Archive for the ‘St Louis Theatre’ Category

“Streetcar” Has Returned at TWSTL, Bringing With it Intense Characterizations, Stunning Performances

Posted in St Louis Theatre, tagged , , , , , on August 9, 2025| Leave a Comment »

A Streetcar Named Desire
by Tennessee Williams
Directed by Michael James Reed
Tennessee Williams Festival St. Louis
August 7, 2025

Eric Dean White, Beth Bartley
Photo by Suzy Gorman
Tennessee Williams Festival St. Louis

One of Tennessee Williams’s most famous plays is back in St. Louis, and it’s making a profound impact. The Tennessee Williams Festival has staged this play before, with a stunning, award-winning production in 2018, and now it’s back for the festival’s 10th Anniversary, in a striking new staging that emphasizes “otherness” in a way that I don’t remember as much from the last (fantastic) production. Highlighting a marvelous, quirky and heartbreaking performance in the role of Blanche and surrounding her with a first-rate cast in the rest of the roles, this production–directed by Michael James Reed–focuses largely on Blanche’s role as an outsider, and her refuge in fantasy as a striking contrast to brutal reality as personified especially by her sister’s husband, Stanley.

The world here, set in the French Quarter of New Orleans, is more stylized, with a striking set by Patrick Huber that emphasizes open spaces and lack of privacy, although also maintaining a colorful mid-Century vibe. The audience is introduced to this world by a cacophony of sound, of animals and trains and yelling neighbors, as outsider Blanche DuBois (Beth Bartley) arrives from Mississippi to see her younger sister, Stella (Isa Venere), who is married to the loud, possessive Stanley Kowalski (Todd D’Amour). Blanche is somewhat evasive about why she has left her position as a school teacher and come to New Orleans, but the Kowalskis take her in and while Stella is initially happy to see her sister, there is immediate friction with the increasingly suspicious Stanley, who asks around and digs into Blanche’s past. Meanwhile, at one of Stanley’s raucous poker games, Blanche meets Mitch (Eric Dean White), who is decidedly less crude than Stanley and the others, and who takes an interest in Blanche. For a time, there’s reason to hope that these two can make a life together, but this is a tragedy, and as Stanley reveals more and more of his brutish nature, hope for the increasingly self-deluded Blanche grows dim.

That’s all I will say, but if you know the story, you know what happens. The tone of this production emphasizes the contrast between Blanche’s world (which is fueled by her regret and imagination) and Stanley’s, which is harsh and increasingly brutal, and with the bold but tenderhearted Stella caught in the middle, and with Mitch as something of a bewildered suitor. The tone is at turns fantastical and harsh, hopeful and bitingly cynical, with an ultimate weight of pervasive regret and sadness. 

The cast is simply stellar, led by Bartley in a quirky, old-Hollywood influenced turn as Blanche. There are touches of Judy Garland, as well as influences of a few other famous screen legends (Crawford, Swanson, Davis), but also an increasing sense that this air is something of an act, which starts to fall apart visibly in a key scene with Mitch. It’s a stunning, fascinating, ultimately heartbreaking performance. D’Amour is powerfully primal as the insistently brutal Stanley, and his scenes with both Bartly and Venere–excellent as a tough-but-vulnerable Stella–are highlights. The always excellent White is an ideal Mitch, bringing a mixture of gentleness, hope, and eventually a bit of obtuse bewilderment to the role. There’s also excellent support from Isaiah Di Lorenzo (repeating his role from 2018) and Emily Baker as the Kowalskis’ neighbors Steve and Eunice, as well as Cedric Leiba Jr. as poker buddy Pablo, and small but well-pitched turns by Jeremiah King as a young man collecting money for the newspaper, along with David Wassilak as a doctor and Gwynneth Rausch as a nurse, and Jocelyn Padilla as a flower seller. It’s a fantastic cast in a stunningly realized, highly emotional production.

Huber’s excellent set is augmented by Matthew McCarthy’s occasionally stark, occasionally otherworldly lighting and excellent sound by Phillip Evans. The costumes by Shevaré Perry are colorful, period specific, and memorable, highlighting contrasting colors as well as the sometimes realistic, sometimes stylized tone of the show. There’s also strong work by props designer Mikhail Lynn, fight choreographer Jack Kalan, and intimacy coordinator Jocelyn Padilla. 

