Archive for December, 2025

Cherokee Street Theater’s “Hughes” is a Wild Nostalgic Ride

Posted in Uncategorized, tagged , , , , , , , , , , , on December 13, 2025| Leave a Comment »

John Hughes Your Own Adventure
Written by Joseph Garner, Chris “Mr.” Jones, Rob McLemore, Suki Peters, and Ben Ritchie
Directed by Suki Peters
Cherokee Street Theater Company
December 11, 2025

Cast of John Hughes Your Own Adventure
Photo by Robert Crowe
Cherokee Street Theatre Company

In the program for their rerun of Cherokee Street Theater Company’s STL Fringe Summer hit show, John Hughes Your Own Adventure, they refer to this as their “love letter to Gen X”. It’s confession time for me, then–I must not be a “typical” Gen Xer, because of all the films listed in the program as the basis for this parody, I’ve seen a grand total of two: The Breakfast Club and  (I think)  16 Candles. I guess I’m not the prime target for this nostalgia-fest, although I do have great nostalgia for the Choose Your Own Adventure books, especially The Cave of Time.  Still, even though I may not have seen all of these films, pop culture osmosis is real, and I’ve absorbed a lot of the references from my generation. My thought is that, if I think this show is a laugh riot (and I do), bigger fans of the films referenced are going to absolutely love it!  

It’s certainly a cleverly constructed show, hosted by John Hughes himself, played with a bit of self-important glibness by Joseph Garner, and the mash-up of his films with the classic “pick your path” format of the book series is remarkably clever. Mr. Hughes sets out the rules, and the story plays out–starting in detention with the five kids from The Breakfast Club–Chris “Mr.” Jones as John Bender, Patience Davis as Allison, Ryan Lawson-Maeske as Andrew, Payton Gillam as Molly Ringwald, and Ted Drury as Anthony Michael Hall. The story starts out as in that situation, but there will be points in which music starts playing and the voice of Stan Davis on the “god mic” presents choices to the audience, who decide their preference through applause. Soon, what starts out as a Breakfast Club parody morphs into a conglomeration of many of John Hughes’s greatest hits, including Ferris Bueller’s Day Off, Weird Science, Home Alone, Uncle Buck, and more. It’s a frantic, fun-filled laugh-fest with clever staging, some fun sight gags (including a character being played by a cardboard cutout), and lots of quick changes.

The staging is crisp and fast-paced, although the look and feel is a little unpolished, which adds to the humor, and the cast is excellent, with great turns from all the players, with standouts including Garner as Hughes, Lawson-Maeske as Andrew and Ferris Bueller, Nicole Angeli as a variety of characters including Edie McClurg, Annie Potts, and Catherine O’Hara, Ben Ritchie as Vernon and others, Brennan Eller as Duckie and Joe Pesci, Rob McLemore as John Candy, and Soupy Allen David as Kevin McCallister. Everyone seems to be having a great time, and the pop culture references, including music from the times, and mentions of other films, are flying fast and furious. It’s a great ensemble all around, and the audience was having a great time when I saw it.

The costumes by Kayla Lindsey are a lot of fun, as well, with great work on sound by Jeffrey Roberts and sound by Bradley Rohlf, as well. The props are also a delight–with kudos to properties mistress Payton Gillam and properties team Stan Davis, Patience Davis, Soupy Allen David, and Abby Lampe. 

Whether you have seen all of these films or not, there’s a lot to laugh about in this raucous comic send-up of all things John Hughes. There are two more chances to see it, so if you’re looking for a 1980’s nostalgia fest and a good laugh, I recommend checking this out.

Cherokee Street Theater Company, in partnership with STL Fringe, is presenting John Hughes Your Own Adventure at the Kranzberg Arts Center until December 14, 2025

Read Full Post »

Well-Cast “Legally Blonde” Entertains With Energy and Heart at Tesseract

Posted in Uncategorized, tagged , , , , , , , , , on December 13, 2025| Leave a Comment »

Legally Blonde: The Musical
Music and Lyrics by Laurence O’Keefe and Nell Benjamin, Book by Heather Hach
Directed by Will Bonfiglio
Choreographed by Jo Palisoc
Tesseract Theatre Company
December 7, 2025

Jonathan Hey, Grace Seidel and Cast
Photo: Tesseract Theatre Company

It seems like Legally Blonde: The Musical has only increased in popularity since its Broadway debut in 2007, having been staged all over the world and now becoming popular in regional and community theatres. I’ve seen it twice at the Muny, in large, glitzy productions, and it is generally thought of as a big, glitzy show. Now, Tesseract is staging a scaled-down production that might have a smaller cast than most productions, but is still big in energy and heart, and even bringing out a bit more substance to the show than I’ve seen before.  Featuring a great cast and clever, efficient staging, this is a show that’s as fun as ever, but perhaps even more meaningful.

