Archive for the ‘St Louis Theatre’ Category

“Mrs. Krishnan’s Party” Is a Festive Cultural Celebration Hosted by the Rep

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

Mrs. Krishnan’s Party
by Jacob Rajan and Justin Lewis
Directed by Justin Lewis
Indian Ink Theatre Company at Repertory Theatre of St. Louis
January 16, 2026

Kalyani Nagarajan, Justin Te Honihana Pokaihau Rogers
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

The Rep is hosting a party, and it’s a lot of fun. As the latest entry is their Steve Woolf Studio series, the company is playing host to New Zealand’s Indian Ink Theatre company, who have brought their lively, colorful and energetic Mrs. Krishna’s Party to St. Louis with energy, style, and a good deal of heart. There’s also food, and if you like Indian food, this should be a treat in more ways than one. 

This is more of an immersive experience than a simple play. The audience members get to choose their seating, from “Inner Circle” to “Cheeky” to “Wallflower” depending on how much they want to be included in the action, as there’s quite a pervasive audience-participation element to the show. The guests are all seated by James (Justin Te Honihana Pokaihau Rogers) and introduced to the setting–an Indian grocery store in New Zealand, where James is hosting a party celebrating the Hindu harvest festival of Onam, as a surprise for his landlady and shop owner Mrs. Krishnan (Kalyani Nagarajan). James, dressed in an elaborate costume in keeping with the story behind Onam, is also an aspiring DJ, and shares his festive playlist with the guests. When it comes to the surprise, Mrs. Krishnan doesn’t take it well, at least initially, as she’s waiting for her son to fly in from out of town, and she also has a busy shop to run, although she’s been considering selling it so that she can move back to India. The enthusiastic and upbeat James encourages Mrs. K to get into the spirit of the party, and she gradually comes around, as the two soon start cooking a festive meal and explaining what Onam is about. As the evening plays out, we soon learn more about Mrs. K and her backstory, as well as why James lives with her, and her relationships with her son, her late husband, a mysterious “friend” who keeps calling her on the phone, and more. It’s a fun, humorous, and occasionally poignant look at life, family, loss, and perseverance, as well as a celebration of Indian culture, heritage, and food.

The leads are simply fantastic, full of energy and lively embodiment of their immensely likable characters. Nagarajan and Rogers are also especially adept at going with the “flow” of the store, as frequent audience interaction–and involving audience members directly in the story–creates many opportunities for improvisation. Both performers shine in these moments, and throughout the show, with Rogers in a vivacious, amiable turn as the young, somewhat aimless but still optimistic James, and Nagarajan in a fully-realized turn as a hardworking widowed mother with a heart for her family and tradition but who is also dealing with the effects of past tragedy and hardship. The interplay between these two characters–and between them and the audience–are a true highlight of this vibrant, fun production. They also manage to cook a (vegetarian, gluten-free) meal onstage–imbuing the air with the wonderful smells of Indian cuisine–as the story plays out.

The studio space has been adapted ideally for the party setting, which is supposed to be in the back room of Mrs. Krishnan’s shop. The industrial look and well-placed party decorations work well for creating and maintaining the DIY festive vibe, with set design by John Verryt. Jane Hakaraia’s lighting and Lia Kelly’s sound also add much to the atmosphere, and the fun touches like colorful scarves and balloons handed out to the audience add to the festive tone. There’s also excellent costume design by Fiona Nichols, reflecting the festive tone and celebration of culture, and also suiting the characters appropriately. 

Mrs. Krishna’s Party is a well-paced, especially well-cast show with energy and emotion, as well as being an effective lesson in history and culture that many in the audience might not know about. There’s also great food, handed out after the show. It’s unique experience, and the audience seemed to have a great time when I saw it. I’m still not exactly thrilled about the Rep’s hosting tours, but this one is a memorable showcase for a little-known (in the USA) Indian-focused theatre company based in New Zealand. Kudos to all involved, although knowing the next studio show is also a tour makes me hope even more that the Rep will focus more on locally-produced shows in the future. 