A Streetcar Named Desire is a timeless tragedy, with themes that are at once highly specific and universal. As TWSTL has shown even on its own, it can be staged in various ways while still being profoundly affecting. This latest version is emotional, visceral, and intense, with emphasis on the contrast between hope-and-regret-fueled fantasy and tragic, brutal reality. It’s a truly remarkable production. 

Isa Venere, Todd d’Amour
Photo by Suzy Gorman
Tennessee Williams Festival St. Louis

Tennessee Williams Festival St. Louis is presenting A Streetcar Named Desire at the Grandel Theatre until August 17, 2025

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FNT’s Revised “Madam” Makes a Memorable Impression at the Greenfinch

Posted in St Louis Theatre, tagged , , , , , , on August 9, 2025| Leave a Comment »

Madam
Music, Lyrics, and Book by Colin Healy
Directed by Sam Hayes
Choreographed by Cady Bailey
Fly North Theatricals
August 2, 2025

Avery Lux, Adrienne Spann, Liallian Cooper
Photo by Cady Bailey
Fly North Theatricals

Madam, an original musical from Fly North Theatricals penned by the company’s artistic director Colin Healy, has been in process for a few years, having begun with a production in Hannibal, MO and its last iteration having been staged here in St. Louis in 2020. I remember it making a strong impression when I saw that production five years ago, led by a dynamic performance by leading lady Kimmie Kidd, who still headlines the new version now being staged at FNT’s current home base, Greenfinch Theater & Dive. Now, with a new cast surrounding Kidd and a revised script and score, and now directed by Sam Hayes, the show still stands out as a strong character piece, with a lively score and tighter plotting than before. It also fits into its new space especially well.

The story is a highly fictionalized, almost mythologized tale set in St. Louis in the 19th Century and featuring some characters loosely based on real people. The intro, narrated by “working girls” Billie (Adrienne Spann), Tennie (Lillian Cooper), and Ripley (Avery Lux), tells the story of Madam Eliza Haycraft (Kidd), who operates a highly successful brothel in the city, and how she built her “Empire”. Eliza has strict rules for her house, including respect, consent, and paying up front, but most of the employees are not there to stay, as they have other goals–Ripley to go to medical school, Tennie to join her activist sister, and Billie (who has often disguised herself as a man to serve in the army and to play baseball) to make her fortune out West. There’s also Callista (Rachel Bailey), who is seen by the rest of the girls as Eliza’s heir apparent, and who has become essentially the regular client of a greedy, narcissistic local man known only as The Benefactor (Dustin Petrillo). Soon, a new young woman is brought into the picture, as the ailing, down-on-her-luck Mercy Jones (Jade Cash) shows up one night and is taken in by Eliza, whom Mercy in gratitude offers to help in managing her finances and organizing her will. Unknown to Eliza and most of the other girls, though, Mercy has a secret which ties her to the Benefactor, and which Callista–who was once an aspiring actress like Mercy–has little trouble figuring out at least partially. Meanwhile, the hard-drinking Eliza is in poor health, and isn’t expected to live much longer, while the Benefactor is scheming to get her to sell her house to him, since it’s on extremely valuable property.

The story is an intriguing one, and the characters are well defined, with a memorable score and catching songs like the notable “Empire” as well as Billie’s baseball song “Another Fence”, Mercy’s hopeful ballad “Star” and Eliza’s tour-de-force solo “Dinner For One”. Also, the tweaks to the plot–and especially the nature of the relationship between Mercy and the Benefactor–work well and add energy and coherency.

