Archive for September, 2026

Impeccably Cast “Appropriate” Makes a Haunting Statement at TWSTL

Posted in St Louis Theatre, tagged , , , , , on September 26, 2026| Leave a Comment »

Appropriate
by Branden Jacobs-Jenkins
Directed by Benny Sato Ambush
Tennessee Williams Festival St. Louis
September 24, 2026

Lizi Watt, Jilanne Marie Klaus, Michael James Reed
Photo by Phillip Hamer
Tennessee Williams Festival St. Louis

For the first time, the Tennessee Williams Festival St. Louis’s mainstage play is not by Tennessee Williams.  Branden Jacobs-Jenkins’s Appropriate, is headlining this year’s festival theme of “The Tennessee Effect”, recognizing Williams’s influence on other writers and culture. Jacobs-Jenkins has acknowledged the influence of Williams on his work, and this particular play has a southern Gothic vibe and themes that fit with Williams’s style. This production, directed by Benny Sato Ambush and featuring a stellar cast, has an increasingly disturbing but important theme, and is sure to provoke much thought and discussion.

The story is essentially one large confrontation that plays out over a few days. The Lafayette family is gathering to auction off the ancestral home and belongings of their recently deceased patriarch. Long-estranged brother Franz (Joel Moses), who was known in the family as Frank, arrives unexpectedly along with his much-younger fiancée River (Maggie Newstead-Adams), startling and angering his older sister Toni (Jilanne Marie Klaus), who remembers him as an addict and frequent troublemaker who engaged in some horrific behavior which she thinks may have been a bad influence on her teenage son Rhys (Braden Phillips). Franz is trying to make amends with Toni and their other sibling, Bo (Michael James Reed), who arrives with his wife, Rachael (Lizi Watt), and their kids, 13-year-old Cassidy (Ainsley Hammond) and 8-year-old Ainsley (Aviv Giancola-Poremba). It’s fairly obvious there are tensions in the family already, but when young Ainsley inadvertently discovers some highly disturbing pictures in a book that belonged to his late grandfather, the whole family is driven into an uproar about what to do, with some–especially Toni–being in denial of what the photos imply about her father. From there, the story gets gradually more disturbing, and secrets are revealed and tensions are laid bare.

There’s an overall haunting vibe throughout, as well, enhanced by the excellent lighting by Matthew McCarthy and sound by Mary Robinson. McCarthy also designed the detailed set, effectively bringing the dilapidated old plantation house to the stage. There’s also excellent work from costume designer Abby Pastorello and properties  designer Mikhail Lynn in helping maintain a creepy Southern Gothic atmosphere that’s much in the vein of something Tennessee Williams would have approved. 

The themes here start out dark and get ever darker, spelling out the consequences of generational trauma and years of racial oppression in the American South. The family’s reactions to the various revelations show how they have been affected by their upbringing whether they acknowledge it or not, and the actors all do an excellent job of bringing these complex characters to life, led by Klaus as the bossy Toni, Reed as the conflicted Bo, and Moses as the especially damaged Franz, who all go through the gamut of emotions in realistic, affecting ways. Watt as the protective mother Rachael is also strong, as is Newstead-Adams as the idealistic River, who doesn’t quite know as much as she thinks she knows about Franz. There’s also excellent support from Hammond as the precocious Cassidy, and fine performances from Phillips as Rhys and young Giancola-Poremba in a smaller but pivotal role as Ainsley. The cast does an excellent job of making these difficult and often unlikable characters compelling.

The tension builds with remarkable effect, leading up to a powerful ending that highlights the stellar lighting and sound design, reminding the audience that the issues here are not those of one family, but of the whole country. It’s a profound, highly thought-provoking and not a little disturbing production that is likely to linger in one’s mind after viewing. It’s a bold new step for Tennessee Williams Festival St. Louis, and while it will be good to see more Williams plays on the main stage in the future, this departure is especially profound and memorable. 

Lizi Watt, Joel Moses, Jilanne Marie Klaus, Michael James Reed
Tennessee Williams Festival St. Louis

Tennessee Williams Festival St. Louis is presenting Appropriate at COCA’s Catherine B. Berges Theatre until September 27, 2026

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Riveting “Come From Away” is a Profound Success at Stages

Posted in St Louis Theatre, tagged , , , , , , on September 26, 2026| Leave a Comment »

Come From Away
Book, Music, and Lyrics by Irene Sankoff and David Hein
Directed by Michael Bello
Stages St. Louis
September 23, 2026

Cast of Come From Away
Photo by Phillip Hamer
Stages St. Louis

When I first saw Come From Away on tour at the Fox in 2019, I mentioned in my review that I thought it would do especially well in regional theatres when the rights became available. Well, now it seems to have become one of the most popular musicals for regional and community theatres, and Stages St. Louis’s latest production is proving just how successful this show can be in a regional setting. With a great cast and strong production values, the show gets its message across effectively, with a profoundly entertaining result. 