Justin Te Honihana Pokaihau Rogers and Audience
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis is hosting Indian Ink Theatre Company’s production of Mrs. Krishnan’s Party as part of the Rep’s Steve Woolf Studio Series until February 8, 2026

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The Black Rep’s “Dance on Widow’s Row” Entertains with Dark Comedy, Strong Cast

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

The Dance on Widow’s Row
by Samm-Art Williams
Directed by Ron Himes
The Black Rep
January 10, 2026

Velma Austin, Denise Thimes, Margery Handy, Tiffany Tenille
Photo: The Black Rep

The Black Rep is starting out the new year with dark comedy and a quartet of mysterious, scheming widows and their trepidatious suitors. Samm-Art Williams’s The Dance On Widow’s Row, directed by Ron Himes, explores relationships and aspirations with a sitcom-like flair and a memorable cast. Story and pacing-wise, it has its ups and downs, but this cast and crew make the most of the show and bring a host of larger-than-life characters and a great deal of laughter to the stage at WashU’s Edison Theatre.

The story follows four women who live on an upscale street in Port Town, NC nicknamed “Widow’s Row” by the locals because so many widowed women live there. The four featured here–led by the determined Magnolia (Denise Thimes)–have all been widowed at least once, and most more than once. Magnolia, twice widowed and looking for a new man, has invited her friends Simone (Velma Austin) and Lois (Margery Handy), and frenemy Annie (Tiffany Tenille) to a party at her home in which she has also invited some eligible local bachelors–Deacon Hudson (A.C. Smith), Newly Benson (Ron Himes, standing in for J. Samuel Davis), and Randolph Spears (Isaiah Di Lorenzo), with hopes of making romantic connections and also to dispel gossip and superstition that keeps men from wanting to date women who live on their street. All the women have their stories and secrets, with insinuations about what may or may not have happened to their late husbands, and the widows’ roles in those deaths. Also, the men have varying degrees of eagerness and/or fear in approaching the evening. The dynamics between the characters and the various clues as to underlying motives form the basis for much of the comedy.

The differing personalities also serve as a source for much of the humor, with the more sophisticated-minded Magnolia, the fame-focused actress Simone, the scheming Lois, and the initially stuffy, churchy Annie confide, clash, and conspire; while the optimistic Deacon, the nervous Newly, and the over-eager Randolph navigate their interactions with the various women. While the dialogue is sharp and well-structured, sometimes the timing seems a bit off, with beats between scenes being a bit longer than they should be, and some of the plot points can be a bit convoluted, but for the most part, it all plays out as some kind of fast-paced, ominously-toned sitcom, and all the players are on board with well-realized comic performances. 

Thimes, Austin, and Handy are an especially strong trio, as the bond between their characters is made obvious in their portrayals. They each display strong comic timing and memorable characterizations. Tenille also has some strong moments as the initially stuffy but surprising Annie, but also comes across as a bit young for the role. There are also fine performances from the men, with Smith as a suave, even-tempered Deacon–who has a strong connection with Magnolia; Di Lorenzo in a hilarious turn as Randolph; and Himes in an impressive role as a fill-in who comes across as if he were meant to play the role all along. There’s a great deal of energy and ensemble connection here, and all the performers display presence and commitment to their roles. 

The set by Tim Jones is richly appointed in keeping with the upper-class setting of the show, and the characters are all suitably outfitted by costume designer Brandin Vaughn in memorable garb that suits their personalities. There’s also fine work from lighting designer Sean Savoie and sound designer Kareem Deanes. It’s all in keeping with the general sitcom-like tone of the play.

Overall, The Dance on Widow’s Row is a lively way to continue the Black Rep’s season, and to start off the new year with a memorable, characterful vibe. It’s also a good showcase for some of the Black Rep’s “regular” performers. It’s a sharp and darkly humorous take on life, love, friendship and romantic competition. 

Denise Thimes, A.C. Smith
Photo: The Black Rep

The Black Rep is presenting The Dance on Widow’s Row at Washington University’s Edison Theatre until January 25, 2026

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Jabari Boykin
Photo: Stray Dog Theatre

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

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

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

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

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

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

Sarah Gene Dowling, Aaron Fischer
Photo: Stray Dog Theatre

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

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Audience Howls With Laughter at NJT’s Cleverly Staged “Baskerville”

Posted in St Louis Theatre, tagged , , , , , , , , on November 28, 2025| Leave a Comment »

Ken Ludwig’s Baskerville: a Sherlock Holmes Mystery
by Ken Ludwig
Directed by Nisi Sturgis
The New Jewish Theatre
November 20, 2025

Nick Freed, Bryce A. Miller, John Wilson, Alicia Revé Like
Photo by Jon Gitchoff
New Jewish Theatre

It may be based on an iconic mystery series and its characters, but there’s no mystery about the appeal of Ken Ludwig’s Baskerville: a Sherlock Holmes Mystery, as staged at The New Jewish Theatre under the direction of Nisi Sturgis. With clever staging, a sharp script, brisk pacing, and an excellent, enthusiastic cast, this tale of intrigue and mystery on the moors of Victorian England has its audience howling with laughter. The appeal is enhanced by great production values, and some fun audience participation gags. 