It’s an entertaining show overall, and an excellent showcase for its superb cast, although I can’t help but see it as ultimately a sad story, even though it means to be empowering. I don’t want to go too much into why since that would spoil some plot elements, but I do think it’s well worth seeing, and I think others may view the story differently. I also think the show still needs to figure out who its main protagonist is–Eliza or Mercy. It’s called Madam but despite Kidd’s powerhouse performance, the story often plays out like Mercy is at the center, with Mercy being the one who has the main dilemma and whose story drives the plot most, although she is also missing for large stretches of the story. Also, as important as Callista seems sometimes, and as excellent as Bailey is in the role, Callista’s role isn’t as well-defined as it could be, and the Benefactor is essentially a cartoon villain even though the talented Petrillo makes the most of the role.

The cast is fantastic, with Kidd and Cash both excellent as the ailing Eliza and conflicted Mercy. Spann, Cooper, and Lux are also terrific as Billie, Tennie, and Ripley, with Spann leading two of the more memorable songs (“Another Fence” and “Joy”). It’s a strong cast all around, both acting and singing, and bringing much energy to the atmosphere and period tone of the show. There’s also a great band led by music director Healy and energetic choreography by Cady Bailey.

The show also looks great, with the set–designed by Bradley Rohlf and Healy, and painted by Katie Orr–being probably the most elaborate set I’ve seen in a show in this venue. The creative team and technical crew have put their all into fitting the show into the Greenfinch, and it works especially well. The 19th Century look and atmosphere is well maintained, also by means of Hayes’s colorful and detailed costumes, Rohlf’s atmospheric lighting, and Kel Rohlf’s props. 

Ultimately, I think Madam is an entertaining show that’s still a bit of a work in progress but works even better now than the last time I saw it, when I also enjoyed it and thought it deserved the several St. Louis Theater Circle nominations it received. This is a fine showcase for an excellent cast, and an intriguing look at a side of St. Louis history that isn’t talked about a lot. Its run has recently been extended as well, so there’s still plenty of time to check it out. 

Kimmie Kidd
Photo by Cady Bailey
Fly North Theatricals

Fly North Theatricals is presenting Madam at Greenfinch Theater & Dive until August 17, 2025f

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First Run’s “Details” is a Low-Key, Well-Cast Look at Lonelines, Loss, and Personal Connection

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

The Details
by James Larson
Directed by Darrious Varner
First Run Theatre
August 1, 2025

Jaz Tucker, Bill Burke
Photo: First Run Theatre

First Run Theatre is focused on staging new plays by Midwestern playwrights. Their latest production, The Details by James Larson, is a somewhat low-key, intimate look at a new and unexpected relationship between two neighbors. As staged at Kranzberg Arts Center under the direction of Darrious Varner, the play served as a showcase for a pair of fine performances, and there are interesting characters and some good ideas, although it did come across as somewhat talky with little in the way of action.

In this show, lonely widower Mr. Hoffmann (Bill Burke) is home alone, talking to his late wife as if she is still there, and the sense of her absence is lingering. There are pictures on the bookcase and other remnants that suggest a couple had lived here for a long time. Hoffmann goes about his evening in a matter-of-fact manner, then goes upstairs. Soon, there are knocks on the door, and Hoffmann doesn’t answer. The knocker, neighbor Bucky Jackson (Jaz Tucker), notices the door is unlocked and lets himself in, whereupon he is soon discovered by Hoffmann and a confrontation ensues that leads to a series of revelations, reflections, and challenges covering the areas of loneliness, loss, various types of dependence, and perhaps most of all, the longing for community.

Although the script is slow moving and rather talky, and there isn’t a lot of action, the performances make the story interesting. Both actors have a measured air of relatability and secrecy, and their guarded attempts at reaching out toward one another give this play its emotional weight. Tucker, as the initially more outgoing Jackson, has a likable presence, making his personal story credible as it unfolds and adding to a believable developing bond with Hoffmann’s equally intriguing but more reticent Hoffmann. The halting but surely developing sense of connection between these two is what gives this play its drama, and ultimately, its sense of hope despite some sad revelations. 

The production has a consistent look, with Brad Slavik’s set ably representing a long-lived-in suburban house. The costumes by Tracy Newcomb suit the characters well. There’s also fine work from Mike Gasaparich on lighting and Jenn Ciavarella on sound. The pacing is even and somewhat subdued, highlighting the performances, and although the show is on the slower side, it’s never boring. 

