Archive for April, 2026

Creatively Staged “Fiddler” from FNT Has a Small Cast and a Big Heart

Posted in St Louis Theatre, tagged , , , , , , , , on April 29, 2026| Leave a Comment »

Fiddler on the Roof
Music by Jerry Bock, Lyrics by Sheldon Harnick, Book by Joseph Stein
Directed and Choreographed by Caleb D. Long
Original Broadway Choreography by Jerome Robbins
Fly North Theatricals
April 24, 2026

Ryan Cooper
Photo by Katie Orr
Fly North Theatricals

Fiddler on the Roof is a musical theatre classic–there’s no question about that. Still, it’s been performed so many times and by so many different companies, that it’s fairly easy to think about as “been there, seen that”. It takes a great cast and lots of creative energy to do justice to this show’s message and timeless characters and songs, as well as standing out a bit from all the other productions of the show a given audience member may have seen (I have seen at least 10, including the 1971 film). The cast size and production values can also be a challenge to smaller companies, although Fly North Theatricals has met that challenge with enthusiasm, style, and lots of heart with their latest production at Greenfinch Theater & Dive. 

I’ve seen “scaled down” productions of usually larger-cast shows in the past that have worked, including The Music Man and Something Rotten, and what those productions have taught me is that, when done well, scaling down can often highlight or emphasize themes and messages in the show that have always been there, but are brought into more crystalized focus through the staging and characterization. That is certainly the case with this production, which is led by Ryan Cooper in a fantastically likable and energetic performance as Tevye, the Jewish milkman who narrates the story while also being its main focus. Tevye, his wife Golde (Rachel Bailey), and his five daughters live in a small village in what is now Ukraine at the turn of the 20th Century, when tensions between Russian authorities and Jewish residents have been growing rapidly, along with a rise in political upheaval and resistance movements. While Tevye educates the audience about their cultural and religious traditions, there is also this increasing sense that those traditions are going to be challenged in various ways, first in the marriage choices of his three eldest daughters Tzeitel (Jade Cash), Hodel (Danielle Singleton), and Chava (Zoe Klevorn); and soon increasingly in other areas like pogroms that have been effecting other villages, but are threatening to spread to Anatevka as well. 

The plot and the script are the same as always. If you’ve seen this show before, you know how it’s going to play out, but what happens in this show is that it’s in a small space, with a smaller cast than usual, and with a few players playing multiple roles, so the intimacy and immediacy of the story is heightened in a noticeable way. This is also a production that has professional actors performing alongside students from FNT’s educational programs, and the mixture is effective for the most part. One notable effect of this casting is that the youth of the daughters and their suitors is especially obvious here. The younger daughters Bielke (Lacie Irby) and Shprintze (Annie Miller) blend in well with their older counterparts, and the older daughters’ challenging their parents’ insistent traditions becomes even more pronounced. There is a bit of awkwardness at times in the casting of the non-Jewish “Russians”, in that most of these roles aside from the Constable (Scott MacDonald) are only played by two actors, Kieran Thompson–who also plays Chava’s suitor, Fyedka–and Callum Thompson–who also plays Mendel, the Rabbi’s son. Although both actors are excellent–and Callum Thompson is especially adept at comedy–the doubling, tripling, and quadrupling of roles, especially with these roles, can occasionally seem awkward, as when you see the actor playing the sympathetic Fyedka also playing decidedly non-sympathetic roles. 

