Archive for September, 2025

“Beautiful” Lives Up to Its Title at STAGES With Heartfelt Celebration of Music, Creativity, and Friendship

Posted in St Louis Theatre, tagged , , , , , , , , , on September 29, 2025| Leave a Comment »

Beautiful: The Carole King Musical
Book by Douglas McGrath
Words & Music by Gerry Goffin & Carole King, Barry Mann & Cynthia Weil
Directed and Choreographed by Jennifer Werner
STAGES St. Louis
September 24, 2025

David Socolar, Kailey Boyle, Brianna Kothari Barnes, Jeff Cummings
Photo by Phillip Hamer
STAGES St. Louis

Seeing different productions of the same show can bring out different aspects of the show, also while highlighting the reasons why certain shows succeed so well at telling their stories on multiple levels. STAGES St. Louis’s latest offering, Beautiful: The Carole King Musical, is the third and “smallest” production I’ve seen of this show, after the touring show at the Fox a few years ago and the lavish Muny production in 2023. While all three productions have been excellent, each one seems to have its own “personality”, and this one at STAGES, under the direction of Jennifer Werner and featuring a fantastic cast, comes across as perhaps the most personal of all.

The smartly-scripted musical focuses on legendary singer-songwriter Carole King (Brianna Kothari Barnes), who started out as a Brooklyn teenager with a gift for composing music and a mother, Genie Klein (Amy Loui), who encourages her daughter to pursue a more “stable” career as a music teacher. But the talented and ambitious Carole is determined to make it as a songwriter, soon meeting publisher/producer Don Kirshner (Jeff Cummings), and selling her first song. She also meets Gerry Goffin (Sean McGee), who soon becomes her partner in both songwriting and life, as the two marry, have a baby, and eventually find success with a series of hit songs performed by popular artists like the Drifters (Ian Coulter-Buford, Trey McCoy, Devin Price, Justin Reynolds),the Shirelles (Tatiana Bahoque, Tiffany Francés, Sydney Quildon, Alexandrea Reynolds), and Little Eva (also Quildon). Carole and Gerry also become close friends and professional rivals with another couple, the songwriting team of Barry Mann (David Socolar) and Cynthia Weil (Kailey Boyle). The story follows Carole through the pop music scene of the 1960s as well as challenges in her marriage as Gerry begins to feel restless and deals with mental health and substance abuse issues, finally leading up to her emergence as a solo artist and the debut of her Grammy-winning album Tapestry and a celebrated concert at Carnegie Hall. 

It’s an insightful look at the American pop music scene from the late 1950s to the early 1970s, as well as a celebration of King’s talent, personality, and artistic development. It’s also a compelling look at friendships among creative artists, and the triumphs and temptations of show business. With the more intimate staging of this production and the smaller ensemble, the personal aspects of King’s life seem to stand out more, as do the personal interaction among artists and writers. The staging is well-paced, and the cast is well-chosen, led by a charismatic and relatable Barnes, who sings in King’s style with ease and displays strong stage presence and chemistry with her co-stars, especially McGee’s charming but erratic Gerry, and the memorable standouts Boyle as Cynthia and Socolar as Barry. Cummings is also a highlight as the commercially-focused but supportive Kirshner. There’s also a first-rate ensemble playing all those superstars of yesteryear also including the Righteous Brothers (Hugh Entrekin, RJ Woessner), Neil Sedaka (Woessner), and Janelle Woods (Bahoque). 

The look, sound, and vibe of the eras portrayed are marvelously well-realized, with a kinetic, eye-catching set by Peter Barbieri, dazzling lighting design by Sean M. Savoie, and excellent sound by Breanna Fais. The colorful, detailed period costumes by Cat Lovejoy also add to the overall mood and atmosphere, and there’s a great band led by music director David Nehls, bringing to life all those well-known hits including “Will You Love Me Tomorrow”, “You’ve Got a Friend”, “One Fine Day”, and many more. Werner’s choreography is also a highlight, and the staging on production numbers like the especially memorable “The Locomotion” is stellar.

Ultimately, what comes across here in an especially powerful way is the real sense of connection and friendship, with the “You’ve Got a Friend” sequence featuring Carole along with Weil, Mann, and Kirschner being a particularly  heartwarming moment. Beautiful is a show that celebrates the life and work of Carole King, but also the music and eras in which she got her start. At STAGES, the show lives up to its title, highlighting the beauty of music, friendship, and creativity. 