For the most part, I would say that The Details is a promising new play that could use a little work on dialogue and plotting, but that features a memorable character relationship that is well highlighting in this production. Its strongest point was clearly the acting, and the two leads are to be commended for creating and maintaining such a believable rapport. I’m curious to see where future revisions may lead this show.

Bill Burke, Jaz Tucker
Photo: Fly North Theatricals

 

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Eclectic “Dollhouse” Challenges and Entertains at ERA

Posted in St Louis Theatre, tagged , , , , , , , , , on August 5, 2025| Leave a Comment »

Dollhouse by Three Manufactures
Adapted from A Doll’s House by Henrik Ibssen
Directed by Miranda Jagels Félix, Spencer Lawton, and Jimmy Bernatowicz
Equally Represented Arts
July 31, 2025

Frankie Ferrari, Hailey Medrano
Photo: ERA

 

ERA is at it again. This wildly inventive theatre company is re-examining a classic work as usual, with their characteristic experimental lens. This time, they’re doing something new, even for them. With Dollhouse by Three Manufacturers, the challenge is to present a coherent adaptation of Henrik Ibsen’s A Doll’s House with each act directed by a different person, with notably contrasting approaches. Although there are a few issues with coherency in moments, for the most part I would say that this experiment is a bold, provocative success. 

I will say that this is one of those shows that works best when the audience is somewhat educated about the source material. If you’re never seen A Doll’s House, it would be useful to find a synopsis online and familiarize yourself with the basic plot, because that will make the madcap, high-energy tone of (especially) Act 1–directed by Miranda Jagels Félix–easier to follow. The story of the pampered housewife Nora Helmer (Hailey Medrano) and her doting but oddly paternal husband, Torvald (Frankie Ferrari) is at first framed as something of a fever dream, introduced by a lounge-singer type “Mistress of Ceremonies” (Molly Wennstrom) who sings classic pop and jazz standards before the story begins that work to call attention to the subject matter of the show and add a satirical air, like “My Heart Belongs to Daddy” and others. The characterizations are played as fairly over-the-top, as the central dilemma is introduced–bank manager Torvald is about to fire longtime employee Nils Krogstad (Andrew Bayer), but Krogstad has a secret he shares with Nora involving how she was able to help Torvald during a health crisis, and he Krogstad threatens to expose Nora if she doesn’t help him. Meanwhile, Nora’s old school friend Christine (Victoria Thomas) shows up also looking for a job after being widowed, and Nora struggles with the expectations of what it means to be a wife and mother in a society in which men have all the power. This is a stylized act, where much of what Torvald says is recited by the entire cast together (minus Nora), and much of the staging is symbolic and briskly paced. It’s something of a farce, but with a highly satirical edge. There are laughs, but some of the dialogue can be hard to follow at times, especially during the group recitations.

Act 1, which is somewhat frantic, eventually gives way to Act 2, directed by Spencer Lawton, which slows down to a calmer, more somber pace, for the most part. The characters are played much closer to the “traditional” tone of A Doll’s House, making the story and the emotional weight of the proceedings a bit easier to understand. The cast keeps up the pace and transition well here, and the tone shift works especially well considering that it serves as something of a “rest” between the much more stylized first and third acts while also communicating the story and themes with clarity and emotion.

And then comes Act 3, directed by Jimmy Bernatowicz, which is the most obviously polished and precisely choreographed of the thee parts, in which the story suddenly becomes a fully realized 1950s live sitcom, complete with actual cameras as the story is filmed and projected onto the curtain at The Chapel as the story plays out. The characterizations are a bit broader again, and the sitcom format brings a good deal of laughter, as does the inclusion of live commercials integrated into the plot, as old TV and radio shows often used to do. What’s especially brilliant here is how the commercial narratives are blended with the themes of Nora’s story, particularly toward the conclusion as the commercials come to be about dolls, emphasizing the doll-like existence Nora has endured, and her increasing desire to break out of that. It’s an impeccably staged act, featuring  well-integrated live music (particularly the Buddy Holly classic “True Love Ways”), marvelous special effects, and top-notch performances by the cast. 

