcom, Colin McLaughlin’s Pride and Joy is a comedy about a family with a lot of drama, kind of like a “Very Special Episode”. As directed by Carl Overly Jr. and featuring a first-rate cast of local performers, it’s a show that brings lots of laughs and a credible portrayal of a family with a lot of issues to work out. 

The sitcom elements are obvious before the play even starts, as the audience is treated to a playlist of famous themes from classics like Friends, The Jeffersons, The Office, Cheers, and more, and the well-appointed set by Chuck Winning brings to mind a classic sitcom living room setup. As the show gets going, more of these elements become apparent, including “commercial breaks” and bumper music. The pacing is sitcom-like, as well, although the runtime is longer than the average sitcom at roughly 80 minutes. It somewhat calls to mind one of those “Very Special Episodes” of classic comedy shows, when a serious issue is brought up, although the tone here is, for the most part, kept relatively light.

The story follows the Moran Family–parents Michael (Joe Hanrahan) and Mary (Lavonne Byers), and their adult children Jay (Jayson Heil), Sam (Sarah Lantsberger), and Maggie (Alicen Moser). The action takes place at Sam’s apartment, as the rest of family arrives having been called there for a “Family Intervention”, although Sam is late and everyone else is left to try to figure out who the intervention is for. After a while, Sam arrives and the goal of the evening is made more clear, but even though there is a stated “target” for the intervention, a lot of issues get brought up, and every character gets their moments to fess up about various issues, including Jay’s self-professed “assholery”, Mary’s focus on others to the perceived neglect of herself, Maggie’s fondness for weed, Michael’s on-and-off issues with drinking, and Sam’s own issues that she reveals in the course of the intervention, which tie into her relationship with her family. It’s a quick-witted, characterful show with a good deal of genuine laughs and moments of drama peppered in for good measure.

The characters are well-drawn and expertly played, led by Lantsberger in a well-measured performance as the well-meaning but occasionally controlling Sam, and Byers as the motherly, longsuffering Mary, who gets some of the best dramatic moments in the show. There’s also excellent work from Hanrahan as the reluctant Michael, Heil as the outspoken Jay, and Moser as the somewhat mischievous Maggie. The give-and-take in the conversations and the undercurrent of genuine care in the midst of the bickering is well done and expertly paced, making the most of the sitcom format and providing much to think about and relate to, as well as laugh about. 

There’s also notable work from lighting designer Tony Anselmo and costume designer Liz Henning, as all the elements of the show work together to give the audience a funny, thoughtful look at a dysfunctional family that tries hard to function better. The enthusiastic laughter of the audience also adds to the overall sitcom vibe. Pride and Joy is an intriguing, funny new play that provides the classic TV experience with the bonus of live theatre energy. 

Jayson Heil, Sarah Lantsberger, Lavonne Byers, Alicen Moser
Photo by Kristina Schall DeYong
The Midnight Company

The Midnight Company is presenting Pride & Joy at The Chapel until July 26, 2025

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“Disney’s Frozen” at the Muny Makes for a Winter Wonderland in a STL Summer

Posted in St Louis Theatre, tagged , , , , , , , , , , on July 8, 2025| Leave a Comment »

Disney’s Frozen
Music and Lyrics by Kristen Anderson-Lopez and Robert Lopez
Book by Jennifer Lee
Directed by John Tartaglia
Choreographed by Patrick O’Neill
The Muny
July 7, 2025

Bobby Conte, Patti Murin, Hannah Corneau
Photo by Emily Santel
The Muny

Frozen is a phenomenon that has turned into a franchise, but it started out as a single animated film in 2013. It has since spawned sequels and a successful Broadway musical that has been produced and toured in various countries around the world.  The Muny is now presenting its first production of the show, and it’s somewhat ironic that it’s  being staged in the middle of a particularly hot St. Louis summer, considering the story features a song about summer sung by a snowman, comically emphasizing the fact that snow and summer heat don’t usually mix. At the Muny, however, these elements prove to be a successful combination, providing an entertaining respite from the heat as well as a dazzling spectacle that makes the most of a somewhat minimalist set and at least one truly jaw-dropping special effect. Add that to a terrific cast and energetic staging, and it becomes a successful recipe for wintry wonder in Forest Park. 