The story follows the residents of the town of Gander, Newfoundland, on and following September 11, 2001, on which the town’s airport became the emergency landing place for many airplanes that were grounded as a result of the horrific events of that day. The show follows how the town responded to the sudden need, as well as showing the experiences of some of the plane passengers that found themselves stranded in a strange place for a few days. Among the stories featured are that of Gander resident Beulah (Zoe Vonder Haar) and plane passenger Hannah (Rheaume Crenshaw), who form a friendship while Hannah is waiting for news of her NYC firefighter son. There’s also the story of ASPCA worker Bonnie (Leah Berry), who makes it her mission to care for the various animals on the planes; as well as Englishman Nick (Jamie LaVerdiere) and Texan Diane (Amy Blake), who meet and form an attraction while stranded in Gander; and also the story of pilot Beverley (Aléna Watters), who loves to fly but is dealing with the tragedy of planes being used as weapons. Other stories highlight how the residents and passengers work together and how the passengers are bewildered by the kindness of the Canadian strangers. The songs are a blend of folk-influenced tunes and traditional musical theatre, with a highlight being the “Prayer” moment which uses the hymn “Prayer of St. Francis” to excellent effect. 

The cast is fantastic, led by Vonder Haar repeating her role from the Muny’s 2025 production, along with her equally excellent frequent scene partner Crenshaw as Hannah, who gets a moving solo musical moment with “I am Here”. Berry as Bonnie is also excellent, as are Kilty Reidy as the town’s mayor, Claude, and Cara Palombo as rookie TV reporter Janice. LaVerdiere and Blake are a treat in their scenes as Nick and Diane, and Watters has memorable presence as Beverley, including the standout song “Me and the Sky”. Nikita Burshteyn and Albert Jennings are also excellent as two bickering boyfriends both named Kevin. There’s a strong ensemble all around, bringing much energy and heart to the overall proceedings.

Michael Bello’s direction and Kyli Rae’s musical staging are also to be commended, along with the first rate production values. Anne Beyersdorfer’s detailed set is the most elaborate I’ve seen in this show, and it works remarkably well. There’s also marvelous lighting by Sean M. Savoie, sound by Max Silverman, and costumes by Catherine Lovejoy that add much to the overall vibe of the show. There’s also a terrific onstage band led by music director Jacob Carll. 

Considering the important story it tells and its ultimately uplifting message of kindness in the midst of tragedy, as well as how well the show is put together, it makes sense to me that it has become so popular with theatres of all sizes across the country. At Stages, the production is full of energy, music, and emotion, as well as truly memorable performances and stunning production values. It’s a fitting closing show for a a fantastic 2026 season. 

Cast of Come From Away
Photo by Phillip Hamer
Stages St. Louis

Stages St. Louis is presenting Come From Away at the Kirkwood Performing Arts Center until October 18, 2026

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STLAS’s “Mercy Seat” Explores Relationship Tension, Moral Dilemmas at a Tumultuous Time

Posted in St Louis Theatre, tagged , , , , , on September 17, 2026| Leave a Comment »

The Mercy Seat
by Neil LaBute
Directed by John Pierson
St. Louis Actors’ Studio
September 13, 2026

Kelley Schnider, Franklin Killian
Photo by Patrick Huber
St. Louis Actors’ Studio

St. Louis Actors’ Studio is starting their new season with a play set against the backdrop of one of America’s greatest tragedies, but its focus is more intimate. Looking at a relationship between a man and woman affected by the tragedy, Neil LaBute’s The Mercy Seat draws into focus issues of moral dilemmas, human nature, and the consequences of owning up to the truth. It’s a well-constructed script that serves as a showcase for two first-rate performances. 

The story takes place in New York City on September 12, 2001. Abby (Kelly Schnider) returns to her apartment after running out for what groceries she could find, finds a stunned Ben (Franklin Killian) sitting on the couch, ignoring a perpetually ringing cell phone. We learn that these two have been having an affair for some time, Ben is married with kids, and both apparently worked at the World Trade Center, but were not there for the attacks because they were at Abby’s place for a rendezvous. What ensues is a 90-minute back-and-forth conversation about an idea Ben has to take advantage of the tragedy for their benefit, and Kelly’s hesitance to go along with the plan. It’s a well-structured script that reveals much about the characters of both Ben and Abby throughout, raising the perpetual questions of why these two are even together in the first place, and whether they will really go through with what Ben is proposing.