The story has become a familiar one–Malibu-raised UCLA fashion student Elle Woods (Grace Seidel) has enjoyed her undergrad years of sorority parties, popularity, and spending time with her upwardly mobile fiancé Warner (Mason Ramsey), fully expecting a proposal. Warner, however, informs her that she’s not “serious” enough to fit into his goals, as he plans to attend Harvard Law School and embark on a career in law and politics. Elle, determined to prove Warner wrong and win him back, applies to Harvard and is accepted, whereupon she soon learns that achieving her goal is going to be a lot harder than she thought. At Harvard, Elle meets Emmett (Kevin Corpuz), her law school mentor, and the two soon form a friendship as Emmett helps Elle adjust to law school and perhaps set her goals higher than “getting the guy back”, while Elle helps Emmett to loosen up and find more fun and style in life. She also makes friends with unlucky-in-love  hairdresser Paulette (Marsiya Miller), helping her learn to be more assertive, while navigating the cutthroat law school atmosphere led by ruthless Professor Callahan (Jonathan Hey), whose law firm offers a prestigious internship for which the students all vie. Soon, they’re enlisted to help in the defense of famous fitness guru Brooke Wyndham (Dawn Schmid), and Elle finds her goals and values tested more than ever. 

It’s a fun show, and not the deepest in terms of themes and message, although this production finds more substance in the material than I’ve seen before. Much of the credit for this meaningful interpretation goes to the cast and director Will Bonfiglio for thoughtful staging and heartfelt performances. There are still the fun production numbers, the memorable characters, and lots of pink, but the characters seem a little deeper in this version, and while still larger-than-life, they’re not quite as over-the-top as in other versions I’ve seen.  The reduced cast size with ensemble members playing various characters as needed also contributes to this approach.

Corpuz’s smoother, almost conversational vocals, and Seidel’s earnest persistence even amid her perky style and fantastic vocals, are among the highlights of this production, and the two have believable chemistry. There’s also a scene-stealing performance from Miller, who exudes likable stage presence as Paulette. There’s also an especially energetic turn from Schmid as Brooke, leading the high-octane “Whipped Into Shape” number with athletic gusto. Other standouts include Natalie Sannes, Lillie Self-Miller, and Evan Lee as Elle’s sorority sisters-turned Greek chorus Serena, Margot, and Pilar. There’s also a fun performance from Katie Orr as Elle’s Harvard classmate Enid, and fine turns from Ramsey as the image-conscious Warner and Aditi Seetharaman as Warner’s new “serious” girlfriend Vivienne. Hey makes a suitable, oily adversary as Callahan, as well, and there’s an excellent ensemble including Ella Drake, Martin Ibarra, Molly Stout, Kyle Rudolph, Loren Goudreau, and Aadi Kadam, all playing a variety of roles as needed.

The physical production is simplified from the usual, but especially efficient in that the black box space at the Marcelle is divided into areas with much of the set decoration along the walls. The set, designed by Brittanie Gunn, consists of the decorated walls and two raised platforms along with a few furniture pieces as needed. This economic approach adds a dynamic element as the pieces are moved around to fit the story, contributing to the overall energy of the show. Carly Uding’s costumes are fantastic, from the pink tones and bright colors of Elle and her UCLA friends to the more subdued Ivy League attire of Harvard, and Sarah Gene Dowling’s wigs also contribute to the overall look and tone with style.  There’s also excellent lighting by Morgan Brennan and sound by Jacob Baxley, as well as a great band led by music director Larry D. Pry, who perform live in a different room, helping the music to not overwhelm the vocals, as can happen so often in this space. 

Overall, this Legally Blonde is as energetic and fun as ever, but it brings even more in terms of substance and heart. It’s another example of Tesseract’s thoughtful approach to staging that’s been apparent in so many of their productions. In the words of one of the show’s most prominent songs, this production is “so much better than before”.