The story will be familiar to many, considering how ubiquitous the franchise has become, as reflected by the many families with small children in Frozen-inspired outfits in the audience at the Muny. It’s a popular story of magic, mystery, secrets hidden and revealed, sisterhood, family, and love in various forms. It also challenges a few familiar “fairy tale” tropes and features a score of memorable songs including the iconic, Oscar-Winning “Let It Go”. The main focus is on the sisters Anna (Patti Murin) and Elsa (Hannah Corneau), who are close as children, but are driven apart as a result of an incident that causes Elsa and her parents (Ann Sanders as Queen Iduna, Jonah D. Winston as King Agnarr) to conceal her magic ice powers from Anna and the rest of the world, and further events cause Elsa to become even more reclusive and fearful.  

Years later, when the sisters are young adults and Elsa is about to be crowned Queen, the gates are opened in both the literal and figurative sense, as Anna becomes enamored with the outside world and with Prince Hans (Bobby Conte), who she just met. Meanwhile, Elsa still struggles to control her powers, which unleashes a sudden winter on the Kingdom of Arendelle and a self-imposed exile for Elsa. As Hans is left in charge of the Kingdom, Anna heads out to find Elsa, with the help of ice-merchant Kristoff (Jelani Remy) and his reindeer, Sven (Andrew A. Cano). They are soon joined by Olaf the snowman (Kennedy Kanagawa), as they race to find Elsa before the townspeople–who are quickly beginning to view Elsa as a monster–get there first. 

It’s a well-done show, for the most part, with a few new songs added to the film score, as well as an expanded story that seems a bit choppy at times, but comes together well in the end. The showcase number “Let It Go” isn’t given quite the setup it needs, but the excellent Corneau as Elsa delivers it with energy and vocal power, and the technical effects are truly stunning, including the most spectacular quick costume change I have ever seen onstage. Even though the set by Tijana Bjelajac is fairly minimal compared to the touring production I saw at the Fox a while back, it works well for the Muny’s stage and in conjunction with some truly spectacular video projections by Kylee Loera, as well as dazzling lighting by Jason Lyons (including lasers), and excellent sound design by John Shivers and David Patridge. The costumes by Robin L. McGee are colorful and eye-catching as well, and the puppet design by Eric Wright and Puppet Kitchen is memorably fantastic, aided by the strong and especially memorable performances of Kanagawa as  Olaf and Cano (accompanied by another performer in the costume) as Sven. There’s also a great Muny Orchestra led by music director Darryl Archibald that brings out all the style and emotion of the memorable score.

The cast is fantastic, including strong performances from Isla Turner and Maliah Strawbridge as Young Anna and Elsa, respectively, who figure into the story quite a bit. Their adult counterparts are also excellent, with the aforementioned Corneau bringing out the right level of emotion and reserve as Elsa, and original Broadway Anna Patti Murin bringing a bouncy, likable energy to the role. Both performers portray a believable sisterly bond, as well, and the chemistry between Murin and both of and her leading men–the awkwardly charismatic Conte as the initially likable but mysterious Hans, and the stubborn-but-charming Remy as Kristoff–is strong and believable. There are also memorable turns from Jared Gertner as the snooty, skeptical Duke of Weselton; Mark Saunders as the enthusiastic trader Oaken, who leads the hilarious Act 2 opening production number “Hygge”; and Chris Stevens and Cecilia Snow as Pabbie and Bulda of the “Hidden Folk”, who figure in the story in various ways. There’s a strong, energetic ensemble as well, including the Muny Teen and Youth Ensemble, plays various roles and adding much enthusiasm to Patrick O’Neill’ clever and vigorous choreography.

Ultimately, Disney’s Frozen works especially well as the Muny’s “family show” for 2025. Although the show itself isn’t quite as tightly plotted as the film, it’s an entertaining spectacle in its own right, and it looks great on that big Muny stage. It’s also a fun wintry change of pace in the midst of another sweltering St. Louis summer. 