Still, for the most part, the casting is spot-on, with Cooper and the also excellent Bailey making an ideal Teyve and Golde, with their good-natured bickering and sweet duet on “You Love Me” as true highlights. There’s also a memorable turn by Lantsberger showing excellent comic timing as well as an impressive level of depth as Yente the Matchmaker, as well as a dominant turn as Fruma-Sarah in the “Tevye’s Dream” sequence, which also features the clever doubling of Cash–who plays daughter Tzeitel–also playing Grandma Tzeitel with verve and precise timing. The strongest vocals come from Cooper and also Singleton as Hodel, whose “Far From the Home I Love” is heartfelt and powerful. The three suitors, Motel (Milo Garlich), Perchik (Henry Schumacher), and the aforementioned Fyedka are well-matched with their romantic partners, and Klevorn’s Chava is especially strong in her plotline. Their are also memorable supporting performances from Ken Haller as butcher Lazar Wolf, Bradley Rohlf as the Rabbi and others, Colin Healy as Mordcha and others, Josh Baumgartner as Nachum and others, Maggie Nold as Motel’s mother Shaindel and others, and Fiona Brickey, who is a continuing presence and excellent musician as the titular Fiddler. 

The musicianship is a particular star of this production. It’s one of those “actor-as-musician” stagings, and most of the  performers play an instrument at least to some degree in the show. Most notably, in an audio and visual sense, are the aforementioned Brickey who is fantastic on violin, as well as music director Healy on piano, accordion and guitar; Baumgartner, whose hauntingly proficient clarinet is ubiquitous; and Rohlf on various percussion instruments. Cooper also plays percussion at key moments, and his drumming is especially powerful on some of his solo vocal numbers. There are also memorable turns from Bailey on guitar, MacDonald on keyboards, Lantsberger on percussion, Nold on flute, and Klevorn on piano, particularly in the “Chava Sequence” in Act 2, which adds an extra degree of poignancy to this scene. The blend of music, acting, and vocals is such a vital part of this production, bringing much power to the story and helping to emphasize the themes and Jewish musical traditions along with the story.

In addition to the performances, the production values are stunning, bringing truth to the phrase “less is more”. Greenfinch is a small space, so an elaborate set would be difficult, but what the creative team has accomplished here is a set that fits the space and also emphasizes the transitory nature of Jewish people throughout history, as is noted in the final scenes. The set, designed by director Caleb D. Long, along with Rohf and Healy, consists of several movable pieces as well as trunks and luggage, along with having the piano fit into the set as the bar at Mordcha’s tavern. There’s also fantastic work from scenic painter Katie Orr, as well as lighting designer Ryan Thorp and sound designer LP Guterman, who contribute much to the eye-catching and seemingly magical storytelling in “Tevye’s Dream”, the wedding scene, and much more. Long’s props design and Jen Blum-Tatara’s inventive costumes also contribute to the overall “traditional with a twist” vibe of the show. 

Overall, this is a Fiddler that’s clearly Fiddler, but with a few especially well thought-out staging elements that make it like nothing you may have seen before. It’s a pleasant surprise, with all the energy, humor, and poignancy that is to be expected from this show, but with a strong emphasis on the music, and an unmistakably obvious sense of heart. It’s an astonishingly well-realized production. 

Sarah Lantsberger, Rachel Bailey
Photo by Katie Orr
Fly North Theatricals

Fly North Theatricals is presenting Fiddler on the Roof at the Greenfinch Theater & Dive until May 3, 2026

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NJT Explores a Family’s Struggle in Poignant, Powerful “Prayer”

Posted in St Louis Theatre, tagged , , , , , on April 23, 2026| Leave a Comment »

Prayer for the French Republic
by Joshua Harmon
Directed by Rebekah Scallet
New Jewish Theatre
April 18, 2026

Dave Cooperstein, Bryce A. Miller, Jenni Ryan, Hailey Medrano
Photo by Jon Gitchoff
New Jewish Theatre

Prayer for the French Republic is a long show–running just over three hours with two intermissions. The notable thing about New Jewish Theatre’s current production, though, is that it doesn’t seem that long. The engaging story, well-drawn characters and superb performances make for a riveting production that never drags for one second. Under the direction of Rebecca Scallet and featuring an excellent cast of local performers, it’s a fascinating examination of cultural, political and generational issues that are as relevant as ever today. 