Brianna Kothari Barnes and Cast
Photo by Phillip Hamer
STAGES St. Louis

STAGES St. Louis is presenting Beautiful: The Carole King Musical at the Kirkwood Performing Arts Center until October 19, 2025

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SATE Takes the Audience on a Fun “Classic Aventure” With Much Energy and Nostalgic Style

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

Classic Adventure Movie: Or Never Say Die
Written by Keating
Based on a Concept by Rachel Tibbetts, Keating, and Cassidy Flynn
Directed by Rachel Tibbetts
SATE Ensemble Theatre
September 12, 2025

Keating, Ricki Franklin, Cassidy Flynn, Ashwini Arora
Photo by Joey Rumpell
SATE Ensemble Theatre

Remember The Goonies? Maybe you do, and maybe you don’t, but it’s clear that Richard Donner’s 1985 film–with a script by Chris Columbus based on a story by Steven Spielberg–has become a modern classic, especially for Gen X and the Millennial generation. With a cast made up of performers of various ages and experiences, SATE explores the story of the movie in its own madcap way, while also–in a style reminiscent of their earlier show First Impressions–allowing moments for the cast members to reflect on the “classic adventure movies” that shaped their own lives. The end result–Classic Adventure Movie: Or Never Say Die–is full of action, humor, reflection, enthusiasm, nostalgia, and ultimately a whole lot of fun.

What’s especially fun about this show is that, even if you haven’t seen the film or if, like me, you haven’t seen it since it first came out in theatres, you’ll probably still be able to follow this show fairly easily. The Goonies story is told, essentially, but with revisions and references to other films and stories, with occasional nostalgic breaks as the cast members tell of the films that shaped their lives, from more obvious selections like E.T. The Extra-Terrestrial to perhaps more surprising fare like Under the Tuscan Sun, and covering many decades of cinematic history, with a high concentration on movies from the 1990s and early 2000s. 

The adventure theme is present throughout, as the “Goonies”–an “outcast” group of kids and teens in their small Oregon town–find a treasure map apparently made by a long-lost pirate called One-Eyed Willy. The kids, led by Mikey (Ricki Franklin), Mouth (Cassidy Flynn), Chunk (Keating) and Data (Ashwini Arora) go on a quest to find the map with the hopes that the treasure will help them save their homes, which are slated to be demolished in order to build a Top Golf. Soon, the group finds themselves at odds with the criminal Fratelli family–brothers Jake (Anthony Kramer-Moser) and Francis (Victor Mendez) and their bossy Mama (LaWanda Jackson), who hope to find the treasure for themselves. They also are eventually joined by Mikey’s older brother Brand (Carl Overly, Jr.), Brand’s cheerleader crush Andy (Hailey Medrano), and Andy’s best friend Steph (Marcy Wiegert), along with appearances by fellow cheerleaders Barb (Katie Donnelly) and Lizzie (Courtney Bailey) and superstar pop singer Cyndi Lauper (Frankie Ferrari), who gets to play a much bigger part in this show than the cameo appearance she had in the film. 

There’s a lot going on here, with fun moments of humor and pop-culture references, and especially strong ensemble chemistry with no weak links in the cast. The four main Goonies are standouts, with some excellent moments from everyone else as well, and Ferrari seemingly having a blast playing Lauper and getting to lead the cast in an energetic rendition of one of Lauper’s hit songs. The nostalgia moments are fun, as well, exploring the very real way film has come to shape the lives of so many throughout the generations, and how “adventure” can mean different things to different people. 

The performance space at The Chapel has been used to maximum benefit by means of Erik Kuhn’s imaginative and detailed set, decorated with movie posters and nostalgic artifacts. Also noteworthy are Katie Leemon’s memorable props, the marvelous lighting by by Denisse Chavez and excellent sound by Ellie Schwetye that helps keep up the overall nostalgic and adventurous tone of the show. Liz Henning’s costumes are also excellent, adding a lot of nostalgic fun to the story and suiting the characters and overall tone especially well.

This is another hit from SATE. This company is great at what it does, with a quirkier take on theatre that also highlights creativity, imagination, intelligence, and heart. With a clever script by Keating, fast-paced direction by Rachel Tibbetts, and a first-rate cast who all seem to be having a fantastic time, this is a show that entertains with a lot of energy and charm. It’s a real adventure of a comedy, with loads of nostalgic charm and style. 