Kevin Corpuz and Cast
Photo: Tesseract Theatre Company

Tesseract Theatre Company is presenting Legally Blonde: The Musical at the Marcelle Theatre until December 21, 2025

Read Full Post »

Bread And Wine’s “Christmas Short Play Festival” Brings Festive Spirit in an Inventive Setting

Posted in Uncategorized, tagged , , , , , , , , , , , , , , , , , on December 13, 2025| Leave a Comment »

A Christmas Short Play Festival
Bread and Wine Theatre Company
December 6, 2025

Bo Hanley, Peter D’Alessio
Haley Clegg, Laura Kyro
Photo by Roger Ottwell
Bread and Wine Theatre Company

Bread and Wine Theatre Company is a newer face on the St. Louis theatre scene, expressing a mission to “create innovative productions that highlight the beauty of a virtuous life”, according to CEO Owen Brown, who also directs one of the plays in their inaugural Christmas Short Play Festival. Held in a somewhat unusual venue, the Historic Sappington House, the festival features five plays and a cast of local performers. It’s an intriguing way to get to “know” a new theatre company while also exploring themes of love, loss, compassion, family–both biological and found, and the passage of time. 

The first and longest play of the evening is by celebrated playwright Thornton Wilder. “The Long Christmas Dinner”, directed by Brown, shows a family holiday gathering over the course of 90 years, starting in the 1840s and ending around 1930. The conceit is that it plays out showing the passage of time as one continuous gathering, starting early in the marriage of Roderick I (Adam Usry) and Lucia I (Haley Clegg), as they share a holiday meal with his mother, Mother Bayard (Bo Hanley). Over the course of the story, the conversation never stops, but characters grow old, get up and leave through a black curtain (apparently symbolizing death), as new characters enter, the family increases and decreases, and characters reflect on changing times and relationships. Much of the story focuses on Lucia and Roderick’s children, since from childhood to older age and played by Pietro D’Alessio as Charles and Laura Kyro as Genevieve, who join their parents and aging Cousin Brandon (Nicholas Urbanowicz), and are later joined by Charles’s wife Leonora (Tara Laurel) and their children Sam (Usry), Lucia II (Clegg), and Roderick II (Urbanowicz); and Cousin Ermengarde (Hanley). Abbey Robinson also appears as a nurse working for the family.  This is a fascinating play with a strong through-line of change and the passage of time. The performances are enthusiastic, with Kyro standing out for a believable portrayal of Genevieve’s growth from childhood to adulthood. The setting in the library building at Sappington House works especially well to set the mood and tone of this production.

The rest of the plays range from the very short to about 20 minutes in length, ending with a poignant if slightly over-the-top production of Dan Neidermyer’s adaptation of O. Henry’s classic “The Gift of the Magi”, directed by Travis Pfeifer. Michael Cox and Livy Potthoff are endearing as newlyweds Jim and Della, who struggle to find gifts for each other as they prepare to celebrate their first Christmas as a married couple. Bruce Jehling also appears in two roles, as Jim’s boss and as a shopkeeper.

The festival also features Cox in the title role of “Bosco’s Xmas” by Carol W. Berman, also directed by Pfeifer. This is a very short sketch about a cat, memorably played in a physically animated performance by Cox, who is seeking “revenge” by attacking his family’s Christmas tree. 

The remaining two plays are directed by Chandler Spradling. “The Last Mall Santa” by Michael Cox features Jodan Matt-Zeitler as Pete, a melancholy mall Santa who is reflecting on his time in this role, as his mall is undergoing difficult times and is about to close. The staging is clever here, as we see Pete interact with various toys that slide in from offstage, “playing” the roles of children who visit Santa. Pete grows sadder and more discouraged until his final visitor appears, this time played by a real child and aptly named Hope (Riley Shelembauer). It’s a poignant look at changing times and seasons, and the importance of hope.

“Baked Alaska” by Kelli Lynn Woodend features a group of guys from a rehab facility–Jeb (John Emery), Vigil (Connor Malone), and Clementine (Matt-Zeitler) being taken on a shopping trip by Freida (Hannah Lindsey) to buy Christmas gifts for their kids. It’s a little rough around the edges, but the message of kindness in hard times comes through clearly, making for a memorable sentiment. 

The location and seating arrangement adds much in the way of intimacy to the proceedings here, and although some of the performances are uneven, the Christmas spirit–in various forms–is palpable. It’s an intriguing look at a new theatre company with potential. I’m curious to see what else they bring in the future. 