The play follows several generations and branches of one French Jewish family, over two time periods–1944-46 and 2016-2017. The story starts in the more modern time period, narrated by Patrick Salomon (John Wilson), one of two adult children of Pierre (Bob Harvey), who still runs the piano store that has been in family for generations. The other is Marcelle (Jenni Ryan), who is married to Charles Benhamou (Dave Cooperstein), and has two children–the devout Daniel (Bryce A. Miller), and the outspoken, confrontational Elodie (Hailey Medrano). As the family is hosting a distant American cousin, Molly (Lilah Kreis), Daniel comes home from work with a black eye and other injuries, causing the family to examine their own beliefs and attitudes about what it means for a a Jewish family to live in France with anti-Semitism and far-right political movements on the rise. 

Meanwhile, the parallel story follows Patrick and Marcelle’s ancestors, Irma (Kathleen Sitzer) and Adolphe (Bill Stine) as they live through World War II in Paris, worrying about their children who have met different fates as a result of Nazi occupation. The main focus is on their relationship with son Lucien (Adam Flores), who has returned after the war with his son, the teenaged Pierre (Ben Hammock) without Lucien’s wife and daughters. Lucien is evasive about what has happened, but he’s also determined to carry on the family business and encourages Pierre to do the same, while Irma presses him to open up about what has happened to his family.

The script and story are especially well structured, with the two family stories blending together with a believable sense of drama balanced by needed moments of humor, and with credible situations and memorable characters. It’s a story that resonates today as well as being a reminder of the history of the struggles and mistreatment of Jewish people throughout the centuries, and the very real sense of fear and yearning for safety that results from the repetition of that pattern. There are difficult issues raised here, made highly personal in the story, and I’m sure the arguments raised will provoke many thoughts and conversations  among the audience. There are no neat answers, but the situations are raw and real, with thoughtful pacing and direction, and a fantastic cast bringing out all the authenticity and emotion that script and subject matter require. 

The family dynamics are especially well portrayed here, with the excellent Ryan at the center as the caring and conflicted Marcelle, whose love and concern for her family is front and center here. She’s well-matched by a sensitive turn from Cooperstein as the increasingly determined Charles, and also by Wilson as the personable but somewhat cynical Patrick. Miller is also especially likable as the earnest Daniel, who makes a believable connection with Kreis’s kind and idealistic Molly. Medrano is also a standout as the outspoken Elodie, who gets several scene-stealing and thought-provoking moments throughout. Harvey serves as a wise, somewhat grounding presence as the elder Pierre, as well, contrasting well with his younger counterpart, Hammock in a sensitive turn as teen Pierre. Flores is a picture of determination as Lucien, and Stine and Sitzer make a credible, caring couple as Irma and Adolphe. It’s a well-balanced cast, full of energy and palpable emotion in keeping with the poignant tone of the story.

As is usual for NJT, the production values are superb, with David Blake’s set working well at showcasing the same Paris apartment in both time periods, and the use of the piano as a focal point is especially effective. There’s also excellent work from costume designer Michele Friedman Siler in outfitting the cast according to two distinct time periods. Mary Robinson’s sound design and original music add much to the atmosphere, and there are also some memorable singing moments from the cast at various moments. The lighting by Heather Reynolds sets an appropriate evocative tone throughout the story, as well. 

This is a powerful story, with a profound emotional impact. It made me think about other stories I’ve seen or read with similar themes, such as The Diary of Anne Frank, that is referenced in the show and has been performed at NJT in the past. It also calls to mind current debates about anti-Semitism in modern times, the state of Israel and the actions of its government, and the rise of various political movements around the world. There’s much to think about here, and the playwright has not given easy answers, but has portrayed a thoroughly believable family dynamic and memorable, relatable characters. It’s a remarkable production, and probably the quickest three-and-a-half hour play I’ve seen.