The story is framed in a similar way to the popular comedic staging of Patrick Barlow’s adaptation of  John Buchan’s The 39 Steps, but based on the even more well-known stories of celebrated detective character Sherlock Holmes (Nick Freed) and his intrepid assistant, Dr. Watson (Bryce A. Miller).  This one is based on the classic story The Hound of the Baskervilles, in which the two are enlisted to help on case involving a murder on the moors bordering a country estate, as the proprietor has been killed in a manner that mirrors an old legend in the Baskerville family, involving a giant, ferocious dog. Watson narrates the story, and takes the principal role, although Holmes still figures prominently, and three performers billed as Actor One (Sean C. Seifert), Actor Two (John Wilson), and Actress One (Alicia Revé Like) each play a variety of roles as the story takes the crime-solving duo from the streets of London to the Devonshire countryside on a caper that involves old legends, romance, sinister plots, murder, and all kinds of intrigue.

Like The 39 Steps, this story has been framed as a comedy, with much of the humor coming from the multi-casting elements and quick pacing, along with a clever script that covers all the familiar beats of a Holmes story but streamlines it to emphasize comic elements and provide many elements to showcase the versatility of the performers.  It’s a fun show, and I’ve seen an excellent production in St. Louis before, a few years ago. At NJT, what stands out this time is the audience participation element, as well as several self-referential and “breaking the Fourth Wall” moments that add much hilarity to the proceedings. The cast members are kept on their toes by the pacing, and they handle the workout with much energy and quick thinking, resulting in a  hilarious evening of suspense and riotous laughter, with a haunting gothic-styled backdrop of dramatic music and excellent production values. 

The creepy, haunting, suspenseful tone of the proceedings are greatly enhanced by means of a marvelously versatile and deceptively simple set by Reiko Huffman that consists of quick-change set pieces and various movable elements on wheels, all painted and styled in suitable Victorian fashion. And speaking of fashion, Michele Friedman Siler’s costumes do a great job of outfitting the characters, working well with fast character changes, and maintaining the 19th Century mood and style. There’s also strong work from lighting designer Katherine Stepanek, keeping the tone dark and haunting while making everything clearly visible to the audience and in keeping with the heightened comic tone.  There’s also a memorable soundtrack and music designed and composed by Victoria Deiorio, recreated with flair for this production by Ethan Foss.

The cast that has been assembled here is nothing short of fantastic, led by Miller in a charming turn as the determined and often bewildered Watson, who is essentially the heart of this story. Freed is also effective and thoroughly credible as the mysterious but almost infuriatingly competent Holmes, and this duo’s interactions form much the humor here, although the three support players carry much of that weight as well. Miller also has easy rapport with Wilson’s most prominent character, the amiable Texan heir to the estate, Sir Henry Baskerville, who also has excellent moments with Like as the conflicted Beryl, with whom Sir Henry becomes smitten. Wilson also excels in his other roles, such as the grumpy Detective Lestrade, and Siefert and Like each play a variety of characters with enthusiasm and distinction, with Siefert as the mysterious Jack Stapleton and supportive Dr. Mortimer, and Like memorable as the sympathetic Beryl and persistent young Cartwright, who helps Holmes on the case in London. There’s so much energy in this show, and the rapport the performers have with one another and with the audience contributes to the overall enjoyment here, with a few wardrobe mishaps being covered well and adding to the humor to the point in which it’s not entirely clear if they really were mishaps or if they were planned. The building suspense and overall gothic tone is well-maintained by the cast as well, providing much in entertainment value.

“Entertaining” is a great word for the overall experience here. That, and “fun”, for the audience and apparently for the cast as well. I also appreciate the staging with the audience divided and the performance area in the middle, which is a format this company has used before to excellent effect. For Sherlock Holmes fans, I think this show would be especially appealing, although there’s enough broad appeal for anyone. It’s a good way for NJT to end their season with a flourish, and a roar of laughter from their audience. 