As for the cast, everyone is excellent and on-point, adjusting their performances to the tone of the different acts, but also keeping their characters recognizable throughout. Medrano is at turns hilarious, heartbreaking, timid, and bold as Nora, and Ferrari’s Torvald is suitably paternal and frustratingly upbeat until the devastating conclusion. There are also impressive portrayals by Bayer as the insistent Krogstad, Thomas as the somewhat enigmatic Christine, Ross Rubright as the gentle and ailing Dr. Rank, and Morgan Schindler as the family’s nanny/maid Ann-Marie, who is essentially a blend of two characters in the original play. Wennstrom makes for a memorable Mistress of Ceremonies, as well, and all of the players work well with the shifts in tone between the acts, keeping up the energy of the story as the styles change throughout.

The technical qualities of this show are also excellent and memorable, with a strong sense of “dollhouse” theming and and a versatile set by Lucy Cashion and Bernatowicz. There are also fantastic costumes by Meredith LaBounty, dazzling lighting by Jayson Lawshee, and terrific video and A/V work by Joe Taylor, especially in Act 3. 

This is unmistakably an ERA show, with emphasis on satire and critical examination of its source material–here featuring a critique of patriarchy and roles of men and women in society. It’s a new approach from a company that keeps coming up with fascinating new approaches. It may not appeal to all tastes, but I find it fascinating and especially entertaining. It’s worth a look especially if you love experimental theatre. 

Morgan Schindler, Molly Wennstrom, Andrew Bayer
Photo: ERA

Equally Represented Arts is presenting Dollhouse by Three Manufacturers at The Chapel until August 9, 2025

 

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“Austen’s Pride” is An Entertaining, Promising Look at a Famous Author and Story

Posted in St Louis Theatre, tagged , , , , , , , , , on August 5, 2025| Leave a Comment »

Austen’s Pride: A New Musical of Pride and Prejudice
Book, Music, and Lyrics by Lindsay Warren Baker and Amanda Jacobs
Directed by Igor Goldin
Choreographed by Lisa Shriver
STAGES St. Louis
July 30, 2025

Dan Hoy, Olivia Hernandez, Delphi Borich
Photo by Phillip Hamer
STAGES St. Louis

The latest offering from STAGES St. Louis is a pre-Broadway showcase performance, the second they’ve done after The Karate Kid three years ago, and at least for me, this effort is even more promising than the last one. I’m admittedly a big Jane Austen fan, having read her novels and seen many of the film, television, and stage adaptations. This latest new musical, though, is more than just an adaptation. Austen’s Pride: A New Musical of Pride and Prejudice, is about Austen herself as much as it is about her most well-known novel. And while there are some aspects that could use a little bit of work, for the most part it’s an intriguing, entertaining showcase for a great cast and excellent melodic score. 

With book, music, and lyrics by Lindsay Warren Baker and Amanda Jacobs, Austen’s Pride starts out on a mostly dark stage, with Jane Austen (Olivia Hernandez) trying to figure out what to write next after the success of her novel Sense and Sensibility. Her devoted sister Cassandra (Dianica Phelan) suggests Jane revisit an old draft of hers, a novel called First Impressions, but Austen isn’t sure she wants to write another love story. Then she starts reading through the story and the characters appear, with Austen making changes as it goes along and reflecting on incidents from her own life which influence the story in various ways. She also interacts directly with the characters at times, especially heroine Elizabeth Bennet (Delphi Borich), as Elizabeth’s story becomes influenced by Austen’s own experiences, and Austen herself becomes affected by the story that seems to have a life of its own.

The Pride and Prejudice story is familiar to many, and all the well-known characters are here, from the lead character Elizabeth to her suitor Mr. Darcy (Dan Hoy), and her whole family, including parents Mr. Bennet (Kevyn Morrow) and Mrs. Bennet (Sally Wilfert), and sisters Jane (Addie Morales), Mary (Sarah Ellis), Kitty (Cali Noack), and Lydia (Kate Fahey). We also meet the various suitors, including the kindly, effusive Mr. Bingley (Cole Thompson), the oafish Mr. Collins (Paul Castree), and the charming but rakish Mr. Wickham (Michael Burrell). Several of the cast members also play other characters as needed, with notable examples being that Wickham’s actor also plays Austen’s former suitor Tom Lefroy, and Mrs. Bennet’s performer also plays the imperious Lady Catherine DeBourgh.