Bill Stine, Kathleen Sitzer
Photo by Jon Gitchoff
New Jewish Theatre

New Jewish Theatre is presenting Prayer for the French Republic at the J’s Wool Studio Theatre until May 3, 2026

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“End of the World” Sings, Dances and Satirizes in Whimsical Fashion at Upstream

Posted in St Louis Theatre, tagged , , , , , , , on April 20, 2026| Leave a Comment »

The End of the World Cabaret
by Jura Soyfer, Adapted by Philip Boehm
Music by Paige Brubeck
Directed by Lizi Watt
Upstream Theater
April 17, 2026

Chris Tipp, Amarachi Kalu, John Flack, Sarah Wilkinson
Photo by Patrick Huber
Upstream Theater

At least in terms of the premise, Upstream Theater’s latest production reminds me of the recent film Don’t Look Up, although it was originally written decades earlier. Austrian playwright Jura Soyfer was writing a few years before the beginning of World War II, but many of the themes in his show, The End of the World Cabaret, are surprisingly timely, although not quite as bleak as more modern “end of the world” works tend to be. It’s been adapted by Upstream’s Philip Boehm, and directed by Lizi Watt, featuring a lively cast and stellar (pun intended) production values. 

This is also a musical, with a catchy score by local musician Paige Brubeck of Sleepy Kitty, and beginning with a lively song sung out in space by the Sun (Jane Paradise) and several of the colorfully attired planets, including Mercury (Caitlin Mickey), Venus (Isaiah Di Lorenzo), Saturn (Amarachi Kalu), the erratic Pluto (Ashwini Arora), and Earth (Sarah Wilkinson), who has become “out of step” with the other planets to the point in which the Sun suggests something drastic. After consulting with the Moon (John Flack), the planets enlist a passing comet named Konrad (Chris Tipp) to alter his course and rid the planet of the troublesome humans who live there. As the comet hurtles toward Earth, the perspective shifts to the surface, where the impending apocalypse becomes front page news, and Professor Peep (also Tipp) is charged with inventing a machine to deflect the comet. Peep is earnest and persistent, but the problem is that the various leaders seem more interested in their own reputations and propaganda than actually saving the planet. Of course, there are also enterprising companies and millionaires who exploit the occasion for their own benefit, all the while not seeming to grasp the seriousness of the threat. The tone is satirical and largely comic, but there is an underlying sense of desperation and futility as Peep makes his way around the world in search of someone, anyone, who will help him build his machine. It all seems hopeless, but is it really?

There’s a lot to think about here, and many, many parallels to today that are emphasized in this adaptation, although the overall vibe is also very 1930s in look, style, and attitude. I won’t spoil the ending, but I will say that the show comes across as both a celebration and a criticism of humanity, with their creativity and energy on one level, and self-interest and greed on another. The overall whimsical vibe is carried off especially well in the production design, from Patrick Huber’s colorful and creative set to Max Florida’s scenic painting, Maria I. Straub’s props, and the wonderfully vibrant costumes by Meredith LaBounty and Anabel Weiland that feature both wildly fanciful and period appropriate outfits, as the characters and situations demand. There’s also excellent work from lighting designer Steve Carmichael, contributing to the overall whimsical and increasingly tense tone as the story goes on. Aidan Siliceo-Roman’s sound is also strong, as is Joe Schoen’s music direction and Dawn Karlovsky’s vibrant choreography.

As for the performances, they are fantastic, led by Tipp in a remarkably versatile performance as the determined, increasingly frustrated Peep and as the intrepid, personable guitar-toting comet Konrad. Tipp’s presence, energy, and vocals are highlights, as are the vocals from Mickey in an operatic moment, and the memorable turns from Paradise as the Sun and various roles;, Flack as the personable Moon and others; Di Lorenzo as a passionate Venus; Wilkinson in several roles including the melancholy Earth; Kalu and Blindauer also in a variety of roles from planets to performers; and Arora in several roles including a friendly pup and the flighty Pluto.  The entire ensemble works together with enthusiasm and excellent timing, in the general satirical spirit of the show, while also carrying across the more weighty moments when they occur.

The End of the World Cabaret is a show that’s bound to provoke lots of thought and conversation, and the comparison between the 1930s mindset and today’s is especially notable. All the cultural references thrown in add to the laughter, and there’s much to ponder on the nature and worth of humanity as well. It’s a witty, challenging, entertaining production.