Sean C. Seifert, Alicia Revé Like
Photo by Jon Gitchoff
New Jewish Theatre

The New Jewish Theatre is presenting Ken Ludwig’s Baskerville: a Sherlock Holmes Mystery at the J’s Wool Studio Theatre until December 7, 2025

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First Run Explores Relationship Drama in Promising New “Deposition”

Posted in St Louis Theatre, tagged , , , , , on November 21, 2025| Leave a Comment »

Deposition
by Amy Hanson
Directed by Taijha Silas
First Run Theatre
November 15, 2025

Abbie Thornton, Nachalah “Catie” Duclerne, Amie Bossi, Deb Dennert, Ryan Lawson-Maeske, Bill Burke
Photo: First Run Theatre

First Run Theatre’s latest premiere production, Deposition, explores a fractured relationship from various sides. With clever use of flashbacks and fantasy sequences, the show presents an intriguing look at the end of a marriage as well as repeated patterns in the husband’s relationships. Although the production itself has its ups and downs, for the most part this is an intriguing and promising new work featuring several memorable performances.

Acrimonious divorces are the fodder for many popular stories, from Kramer vs. Kramer  to Divorce Court and more, spanning genres from comedy to drama to “Reality TV” and beyond. This show, currently being staged at the Kranzberg Arts Center under the direction of Taijha Silas, seems to be largely in the vein of “dramedy”, with serious moments punctuated with some sharp humor. The story follows long-married couple Jackson Fields (Bill Burke) and his soon-to-be ex-wife Lucy Fields (Ami Bossi), who are working with their attorneys (Deb Dennert as Lucy’s lawyer, Ryan Lawson-Maeske as Jackson’s), with famous writer Jackson hoping to be able to reach a settlement before the case can come to trial. Lucy, however, apparently has other plans, hoping to raise issues of patterns in Jackson’s behavior and relationships, and she is obviously angry and hurt. The set-up is fairly straightforward, taking place in a law firm conference room, but there are clever conceits that help to tell the story beyond the basic “he said, she said” bickering. Through the use of flashbacks and fantasy sequences, a more clear picture of the roots of this fractured relationship are explored, especially from Jackson’s point of view.

It’s an intriguing character exploration, although there are a few elements that could be worked on. For instance, I understand the “double casting” convention in which characters from Jackson’s past are played by actors who also play characters involved in the deposition, like the Court Reporter/Young Lucy (Abbie Thornton), Jackson’s Attorney/Young Jackson, Legal Assistant/Zadie Martin (Nachalah “Catie’ Duclerne), and Guardian ad Litem/Suki (Carmen Russell), but some of the legal characters–especially the Guardian ad Litem–aren’t given much to do and come across as plot devices more than characters. Also, while the lead characters have intriguing moments, the focus here is primarily on Jackson, which isn’t a problem in itself although Lucy’s character isn’t quite as developed as it could be.

The flashbacks and fantasy sequences are the real highlight here, especially a scene later in the play that features Jackson’s first wife Suki and former student Zadie. This scene is the best moment for Burke’s self-centered but occasionally charming Jackson, and also highlights strong performances from Duclerne as Zadie and especially Russell–the biggest standout in the cast–in a scene-stealing role as Suki, whose appearance is powerful and revelatory, carrying much of the show’s emotional weight. There’s also a fine performance by Dennert as Lucy’s attorney, and Bossi does well with the difficult, somewhat underwritten role of Lucy, although both of these performers have moments of muffed lines that I hope will be improved as the performances continue. Lawson-Maeske is impressive in a versatile turn as Jackson’s smarmy lawyer and as the younger Jackson in a flashback, well-matched with Thornton as the younger Lucy in the early days of their relationship. 

The set by Brad Slavik is fairly basic, but effective, with a realistic recreation of a law-office conference room and a set-off area to the side where most of the flashbacks take place. The lighting by Joel Wilper is especially effective in the fantasy sequences, and there’s also fine work from sound designer Jen Ciavarella. Tracey Newcombe’s costumes outfit the characters well, suitably reflecting their personalities. 

For the most part, Deposition is a cleverly structured story that held my attention more than I had expected, since I often tend to find divorce dramas depressing and overdone. This one finds angles for intrigue and character exploration that can be further developed with some more work, although this production from First Run is a fine showcase with a good cast. Although some of the characters–especially Jackson–aren’t especially likable, this play has done a good job of making them interesting. It’s a work in progress, but with strong potential. 