The acting is what brings the drama here. The two leads are especially well chosen, with Killian painting a complex but not exactly likable portrait of a somewhat self-absorbed Ben, who seems to automatically assume Abby will go along with his idea despite her reasonable objections. Schnider is also excellent as the highly conflicted Abby, who clearly loves Ben but is realizing things about him that she’s not too happy with. The conflict and interplay between these characters is the play, essentially, and setting it around 9/11 brings out even more tension and drama knowing that a bigger crisis is going on “out there” while these two deal with their own issues and dilemmas. It’s an intriguing idea, and the setting serves as a way to reveal the truth of these characters’ inner motives in an immediate, intense way. 

The scene is set well, with Patrick Huber’s detailed set and excellent lighting providing an air of authenticity to the time period and situation, as do Teresa Doggett’s well-designed costumes. There’s also strong work from sound designer John Pierson, who also directed the show with thoughtfulness and excellent pacing. The show uses the space at the Gaslight Theater particularly well, serving as an ideal backdrop for the confrontation that ensues. 

This isn’t a long show, but a lot happens in 90 minutes, and the characters are well-drawn an especially well portrayed. It’s not easy to like Ben particularly, but that makes sense the way the story plays out. It’s an intriguing story featuring two strong performers, and a good start to STLAS’s new season. 

Franklin Killian, Kelly Schnider
Photo by Patrick Huber
St. Louis Actors’ Studio

St. Louis Actors’ Studio is presenting The Mercy Seat at the Gaslight Theater until September 27, 2026

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The Black Rep Stages Powerful, Emotional “Color Purple”

Posted in St Louis Theatre, tagged , , , , , , , , , on September 16, 2026| Leave a Comment »

The Color Purple
Book by Marsha Norman
Music and Lyrics by Brenda Russell, Allee Willis, and Stephen Bray
Directed by Daniel Bryant
Choreographed by Heather Beal
The Black Rep
September 12, 2026

Kelvin Roston, Jr., Angela Wildflower, Adrienne Spann, Brian McKinley
Photo by Arieona Phillips
The Black Rep

The Color Purple, based on Alice Walker’s celebrated novel, has been filmed, made into a musical, and filmed again as a musical. The musical is currently resonating with audiences as the first show in the Black Rep’s 50th season, directed by Daniel Bryant. Featuring a stellar cast and memorable production values, this is a production that leans into the emotion of the story and its characters. I’ve seen this musical before twice, and I’ve been impressed both times, but this one might just top them all. 

The story, set in the first part of the 20th Century in Georgia, follows Celie (Angela Wildflower), who grows up in a difficult situation, abused by her father and forced to give up her newborn children. She’s also forced to marry Mister (Kelvin Roston, Jr.) who treats her badly and wanted to marry her sister Nettie (Morgan Taylor), who he eventually drives away when she refuses his advances. Celie is timid and fearful at first, but she meets influential people who help her to learn to stand up for herself, including the bold Sophia (Adrienne Spann), who marries Mister’s son, Harpo (Brian McKinley), and outgoing singer Shug Avery (Alexis J. Roston), to whom Celie becomes especially close. Over the years, Celie is able to find her own path and voice, influencing the lives of those around her, as well.

The story covers a lot of themes, including life for Black Americans in the South, and the systemic racism and sexism that causes much hardship for Celie and others. There are also more uplifting themes of friendship, love, and finding your own path despite various troubles. It also features some topics that are probably best reserved for mature teens and up. It’s a highly emotional, often poetic story that follows one woman’s path amid suffering toward finding her purpose. 

The cast is universally excellent, led by Wildflower in a fantastic, complex performance as Celie, growing into the character obviously and convincingly as Celie matures from a young, timid girl to a bolder, more confident woman. Her vocals are also spectacular, particularly in the show-stopping “I’m Here” in Act 2. There are also strong performances from Kelvin Roston, Jr. in a particularly complex portrayal of Mister, as well as Alexis J. Roston as the outgoing, amorous Shug. Spann is also a standout as the bold Sophia, matched well with McKinley’s Harpo, who also has convincing chemistry with Tyler White’s ambitious Squeak, Harpo’s occasional girlfriend. There are fine performances, as well, from Anita Jackson, Amber Rose, and Olivia Neal as a trio of Church Ladies who serve as something of a Greek Chorus, commenting on the action of the story. There’s also a strong ensemble full of energy and backing up the leads with enthusiasm and strong dance moves choreographed by Heather Beal. 