Isaiah Di Lorenzo, Caitlin Mickey, Jane Paradise, Patrick Blindauer, Sarah Wilkinson
Photo by Patrick Huber
Upstream Theater

Upstream Theater is presenting The End of the World Cabaret at the Marcelle until May 3, 2026

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Immediacy, Emotion Resonate in Updated “R & J” From Chorus of Fools

Posted in St Louis Theatre, tagged , , , , , , on April 18, 2026| Leave a Comment »

Romeo & Juliet
by William Shakespeare
Directed by Eric Satterfield
Chorus of Fools, in Collaboration with KTK Productions
April 11, 2026

Zach Pierson, Tia René Williams
Photo by Tress Kurzym
Chorus of Fools

The challenge with Romeo & Juliet is that, as one of Shakespeare’s best-known and most studied plays, it gets performed a lot, so audiences can get tempted to go in not expecting much of a challenge. It’s up to the director, cast, and creative team to come up with a compelling staging, and Chorus of Fools has done that, for the most part, with their latest production directed by Eric Satterfield, which features an updated setting, creative use of music, and a well-realized visual world. It’s also a good showcase for a fine, well-chosen cast. 

Another challenge of this play is that, while it’s certainly a tragedy, it features a notable tone-shift, coming across at first as more of a comedy until escalating tensions turn tragic midway through, darkening the mood for the rest of the story. The story is well-known, with feuding families, forbidden passion, and misunderstandings leading to the ultimate tragic conclusion. It’s a timeless story of how prejudice and lack of communication can lead to devastating consequences. This production from Chorus of Fools, at the new KTK Productions venue at Most Holy Trinity Catholic Church in Old North, updates the proceedings and emphasizes emotion, with an early/mid-2000’s vibe that works well with the portrayals here.

Romeo (Zach Pierson) and Juliet (Tia René Williams) are especially convincing as a pair of young lovers from rival families, who meet and make an instant emotional connection. Pierson also convinces in his attraction despite his initially somewhat flighty portrayal that is in keeping with the story, as he hangs out with buddies Benvolia (Moira Healy) and Mercutio (Rowan Van Horn) and moons about another love interest, Rosaline (Katherine Garrett), until he finally sets eyes on Juliet. Williams, for her part, is an engaging, suitably naive but eager Juliet, and the scenes between her and Pierson are credibly emotional. There are also excellent turns from Healy as the “peacemaker” friend and especially Van Horn as the impulsive, poetically inclined Mercutio. Nikki Pilato has strong moments as Juliet’s devoted Nurse, as well, as do Celeste Genevieve Gardner as Juliet’s belligerant cousin, Tybalt, Mo Moellering and Elizabth Breed Penny as Juliet’s two mothers of contrasting temperaments, the stern Senator Capulet and the conflicted Lady Capulet. LaWanda Jackson also makes a strong impression as Romeo’s religious mentor, Sister Lawrence, and there’s fine work from the rest of the ensemble as well, with notable fight choreography by Moellering and memorable moments especially in the dance where Romeo and Juliet meet and later in the chillingly climactic scene in the Capulet family vault at the graveyard. 

This show’s vibe is consistent, with excellent costumes by Tara Laurel and masks by Vickie Delmas, impressive use of music and moments of excellent singing. Kudos to music director Lexie Johnson and sound designer Eric Satterfield, along with lighting designer Erik Kuhn and prop designer Vickie Delmas. The set by Tara Laurel serves well to set the mood and works well in various different settings, from the masked party, to Juliet’s balcony and bedroom, to the town square, and to the darkness of the graveyard vault. 

Although there are occasional pacing issues and a few minor difficulties with acoustics and understanding lines here and there, for the most part this is a cohesive, well-told story with consistent characterization and a fully realized world. It’s a Romeo & Juliet that’s both immediate and relatable as well as being profoundly tragic in a timeless way. The updated setting works well for the story, and the message comes across with emotion and clarity. It’s another solid production from a promising newer theatre company.