Jelani Remy (Center) and Cast
Photo by Phillip Hamer
The Muny

The Muny is presenting Disney’s Frozen in Forest Park until July 14, 2025

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Hospitality, Humanity Brought Into Focus in The Muny’s Heartfelt “Come From Away”

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

Come From Away
Book, Music and Lyrics by Irene Sankoff and David Hein
Directed by Seth Sklar-Heyn
Choreographed by Jesse Robb
The Muny
July 1, 2025

Heidi Blickenstaff (Front) and Cast
Photo by Phillip Hamer
The Muny

The world had a crisis and Gander, Newfoundland stepped up. It’s become a well-known story of September 11, 2001, as planes were grounded on the remote Canadian island and the small town and neighboring towns played hosts to approximately 7,000 displaced airline passengers and crew. Come From Away, the musical that tells Gander’s story, is a folksy, heartfelt tale with much well-place humor, celebrating hospitality, ingenuity, and humanity, as a few thousand people worked to find hope amid the heartbreaking tragedy of 9/11. Currently onstage at the Muny under the direction of Seth Sklar-Heyn, this remarkable show is being staged with heart, energy, and a stunning mixture of complexity and simplicity. 

There is a fantastic cast assembled, with each performer playing a variety of roles. The cast here appears to be slightly larger than the touring cast I saw a few years ago at the Fox, but it’s not too big as to overwhelm the heartfelt simplicity of this show, with its intertwined tales based on real accounts of people who lived through those days in Gander almost a quarter century ago. The music is a mixture of folk-inspired tunes and traditional Broadway sounds, and the look is stunningly memorable, with a simple but beautifully decorated autumnal-themed set by Edward E. Haynes, Jr., memorable mood lighting by Rob Denton, excellent video design by Mike Tataj, and colorful costumes by Gail Baldoni. The orchestra led by music director Evan Roider adds a lush tone to the memorable score, and the overall local atmosphere that, despite having a host of featured characters, features Gander as the show’s real “star”.

While the overall tone is one of hospitality and hope, there is real poignancy here as well as flawed humanity on display, as strained relationships, xenophobia and distrust for a Muslim character are depicted amid the stories of the largely well-meaning Newfoundlanders working to make the most suitable temporary home for their thousands of guests. Standout subplots include SPCA worker Bonnie (Andréa Burns) trying her best to care for the various animals on the grounded planes; as well as a friendship that develops between local schoolteacher Beulah (Zoe Vonder Haar) and passenger Hannah (Tamika Lawrence), who waits for news of her NYC firefighter son. There’s also the budding attraction between the British Nick (John Bolton) and Texan Diane (Ashley Brown), the first day on the job of local TV news reporter Janice (Abigail Isom), and the story of Beverley Bass (Heidi Blickenstaff), who pilots one of the stranded planes and also gets to tell her true life story in the show-stopping “Me and the Sky”. The locals and visitors are well represented, with one of the most memorable scenes being what’s called a “Screech In” at a local bar, in which some of the “Come From Away” guests are inducted as honorary Newfoundlanders in a fun, quirky ceremony .

The cast is fantastic across the board, with standouts being those already mentioned, as well as Adam Heller as the town’s mayor, Alan H. Green as a passenger who starts out suspicious of the locals’ hospitality but grows to appreciate it, and Trey DeLuna and Jason Tam as a pair of bickering boyfriends both named Kevin. The entire cast is full of energy, telling the story in a way that credibly conveys the confusion, struggle, heartbreak, humanity, and hope in this remarkable story.

Come From Away isn’t a long show. In fact, it’s one of those rare shows that the Muny has done without an intermission. Still, it packs a lot of story, character, music, and emotion into its relatively short running time. It’s a profoundly affecting and unique piece of theatre. 

Ashley Brown, Zoe Vonder Haar, John Bolton, Adam Heller
Photo by Emily Santel
The Muny

The Muny is presenting Come From Away in Forest Park until July 2, 2025

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