Of course there’s a lot of condensing here, and the blending of Austen’s personal life with the story is easier to follow if you know more about the author’s history. Also, some of the character cuts affect the tone of the story in ways I’m not sure work as well as they should–especially in terms of Lady Catherine, who comes across as even more unreasonable than in the book, since all reference to her daughter Anne has been removed (without even one mention), which makes Lady Catherine’s objections to Darcy’s interest in Elizabeth even more ridiculous than they are in the novel. Also, some characters seem like the writers didn’t always know what to do with them, like Cassandra, who has some excellent moments but also disappears for long stretches to the point where it’s easy to forget she was there in the first place. There’s also little suspense in whether the story will actually be finished, because we know that it was in “real life”, and some of the efforts to add conflict come across as clumsy (especially at the end of Act 1). 

Still, those are issues that can be worked on, and for the most part, Austen’s Pride is an intriguing, thoroughly entertaining show, with a broadly witty sense of humor and a believable connection between Austen and her story, as well as an excellent treatment of the growing relationship between Elizabeth and Darcy. The casting is first-rate, as well, with Hernandez showing excellent presence as Austen, with a bit of a Mary Poppins vibe and marvelous vocals. Borich is also fantastic as Elizabeth, working especially well with Hernandez’s Austen and Hoy’s note-and-book perfect Mr. Darcy. The rest of the cast is also strong, with Phelan making the most of the underwritten role of Cassandra, Morrow and Wilfert memorable as Mr. and Mrs. Bennet, and all the Bennet sisters being especially well-cast. Special note goes to Ellis, who makes the most of three roles–the stuffy, socially awkward Mary Bennet, the priggish Caroline Bingley, and Elizabeth’s kindly aunt Mrs. Gardiner. Cole Thompson as Mr. Bingley, Castree as both Mr. Collins and Mr. Gardiner, and Burrell as Wickham and Tom Lefroy all give strong turns as well. It’s a strong ensemble all around, with a good deal of energy and enthusiasm in the production numbers and dances choreographed by Lisa Shriver with a fun blend of Regency styles and modern Broadway flair. 

The set and technical aspects of the show are deceptively simple, with little in the way of actual set pieces and a lot being done with lighting and projections. Josh Zangen’s set is notable for its economy, with a few furniture pieces that move on and off as needed, and excellent projected backdrops. Jason Lyons’s lighting adds much to the atmosphere and whimsical quality of much of the story, and Phillip Peglow’s sound is crisp and clear. There’s also excellent work from Emily Rebholz on the marvelously detailed costumes, and by Tommy Kurzman on wig and hair design. The orchestra, led by music director Sheela Ramesh, is in fine form, as well, lending a lush sound to the sweeping new score by Baker and Jacobs. 

Ultimately, there’s much to love about Austen’s Pride, even if aspects of it could stand some revision. Especially for Jane Austen fans, this is a fun, fascinating story. It also works as a great showcase for it’s talented cast, and especially its leads, Hernandez and Borach. It’s a promising show given a memorable staging at STAGES St. Louis.

Cast of Austen’s Pride
Photo by Phillip Hamer
STAGES St. Louis

STAGES St. Louis is presenting Austen’s Pride at the Kirkwood Performing Arts Center until August 24, 2025

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Katerina McCrimmon
Photo by Phillip Hamer
The Muny

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

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

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

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

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

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

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

Cast of Evita
Photo by Phillip Hamer
The Muny

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

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

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

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

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

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

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

Here are a few thoughts about the individual plays:

“TEOTWAWKI”
by Aleks Merilo
Directed by Bryn McLaughlin

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

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

“Poor Me”
by Tracy Carns
Directed by Bryn McLaughlin

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

“Hungry Women”
By Melissa Maney
Directed by Avery Harrison

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

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

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

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

“Carpool”
by Dave Carley
Directed by Avery Harrison

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

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

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

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

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

 

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