Zach Pierson, LaWanda Jackson
Photo by Eric Satterfield
Chorus of Fools

Chorus of Fools, in collaboration with KTK Productions, is presenting Romeo & Juliet at Most Holy Trinity Catholic Church until April 19, 2026

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WEPG’s “Cellphone” Calls Great Cast Into a Lively Exploration of Life, Death, and Personal Connection

Posted in St Louis Theatre, tagged , , , , , on April 18, 2026| Leave a Comment »

Dead Man’s Cellphone
by Sarah Ruhl
Directed by Summer Baer
West End Players Guild
April 10, 2026

Ben Ritchie, Nicole Angeli
Photo by John Lamb
West End Players Guild

A woman and man who have never met sit at nearby tables in an otherwise empty cafe. When the man’s phone keeps ringing and he doesn’t answer, the increasingly annoyed woman decides to go over and find out what’s going on, only to make a surprising and morbid discovery. That’s the setup for Sarah Ruhl’s dark comedy Dead Man’s Cellphone, currently being staged by West End Players Guild under the sharp-eyed direction of Summer Baer. With a great cast, striking production values, and an especially keen sense of timing, this is a play that examines its subject matter with a whimsically dark lens.

The setup isn’t really a spoiler, considering the title. Also, even though Gordon (Ben Ritchie)–the owner of the cellphone–is dead, he does get his chance to speak through the magic of theatre. The woman, Jean (Nicole Angeli) begins answering the frequently ringing phone and soon finds herself drawn into a strange new world involving the Gordon’s family including his distraught and doting mother (Payton Gillam), his somewhat flighty wife Hermia (Lynett Vallejo), and his neglected brother Dwight (Nick Freed), as well as a mysterious “Other Woman” and “Stranger” (also Gillam). As Jean and Dwight share an attraction, the various characters reveal secrets about Gordon that Jean–who feels an increasing obligation to answer the cellphone–isn’t necessarily prepared to deal with. It’s an odd play, with a structure that’s basically linear but sometimes “out of time”, as well, using its sharp wit to explore issues of personal connection, relationships, secrecy, and more. 

The cast is fantastic, with Angeli’s wary but constant Jean being the center around which everything else revolves. Angeli’s connection with Freed’s affable but ostracized Dwight is credible and fascinating. Gillam displays excellent range in her different roles, and Vallejo shows excellent timing in her role as Hermia, and Ritchie as the mysterious Gordon gets his moment to have his say in memorable fashion.  In fact, all of the actors are on top of their game with the timing, which is essential in this show. So many moments depend on pauses between lines, or timing of reactions, to the point in which I was sometimes wondering how the audience reaction would be effected if the timing were different. Baer’s direction is hauntingly precise, and that adds much to the dark, mysterious tone as well as the comedy of the piece. 

I like when productions at this venue change up the usual staging, and this show does that well, with seating on three sides and the main staging area being away from the stage in the basement of Union Avenue Christian Church. Baer’s set, colorfully painted by Morgan Maul-Smith, is an abstract space surmounted by a dangling mobile, making for a whimsical setting for the strange and sometimes disturbing events of the play. The lighting by Renee Sevier-Monsey and sound by Bryn McLaughlin–featuring well-chosen use of music–works well with the tone and mood of the story. Liz Henning’s costumes and Gabrielle Lynn’s props also contribute to the overall quirky air of the show.

Dead Man’s Cellphone is the first play by Sarah Ruhl I’ve seen, even though I’ve heard of this playwright before. This thoughtful, darkly comic production makes me more interested in checking out more works by Ruhl. At WEPG, it manages to be alternately creepy, chilling, humorous, and oddly hopeful. It’s a particularly strong showcase for a talented local director and first-rate cast.