Cast of Classic Adventure Movie: Or Never Say Die
Photo by Joey Rumpell
SATE Ensemble Theatre

SATE Ensemble Theatre is presenting Classic Adventure Movie: Or Never Say Die at The Chapel until September 27, 2025

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NJT’s “Wanderers” is a Highly Emotional Exploration of Relationships and Expectations

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

The Wanderers
by Anna Ziegler
Directed by Robert Quinlan
The New Jewish Theatre
September 11, 2025

Bryce A. Miller, Jade Cash
Photo by Jon Gitchoff
The New Jewish Theatre

One of the marks of great theatre is the ability to explore and inspire deep emotions, for the actors and the characters they play, and also for the audience. A good example of this is my experience of watching the New Jewish Theatre’s latest production, Anna Ziegler’s The Wanderers,  directed by Robert Quinlan. This play, following two parallel stories of married couples, runs the gamut of emotions, as I did watching it, following the twists, turns, and various attributes and decisions of the characters, not being entirely sure what to think until I saw it come together as a remarkably thoughtful and challenging, with some truly excellent performances.

This is a play with a few twists, but the set-up is fairly simple–we see alternating scenes of two married couples, one in the 1970s and 80s, and another starting in 2015. The earlier couple, Esther (Jade Cash) and Schmuli (Bryce A. Miller) are members of a strict Jewish sect called Satmar Hasidism, and their first scene shows their wedding night, when they are alone together for what is apparently the first time. The later couple, Abe (Joel Moses) and Sophie (Wendy Renée Greenwood), are a pair of writers who grew up together, and we first see Sophie reflecting on their relationship and a major decision she has made regarding it. Their timeline then goes back a bit to explore how their relationship got to that moment of decision, and in alternating scenes we see both couples struggle with community expectations, parenting, the ups and downs of their personal relationships, and differences in beliefs and opinions, and fairly soon learn what the connection is between the two couples, which is fairly obvious from early on. We also see Julia (Maggie Wininger), a famous movie star who has attended one of Abe’s book readings, and an email conversation between the two, which is portrayed in something of an otherworldly way, with lights and sound effects that lend an air of mystery as Abe increasingly bears his soul to the woman on the other end of the computer, whom he seems to hold as something of an ideal, as opposed to reality of his own marriage and family commitments, and while growing more and more distant from Sophie. Meanwhile, Schmuli and Esther navigate their own struggles, as he deals with pressures from the stricter members of his family and community as she becomes increasingly curious about the outside world. 

This is an especially well-structured story, with a few twists and revelations, and developments that go the way you may be expecting, and others that don’t. I found myself getting angry at the characters (especially Abe) quite a bit, and wondering if Sophie was going to be given much to say because a lot of time she seemed to be hovering in the background, but in the last third or so of the play, Sophie is given her moments. Everyone is excellent, with Moses perfectly cast as the alternately charming and self-absorbed Abe, and Greenwood a strong foil as the persistent Sophie, and Cash and Miller at their best as the the conflicted but obviously caring Esther and Schmuli. Some of the play’s most profound moments are between these two, as the tension that grows between them is palpable and saddening. Wininger is also a standout as Julia, who hovers in something of an ethereal space in the personification of her emails with Abe, as something of a cross between a real person and an idealistic fantasy. The chemistry is strong all around, giving energy to intelligence and gradually building momentum of the script.

The stage layout is intriguing, with the performance area set up as a long strip in the middle, with Esther and Schmuli’s area on one side and Abe and Sophie’s on the other, with characters occasionally venturing out into the undefined space in the middle. Reiko Huffman’s set is detailed and well-defined, and well-lit by Jayson Lawshee, whose lighting design lends alternate airs of mystery and realism, as the plot demands. There’s also excellent work from sound designer Amanda Werre, and meticulously detailed costumes by Michele Friedman Siler that add to the storytelling as well as helping define the characters.

This isn’t a long play, running at approximately an hour and 45 minutes without intermission, but there’s a lot going on in that time span, which in the world of the play is years and decades of emotion, connection, distance, and drama. It’s a thoughtful exploration of relationships, richly portrayed by a superb cast of excellent local performers. It’s sure to provoke a lot of thought, and even some emotional investment in these well-drawn characters and their story.