Carmen Russell, Bill Burke
Photo: First Run Theatre

First Run Theatre is presenting Deposition at the Kranzberg Arts Center until November 23, 2025

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Upstream’s “Orchard for Chekhov” is a Bittersweet, Thoughtful Showcase for Strong Cast

Posted in St Louis Theatre, tagged , , , , , on November 14, 2025| Leave a Comment »

An Orchard For Chekhov
by Pedro Brício
Translated by Steven K. Smith
Directed by Philip Boehm
Upstream Theater
November 8, 2025

Sally Edmundson, J. Samuel Davis
Photo by ProPhotoSTL.com
Upstream Theater

Upstream Theater’s mission of bringing thought-provoking plays from around the world to St. Louis is continuing with their latest production, An Orchard for Chekhov, by Brazilian playwright Pedro Brício, translated by Steven K. Smith and directed by Philip Boehm. This intriguing show examines the relationships between fantasy and reality, the arts and the harsh realities of life, along with culture clashes and familial struggles. Featuring a strong cast led by two especially memorable performances, it’s an intriguing, thoughtfully staged show.

The play is led by a truly dynamic and richly characterized performance by Sally Edmondson as Alma Duran, a well-known stage actress who is between jobs and has come to stay with her daughter Isadora (Jocelyn Padilla) and son-in-law Otto (Aaron Orion Baker) in their small apartment in Rio de Janeiro. Alma, who is hoping to soon star in a production of Anton Chekhov’s The Cherry Orchard, has taken on a young theatre student, Lalá (Sarah Wilkinson) in order to make some money while she’s between roles. As physician Isadora and police captain Otto deal with issues in their relationship, and Isadora worries about her mother’s health, the future of Alma’s upcoming production comes into doubt, and Alma finds herself wandering the grounds of her daughter’s building, where she meets a mysterious man (J. Samuel Davis) who claims to be Chekhov himself, and despite Alma’s initial skepticism, the two form a friendship, giving Alma some hope while the rest of the characters–and especially Isadora–continue to worry about her. What ensues is a blend of comedy and drama with hints of tragedy, kind of like The Cherry Orchard, and–in the hands of the excellent cast and direction–an ideal acting showcase for its leads.

As previously mentioned, Edmundson gives a marvelous, well-rounded performance as Alma, balancing humor and drama well and making the most of the dialogue with her deep, melodious voice. Alma is the heart of this story, and Edmundson makes the most of that fact with a likable, relatable turn as an aging performer looking to maintain her career and her theatrical vision. Davis is also a joy as Chekhov, who may be a vision or an impostor or a figment of Alma’s imagination, but whatever he is, his chemistry with Edmundson is delightful, and his presence drives important aspects of the plot. These two are the biggest standouts, but the rest of the cast is also strong, although the part of Isadora seems a bit one-note, although that seems to be more of a writing issue, and Padilla makes the most of the role. Baker is memorable finding the sympathy in the troubled Otto, and Wilkinson has a fine turn as the hopeful young talent, Lalá, coming across as both passionate towards her goals and compassionate toward Alma and her family. 

The creative team does an excellent job of creating the world of the show, as well, with Patrick Huber’s vivid set credibly creating the vibe of an urban beachfront condo development, and Jamey Pearson’s scenic painting,  Steve Carmichael’s lighting and Kristi Gunther’s sound help further the mood and setting. There’s also excellent work from costume designer Michele Friedman Siler in outfitting the characters appropriately, especially in the stylish flair of Alma’s outfits, which say a lot about her character and personality. Kudos also go to samba consultant Márick Starick, as the dance elements add much to the overall atmosphere of show.

Overall, while there are a few issues involving the interweaving of some of the plots and communicating of some background information, An Orchard for Chekhov is a fascinating, well-characterized play with a first-rate leading performance. It explores aspects of Brazilian culture as well as life in the theatre, and themes from Chekhov that parallel the main story. It may be helpful to read or see The Cherry Orchard before seeing this play, or at least read a synopsis. Again, I can’t say enough about the quality of the performances here, especially Edmundson and Davis. It’s a master-class in acting, as is fitting for a show about theatre. 