Payton Gillam, Nick Freed, Nicole Angeli
Photo by John Lamb
West End Players Guild

West End Players Guild is presenting Dead Man’s Cellphone at Union Avenue Christian Church until April 19, 2026

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SDT’s Energetic “9 to 5” Highlights Nostalgia, Enthusiastic Cast

Posted in St Louis Theatre, tagged , , , , , , , , , on April 8, 2026| Leave a Comment »

9 to 5 the Musical
Music and Lyrics by Dolly Parton, Book by Patricia Resnick
Directed by Justin Been
Choreographed by Michelle Sauer and Sara Rae Womack
Stray Dog Theatre
April 4, 2026

Mara Bollini, Sarah Polizzi, Janelle Gilreath Owens and Cast
Photo: Stray Dog Theatre

I’m still not convinced 9 to 5 needed to be a musical. A hit comedy film from 1980 featuring the talents of Lily Tomlin, Jane Fonda, and Dolly Parton, the story was brought to the stage seemingly as a reason for the beloved Parton to write a musical score. And the score is probably the best part of 9 to 5 the musical, which also gets to serve as the showcase for its cast and especially the three leads, who are are notably excellent in Stray Dog Theatre’s latest production, directed by Justin Been. Still, the script doesn’t land quite the way the movie’s did (even though it’s written by the same author), although SDT’s cast and crew certainly try their best, and make for a crowd-pleasing production. 

I saw this show a few years ago, in a well-produced version from another local theatre company, and while I enjoyed it, for the most part, it didn’t make a strong case for why this show needs to exist in the first place. My thoughts about SDT’s production are along the same lines, although the cast and production values are certainly energetic and bring out much of the comedy of the piece. There are even featured video segments featuring Dolly Parton herself that add to the nostalgic air that seems to be the aim of the show now that its setting is almost 50 years in the past. There’s a vibrant production design featuring a colorful and versatile set by Rob Lippert, memorable costumes by Colleen Michelson and wigs by Sarah Gene Dowling, eye-catching lighting by Tyler Duenow and projections by Justin Been, energetic choreography by Michelle Sauer and Sara Rae Womack, and a fantastic band led by music director Mal Golden. Still, the overall impact of the show is different now, taking a lot of the “bite” out of the sharp satire from the film and playing out more as a “remember when” sort of story that majors on nostalgia, although the overall story majors on women who struggle to be taken seriously in the workplace and male co-workers who are largely sexist ogres, especially the boss, the selfish and scheming Franklin Hart (Joel Garrett Brown).

The story is mostly the same as the film, following three different women–longtime employee and management candidate Violet Newstead (Jennelle Gilreath Owens), “Backwoods Barbie” secretary and object of the boss’s lust Doralee Rhodes (Sarah Polizzi), and recent divorcee and workforce newbie Judy Bernly (Mara Bollini), who all have their various difficulties trying to succeed at their company, Consolidated. Among the obstacles is the obnoxious Hart along with his lovestruck assistant Roz (Laura Lee Kyro) and the general “boys club” office environment. There’s also an added love interest for Violet named Joe (Cole Guttman) who works in accounting and turns up from time to time, but isn’t given a lot to do. The plot essentially follows the film’s story, but with singing, dancing, and production numbers. 

The cast is strong, especially for the three leads. Owens projects the right degree of determination and competence as Violet, Bollini is especially adept at the comedy as the gutsy but green Judy, and Polizzi excels at playing a “Dolly Parton-type” without expressly imitating Parton. There’s also a memorable turn from Kyro as the lovesick Roz, who comes across as somewhat pathetic here, especially considering how sleazy Hart is, played with energy by Brown. There are fine turns by Josh Heffernan as Doralee’s devoted husband Dwayne and Gutmann making the most of an underwritten role as Joe. There’s also an enthusiastic ensemble who make the most of the energetically choreographed production numbers starting with the well-known title song. 

9 to 5 was a hit film, and the musical received mixed reviews on Broadway. It’s certainly a crowd-pleaser, and a showcase for Parton’s music and the well-cast three leads at Stray Dog Theatre. It has its fun moments, but it still doesn’t convince me that this movie needed to be a stage musical. Still the cast and crew make the most of this larger-than-life nostalgia fest. Especially if you’re a fan of the film, it’s worth checking out. 