Wendy Renée Greenwood, Joel Moses
Photo by Jon Gitchoff
The New Jewish Theatre

The New Jewish Theatre is presenting The Wanderers at the J’s Wool Studio Theatre until September 28, 2025

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Musical “Raisin” Highlights Important Themes, Strong Cast at the Black Rep

Posted in St Louis Theatre, tagged , , , , , , , , , , , , on September 11, 2025| Leave a Comment »

Raisin
Book by Robert Nemiroff and Charlotte Zaltzberg
Music by Judd Woldin, Lyrics by Robert Brittain
Adapted from Lorraine Hansberry’s A Raisin in the Sun
Directed by Ron Himes
Choreographed by Kirven Douthit-Boyd
The Black Rep
September 6, 2025

Duane Martin Foster, Adrianna Jones, Andrea Mouton
Photo by Keshon Campbell
The Black Rep

The first time I saw Lorraine Hansberry’s classic play A Raisin in the Sun was in a fantastic production at the Black Rep in 2014. Now, the celebrated company is revisiting the material in a different form with their new production of the 1973 Tony-winning musical version, Raisin. As is usual for this company, the resulting production is a thoughtful, well-cast show, and a promising start for a new season for the Black Rep.

If you’ve seen or read A Raisin in the Sun, you know the plot of Raisin, although there are a few changes, such as streamlining the story a bit, the removal of one character and the addition of one who is only mentioned in the earlier play. There’s also the expected singing and dancing ensemble, since it’s a musical. To a score that reflects the musical styles of the show’s early 1970s origins, the story plays out in what the program describes as early 1950’s Chicago, where the Younger family is dealing with various hopes, dreams, changes, and challenges. Matriarch Lena (Anita Michelle Jackson), a recent widow, is awaiting an insurance check from her late husband’s policy, which she hopes to use it to move the family from their too-small rented apartment into a bigger house in a nicer neighborhood. Her son, Walter Lee (Duane Martin Foster)–who is currently working as a chauffeur–is hoping he can convince his mother to let him use the money to invest in a new liquor store business with two of his buddies.  Meanwhile, his wife Ruth (Adrianna Jones) also wants more room and a promising future for their young son, Travis (Jaron Bentley). Meanwhile, Walter Lee’s younger sister, aspiring medical student Beneatha (Andrea Mouton) deals with differences in beliefs with her mother, as well as being encouraged to explore her African heritage by Nigerian student Joseph Asagai (Robert McNichols), who is also romantically interested in Beneatha. The main conflict, though, focuses on Walter’s dreams vs. Lena’s, as well as the challenges for the family amid racial prejudice in 1950’s Chicago, generational differences, and the changing values of the times.

This is an intriguing well-told story, and the songs fit well into the show, opening with an energetic ensemble dance number featuring the energetic, fluid choreography of Kirven Douthit-Boyd, and featuring some memorable musical moments throughout. The cast is excellent, as well, led by a tour-de-force performance by Jackson as the hopeful, caring Lena, who gets some excellent opportunities to show off her powerful singing voice. Foster is also strong as the insistent dreamer Walter Lee, displaying strong chemistry with Jones’s equally excellent Ruth. Mouton and McNichols make a sweet connection as Beneatha and Asagai, and there’s also a standout turn from young Bentley as Travis, who gets a few moments to shine musically as well. De-Rance Blaylock is also a standout in a smaller but memorable role as the Youngers’ neighbor Mrs. Johnson, and Will Bonfiglio also makes a memorable impression in a smaller role as a nervous representative of the currently all-white neighborhood the Youngers are planning to move to, offering them a deal that presents a dramatic dilemma. There’s a strong ensemble, as well, showing off strong singing and dancing ability as accompanied by the excellent band led by musical director/keyboardist Jermaine Manor. 

Visually, I did find myself not always able to tell what time the show was supposed to be set in, with the costumes by Gregory Horton being memorable but not always evocative of the early 1950’s. The set by Tim Jones is simple but effective, and Tony Anselmo’s lighting lends a dreamy tone to some moments while emphasizing realism in others as needed. The sound design by Kareem Deanes is good. but the acoustics in the Edison Theatre present the usual challenge and it’s not always easy to hear the singers over the music, and the pacing is excellent but there are occasional awkward transitions between scenes. 