Bread and Wine Theatre Company is presenting A Christmas Short Play Festival at the Historic Sappington House until December 13, 2025

Read Full Post »

Outrageous Comedy, Strong Performances Highlight the Rep’s Self-Referential “Emma”

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

Emma
by Kate Hamill
Based on the Novel by Jane Austen
Directed by Tracy Brigden
The Repertory Theatre of St. Louis
December 5, 2025

Cast of Emma
Photo by Jon Gitchoff
The Repertory Theatre of St. Louis

Jane Austen’s Emma is a classic that’s been adapted many times for various media, including more straightforward adaptations as well as updated re-imaginings such as the movie Clueless. The latest production at the Rep, adapted by Kate Hamill and directed by Tracy Brigden, isn’t a full-fledged reinvention, but it certainly has fun with the source material in terms of tone and style, and also in interpretation, with a decidedly 21st century take on the novel’s themes. It’s an inventive, energetically staged, slapstick-comic production that looks great and features some truly hilarious performances and moments.

Some streamlining is understandably necessary in adapting a book for the stage, and this show does a bit of that in terms of settings, events, and some characters who are given slightly different backstories than their novel counterparts. The basic story is the same, though, concentrating on wealthy young Emma Woodhouse (Adelin Phelps), who is pleased with herself after the wedding of her friend and former governess (Kathryn A. Bentley) to kindly neighbor Mr. Weston (Michael James Reed). Emma takes credit for setting the pair up, so she sets out to play matchmaker for her new protege, the young, socially awkward and less financially advantaged Harriet Smith (Lize Lewy) in hopes of finding her a “better” match than humble groundskeeper Robert Martin (Ryan Omar Stack), to the discouragement of her longtime friend Mr. Knightley (Louis Reyes McWilliams), who is doubtful of Emma’s motives and of her efforts’ potential benefits for Harriet. Of course, hijinks and hilarity ensue, as Emma’s efforts to match Harriet with the somewhat silly local vicar Mr. Elton (Jack Dryden) have unintended consequences, and more misunderstandings and presumptions lead to even more predicaments involving Mr. Weston’s long-absent son Frank Churchill (also Stack), the loquatious Miss Bates (Nancy Bell) and her much-lauded niece, Jane Fairfax (Maggie Newstead-Adams). It’s all quite fast-paced and over-the-top comic, which is hilarious and excellently timed, and the constant sparring/flirtation between Emma and Knightley is played up with delightful effect, and all the characters are given moments to shine as the story plays out in raucous, highly entertaining fashion.

The setup has been given a modern twist in that it’s all very meta, with Emma narrating the story and talking directly to the audience throughout the play, and at various moments reminding us that it’s a play based on a novel. Also, some themes that are implied in the novel and have been pointed out by scholars over the years have been given a much more direct interpretation here–saying the quiet parts out loud, so to speak. For instance, Emma’s mischief being attributed to the idleness of a pampered rich lady who isn’t allowed to do much else becomes a major theme of this version, and Mrs. Weston is given much more of a role as a voice of reason in this adaptation, as well as Harriet’s journey toward finding her own voice apart from Emma’s. It’s a feminist twist that’s not out of place because it is suggested in the novel, but the themes are stated much more openly here. It all works well, considering the energy and enthusiasm of the cast, the wittiness and intelligence of the script, and the clever staging and direction.

The cast is wonderful, led by Phelps’s somewhat wacky turn as the determined, increasingly frustrated Emma and by Lewy’s brilliant comic performance as the endearingly awkward and increasingly bold Harriet. The scenes between these two are among the highlights of the production, as are the scenes between Phelps and the also excellent McWilliams in a charming turn as Knightley. There are also memorable performances from Bentley as the wise Mrs. Weston, Bell as the friendly chatterbox Miss Bates, Newstead-Adams as the softspoken and mysterious Jane Fairfax, and Dryden in a hilarious turn as a somewhat unhinged Mr. Elton. There are also a number of impressive dual roles, led by Reed as the charming Mr. Weston and anxious Mr. Woodhouse, who extols the virtues of gruel at every opportunity. Stack is also excellent as the charming but evasive Frank Churchill and the earnest Robert Martin, and Olivia Balicki seems to be having a lot of fun as the besotted Mrs. Elton and the cranky, mostly mute Mrs. Bates. The ensemble energy is frantic and well-timed, adding much to the overall comic value and tone of the story.