Cast of 9 to 5 the Musical
Photo: Stray Dog Theatre

Stray Dog Theatre is presenting 9 to 5 the Musical at Tower Grove Abbey until April 25, 2026

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Education and Master-Class Acting Highlight Orange Girls and STLAS’s Stellar “Half-Life”

Posted in St Louis Theatre, tagged , , , , , , on April 8, 2026| Leave a Comment »

The Half-Life of Marie Curie
by Lauren Gunderson
Directed by Nancy Bell
The Orange Girls and St. Louis Actors’ Studio
April 3, 2026

Michelle Hand, Meghan Baker
Photo by Patrick Huber
St. Louis Actors’ Studio

The latest production from St. Louis Actors’ Studio is a collaboration with a company I had heard of, but hadn’t seen because they had disbanded before I started reviewing theatre in St. Louis. The Orange Girls’ semi-reunion is well-chosen, considering the focus of the latest production of the achievements, challenges, and deep friendship of the women featured in Lauren Gunderson’s well-structured The Half-Life of Marie Curie. Thoughtfully directed by Nancy Bell and featuring some truly stunning production designs, this show highlights a terrific cast and two important figures in the history of women in science. 

The story, set mostly in 1912, focuses on renowned, widowed Polish-French scientist Marie Curie (Meghan Baker), who is in the midst of a scandal involving her affair with a married French scientist. Hounded by the press, Curie is soon visited by her close friend, British engineer and mathematician Hertha Ayrton (Michelle Hand), who invites Curie to join her at her remote seaside cottage in England to avoid the press attention. Curie eventually agrees to go, bringing with her a glowing vial of radium–the element she discovered–that she keeps in her pocket. During her stay at Ayrton’s cottage, the two women engage in discussions and debates involving women’s suffrage–a passionate cause on Ayrton’s part–their relationships with their late husbands, the treatment of women in science, double standards involving men and women in affairs, and more. It’s a fascinating look at a close female friendship as well as the struggles of women to be seen as equals in the scientific field, and in society in general, as well as the wonders and dangers of new scientific discoveries, and the fragile nature of life itself, represented by the recurrent ticking of a clock.

The production is well-measured and remarkably well cast, featuring two of the three Orange Girls founders, Baker and Hand, at their best. Baker’s Curie is at once thoughtful, reticent, and determined, while Hand’s Ayrton is fiery and assertive while also being intensely loyal and encouraging. The two make a great team, bringing much relatability and warmth to their bonding moments, especially in a both hilarious and profound sequence in which the two share a bottle of whisky. The historical and biographical elements of the story are woven expertly into the relationship moments, making for a realistic and engaging portrait of a deep friendship as well as a snapshot of a moment in history. 

In addition to the fantastic cast and pacing, the production design is simply fantastic, with a striking “picture frame” style set by Patrick Huber that highlights a beautiful backdrop painting by Andy Cross as an homage to German painter Anselm Kiefer’s Für Gregory Corso. Denisse Chavez’s lighting is also remarkable, highlighting the set and the shifting moods and tensions of the story, and Kristi Gunther’s sound provides that recurring tick, the hiss of arc lights, and more in lending an air of authenticity to the proceedings. There’s also wonderfully detailed work from Teresa Doggett on the stylish and period-appropriate costumes, and from Maria I. Straub-David on props design. It’s an expertly designed production that brings the audience into the characters’ world and times, as well as into their minds and feelings with vivid intensity.

The Half-Life of Marie Curie is a profoundly fascinating production. Featuring a welcome reunion of a celebrated St. Louis theatre company and highlighting the works and relationships of brilliant and determined women, it’s a show that educates while it entertains. It’s also a master-class in acting from its two leads. It’s a must-see production from STLAS and the Orange Girls. 

Michelle Hand, Meghan Baker
Photo by Patrick Huber
St. Louis Actors’ Studio

The Orange Girls and St. Louis Actors’ Studio are presenting The Half-Life of Marie Curie at the Gaslight Theater until April 19, 2026

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