The look and atmosphere of the show is well realized through Tim Jones’s excellent, evocative unit set and Michael Sullivan’s marvelous lighting which utilizes colors especially well, including the titular purple. The costumes by Jarrod Barnes are well-crafted and styled to the period, and there’s also excellent work from sound designer Justin Schmitz and props maker Mikhail Lynn. The ensemble is backed by a strong and vibrant band, as well, led by music director Jermaine Manor. 

The Color Purple is a stirring, highly affecting musical that’s sure to leave a strong impression on its audiences, as judging by the reactions I witnessed the night I saw it. It’s a well-cast, character-driven show that evokes its themes and time period with substance and emotion. It’s possibly the best production of this show I have seen, and I highly recommend checking it out while you can. 

Cast of The Color Purple
Photo by Arieona Phillips
The Black Rep

The Black Rep is presenting The Color Purple at Washington University’s Edison Theatre until September 27, 2026

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Energetic “Little Women” Delights and Captivates at the Rep

Posted in St Louis Theatre, tagged , , , , , , , on September 15, 2026| Leave a Comment »

Louisa May Alcott’s Little Women
Adapted by Lauren Gunderson from the Novel by Louisa May Alcott
Directed by Delaney Piggins
The Repertory Theatre of St. Louis
September 11, 2026

Amira Danan, Kristen Lintvedt, Marcia Pizzo, Andrea San Miguel, Addison Foote
Photo by Jon Gitchoff
The Repertory Theatre of St. Louis

Little Women is supremely adaptable. It’s been made into at least four films, several TV series, and a few theatrical adaptations, including a Broadway musical. Louisa May Alcott’s story is so beloved that it’s never gone out of print, as pointed out in the adaptation by Lauren Gunderson that is now playing at the Rep, under the direction of Delaney Piggins. As staged in this lively, perfectly cast production, it’s easy to see why the story is so popular. It has memorable, relatable characters and themes that still resonate over 150 years after the novel was originally published. At the Rep, this adaptation is full of energy, humor, heart, and drama, and it’s a sheer delight from start to finish. 

This version of the story has an intriguing framing device. It begins by focusing on Alcott herself (Andrea San Miguel), and her family, who are the inspiration for the story, including the sisters she names Meg (Amira Danan), Beth (Kristen Lintvedt), and Amy March (Addison Foote), who along with their mother, Marmee (Marcia Pizzo) make comments to “Lou”–as Alcott is known–about her story as it plays out, and Lou becomes Jo March. The characters also narrate the story at times as if reading from the book. Through the experiences of Jo and the close-knit March family, we also get to meet next-door neighbor boy Laurie (Jack Lancaster), who develops a strong attachment to Jo; and Laurie’s tutor John Brooke (Adam Poss), who becomes Meg’s suitor. Poss also turns up later as the kindly Professor Friedrich Bhaer, who befriends and develops an attachment to Jo later in the story. 

The story is structured impressively well, with the relationships and characters all being given enough time to develop and grow. The sisterly relationships–with all their love, tensions and struggles–are extremely realistic and relatable. The romances make sense and the sadder moments are given just the right amount of weight. The performances are stellar, starting with San Miguel’s fierce, passionate portrayal of Lou/Jo, who is the center of the story without being a detriment to the other characters. Danan as the more prim, “ladylike” Meg is also excellent, as are Lintvedt as the more timid, fragile, music-loving Beth and Foote as the artistic, impulsive Amy. All of these performers age well into their roles as the years go by in the story, as well. There are also strong performances from Pizzo as the loving Marmee and the bossy Aunt March; Lancaster as the devoted, emotional Laurie; and Poss in the roles of two very different suitors who both show strong chemistry with their romantic partners. 

This is simply a marvelous version of Little Women! Everything is so well done, from the acting to the pacing, to the use of music, to the wonderful production values that keep it vibrant and relatable while also credibly conveying the sense of time and place, as well as the themes of growing up, the changing roles of women in society, sisterly bonds and tensions, and more. The set by Ann Beyersdorfer is beautifully realized, and the costumes by Kotryna Hilko are remarkably detailed. There’s also excellent work from lighting designer Paige Seber, sound designer Amanda Werre, wig designer Will Vacari, choreographer Sam Gaitsch, music supervisor Kristen Lintvedt, fight director Paul Steger, and intimacy director Frankie Ferrari. 

Little Women is a beloved classic no matter how many times you’ve read it or how many films or dramatic adaptations you’ve seen. Lauren Gunderson’s adaptation is particularly insightful and vibrant, and the production onstage now at the Rep is sure to delight all ages. It’s a timeless classic made all the more immediate, and it’s truly a must-see performance. 

Andrea San Miguel, Jack Lancaster
Photo by Jon Gitchoff
The Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis is presenting Louisa May Alcott’s Little Women until September 27, 2026

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