Visually, this production is particularly striking, with a pop-up postcard style set by Margery Spack and Peter Spack that utilizes a turntable to change scenes and is surrounded by floral accents that suggest the countryside setting of the story. Jason Lynch’s lighting adds to the mood with style, as well, as does the memorable soundtrack by composer and sound designer John Gromade. There are also marvelously detailed period costumes by Dottie Marshall-Englis, and energetic choreography in the dance scenes by Sam Gaitsch. 

This is an Emma with energy, style, and substance. The characters are lively, the setting is vibrant, and the tone is upbeat and modern while also retaining the flair and style of Regency England. While it’s not exactly a holiday play, its energy and atmosphere make it a fitting show for the season at the Rep. 

Lize Lewy, Adelin Phelps
Photo by Jon Gitchoff
The Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis is presenting Emma until December 21, 2025

Read Full Post »

Stellar Cast Flies High in SDT’s Poignant, Visually Impressive “Superhero”

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

Superhero
Music and Lyrics by Tom Kitt, Book by John Logan
Directed by Justin Been
Choreographed by Sara Rae Womack
Stray Dog Theatre
December 4, 2025

Jabari Boykin
Photo: Stray Dog Theatre

Superhero is a musical by celebrated composer Tom Kitt and playwright John Logan that played a short Off-Broadway run in 2019. Now, Stray Dog Theatre is taking this lesser-known show and giving it an entertaining staging at its Tower Grove Abbey venue that seems just the right size for this small-but-memorable show about relationships, love, loss, and superpowers. Although the show itself isn’t perfect, under the direction of Justin Been and featuring a terrific cast and impressive effects, it’s flying high and packing a strong emotional punch.

The story follows teenage aspiring comic artist Simon (Jabari Boykin) and his mother, college English professor Charlotte (Sarah Gene Dowling), who are both still dealing in their own ways with grief two years after the death of husband-and-father Mitch in a tragic accident. Living in a city apartment that they moved to after the accident, Simon is still struggling to find his place at his school and in the neighborhood, and spends much of his time drawing and writing comic book stories–a love of which he shared with his late father. Meanwhile, Charlotte is dealing with career struggles as well as a new flirtation with mysterious neighbor Jim (Aaron Fischer), who Simon suspects of being more than a simple bus driver. Simon is clearly wanting a father figure, as well, and encourages the relationship between Charlotte and Jim, even though both adults have their reservations despite their mutual attraction.  He also has a crush on classmate Vee (Lindsey Grojean), agreeing to work with her on a project for school. As the story goes on, secrets are revealed, relationships are challenged, and grief is explored as the tale builds to a dramatic, ultimately poignant conclusion.

The story itself is intriguing, and the cast is first-rate, but the structure has some issues, especially in that the tension takes a little too long to come to a peak, to the point where it seems like there’s almost too much drama all at once, with not much time to come down to earth and reflect on the lessons learned. 

Still, the characters are engaging, especially as led here by the impressively talented young Boykin and SDT veteran Dowling, who are both fantastic and believable as a mother-son pair. Both have strong voices as well, and carry much of the dramatic weight with strong, believable portrayals. Fischer is also strong as the conflicted, mysterious Jim, who has memorable moments with both Charlotte and Simon. Grojean as Vee is also likable and memorable, and there’s a strong turn from Todd Garten as sympathetic landlord Vic, with good support from Justin Bouckaert, Kevin Hester, and Maggie Nold in smaller roles. The score has echoes of Kitt’s well-known other work, Next to Normal, as well as a bit of an homage to John Williams’s iconic Superman film score, and a few standout songs well-sung by the excellent cast.

The visual world of this production is achieved with expert creativity and flair by means of Rob Lippert’s multi-level life-meets-comic-book set and Justin Been’s truly stunning projections that are enhanced by Tyler Duenow’s lighting to achieve a more comic book look at key moments. The special effects are out of this world, as well, and Colleen Michelson’s costumes suit the characters well and fit perfectly into the well-realized world of the show. There’s also an excellent band led by music director/keyboardist Mallory Golden.

Superhero is, for the most part, a thoroughly absorbing musical and emotional adventure. Its especially strong cast is a particular highlight. For comic book fans, or for anyone interested in checking out a newer show that you may not have heard of, this is an excellent opportunity. 

Sarah Gene Dowling, Aaron Fischer
Photo: Stray Dog Theatre

Stray Dog Theatre is presenting Superhero at Tower Grove Abbey until December 20, 2025

Read Full Post »