Despite a few minor issues, though, Raisin is a fascinating, well-told story told by a truly fantastic cast. It’s an ideal showcase for the performers, both familiar and new, and an intriguing adaptation of a classic play with a memorable score. It’s an excellent season opener for the Black Rep, and it makes me even more eager to see what else they have in store.

Adrianna Jones, Jaron Bentley
Photo by Keshon Campbell
The Black Rep

The Black Rep is presenting Raisin at Washington University’s Edison Theatre until September 21, 2025

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Fast-Moving, Hilarious “Cottage” at the Rep is a Wild, Memorable Season Opener

Posted in St Louis Theatre, tagged , , , , , on September 11, 2025| Leave a Comment »

The Cottage
by Sandy Rustin
Directed by Risa Brainin
Repertory Theatre of St. Louis
September 5, 2025

Jordan Coughtry, Andreaa San Miguel, Isa Venere, Jack Dryden, Jihan Haddad
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

The Rep is launching their new season with a wild, physically demanding and precisely timed relationship comedy in the vein of Noël Coward, but as if Coward had a bit too much caffeine. Sandy Rustin’s The Cottage is frantic, it’s raunchy, it’s witty, and it’s a whole lot of fun. It also boasts a great cast and a set like the best of the Rep’s “house” sets–one that may make you want to move in.

It’s fitting that the set, designed with marvelous detail by Robert Mark Morgan, is so memorable, since the titular Cottage is essentially one of the play’s stars. In fact, this play has a lot in common with another of Rustin’s works that has been performed in St. Louis in the last few years–Clue–in that both plays feature quirky, well-defined characters, feature a lot of fast-moving and highly physical comedy, and include a house set that serves as something of a character in itself. Here, though, there’s an original story, inspired by the works of Coward and set in 1923, which is apparently soon after divorce law in the UK was revised so that women had the same rights for filing as men. That’s relevant because this is play about marriage, divorce, infidelity, secrets and lies, with a particular focus on women’s agency. 

The show opens as Sylvia (Andrew San Miguel) and Beau (Jordan Coughtry) are indulging in an amorous encounter at his family’s cottage, which is a well-appointed upscale English country dwelling that features a prominent portrait of Beau’s mother, who is frequently mentioned but never actually appears. Soon we learn that these two are having an illicit tryst, as they do once a year, hiding their encounters from their respective spouses, as Beau is married to the more fastidious Marjorie (Jihan Haddad) and Sylvia is married to Beau’s somewhat stuffy brother, Clarke (Jack Dryden). Of course, the spouses will eventually show up, but they also usher a series of surprises that I won’t spoil, which eventually include more characters–the scatterbrained Deirdre (Isa Venere) and her apparently murderous husband, Richard (Andrés Enriquez), who bring secrets of their own. The fast-paced interactions, along with a series of revelations, drives the plot, and the expertly choreographed physical comedy adds layers of hilarity as played out by the spectacular cast.

The cast is simply marvelous, led by delightfully physical performances from San Miguel as the somewhat bossy, frequently surprised Sylvia, whose comic timing is simply impeccable. There are also terrific turns from Coughtry as the pompous Beau, Dryden and Haddad showing excellent rapport as Clarke and Marjorie, as well as delightfully goofy showings from Venere as the hilariously forgetful Deirdre and Enriquez as the mysterious and eager Richard. There’s also a fine performance from Sam Matthews in a small role as the gardener. The entire ensemble works together well, with excellent timing, tremendous energy, and razor-sharp wit.  The script is madcap and clever, as well, with fun little touches that send up English manners and rote politeness (such as the constant offers of tea), despite the very real conflict that occurs and ramps up as the story plays out.

The production is simply dazzling, as well, with that marvelous set with all its nooks, crannies and hiding places, along with detailed period costumes by Renee Garcia. Lighting designer Michael Klaers and sound designer Amanda Werre add to the overall intensity and period flair of the show, and there’s also excellent work from fight director Paul Steger and intimacy director Jamie McKittrick. Dialect coach Lauren Roth is also to be commended, since the English accents are well-done and consistent.

The Cottage is, simply speaking, a hilarious, frantically paced must-see. It’s a laugh riot and comedy of manners for mature audiences, moving with breakneck speed and serving as a delightful showcase for a truly superb cast of performers. It’s a fantastic start for a new season at the Rep.

Andrea San Miguel, Jordan Coughtry, Jihan Haddad, Jack Dryden, Andrés Enriquez
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis is presenting The Cottage until September 28, 2025

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