Sarah Wilkinson, Jocelyn Padilla
Photo by ProPhotoSTL.com
Upstream Theater

Upstream Theater is presenting An Orchard for Chekhov at the Marcelle Theatre until November 23, 2025

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STLAS’s “Search for Signs” Finds Energy and Heart in Excellent Solo Performance

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

The Search for Signs of Intelligent Life in the Universe
by Jane Wagner
Directed by Wayne Salomon
St. Louis Actors’ Studio
November 7, 2025

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

The Search for Signs of Intelligent Life in the Universe started out as a celebrated Broadway showcase for famed television star Lily Tomlin. Debuting in 1985 and written by Tomlin’s longtime partner/collaborator and now wife Jane Wagner, the show received excellent reviews and won awards for both Tomlin and Wagner. At St. Louis Actors’ Studio, this show is being staged now with a celebrated local performer as its headliner,  featuring the remarkably versatile talents of Michelle Hand, under the strong direction of Wayne Salomon, it’s fairly easy to forget this show was written with a different star in mind. Although there are certainly dated references that tie it to its original time, Hand makes the role her own and brings out the sensitivity and humor of the cleverly constructed script.

Playing a variety of characters in a series of cleverly interconnected vignettes, Hand is a marvel of comic and dramatic versatility. Introducing the show as upbeat New York City “bag lady” Trudy, she introduces the theme, as Trudy lets the audience in on a little expedition in which she is involved, escorting a group of unseen extraterrestrials on a step of their cosmic mission to find evidence of intelligent life. As Trudy recounts her exploits, we get to meet a series of other NYC denizens of various classes, ages, and stations in life, from the teenage Agnus Angst, to upscale socialite Kate, to ditzy Chrissy, to opinionated “working girls” Brandi and Tina, to a trio of feminist friends–Lyn, Edie, and Marge–as Lyn reminisces about their friendship, lives, and activism at a pivotal moment in her life.

The setting is primarily the mid-1980s, and the show reflects this setting in both subject matter and format, often reminding me of a television sketch show, and some references I had to look up, because although I was a teenager in 1985, a lot has happened in terms of trends and attitudes since then. I imagine younger audiences might have a bit of a struggle understanding some references, although the general themes here are still relatable, featuring timeless themes like finding one’s purpose in life, the goals and roles of women, friendship, parent-child relationships, and more.

The language is sharp and engaging, and the plots are cleverly woven together, but what especially makes this show work is its star. Hand is simply brilliant, likable, and convincing, adept at both comedy and drama, and able to present the various distinct characters convincingly. I’m especially impressed by how Hand is able to conduct conversations between characters and switch roles seamlessly, as well as projecting a strong likable presence across the board, with all the characters but especially in the two most prominent portrayals, the eccentric Trudy and the conflicted but still hopeful Lyn. It’s a tour-de-force for the consistently excellent Hand, who is already a consistent, award-winning performer so I was expecting a strong performance, and she certainly delivers. 

The technical aspects of this show are almost deceptively simple, but work especially well in highlighting Hand’s fantastic performance. Patrick Huber’s simple set and colorful lighting, along with Andy Cross’s vibrant scenic painting provide an ideal backdrop for the story. There’s also strong work from costume designer Meredith LaBounty, who provides a simple but memorable outfit for Hand, along with some fun accessories.  The show works especially well in STLAS’s smaller space at the Gaslight Theatre, even more bringing Hand’s talents to the forefront.

The Search for Signs of Intelligent Life in the Universe is a show I had heard of before, but had associated primarily with Lily Tomlin. This thoughtful production at St. Louis Actors’ Studio has changed that association for me, or at least added to it. Michelle Hand is an ideal lead, and her performance is well worth seeing. I think people who remember New York in the 1970’s and 80’s might especially enjoy the show, although younger audiences will have Hand’s superb performance to enjoy, and just might get a useful history lesson. 

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

St. Louis Actors’ Studio is presenting The Search for Signs of Intelligent Life in the Universe at the Gaslight Theater until November 23, 2025

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Powerful “Brothers Size” at the Rep Takes Stage with Strong Acting, Fluid Movement

Posted in St Louis Theatre, tagged , , , , , on October 28, 2025| Leave a Comment »

The Brothers Size
by Tarell Alvin McCraney
Directed by Jacqueline Thompson
Choreographed by Kirven Douthit-Boyd
The Repertory Theatre of St. Louis
October 24, 2025

Nic Few, Christian Kitchens
Photo by Jon Gitchoff
The Repertory Theatre of St. Louis

The Brothers Size is unique, while at once being both specific and universal. The newest show in the Rep’s Steve Woolf Studio Series, this haunting, lyrical play tells a story of mythic scope, that is also highly personal, gritty, and challenging. It’s also a wonder of acting, movement, and stagecraft. 

The play, which is part of a trio of works by playwright Tarell Alvin McCraney, follows two brothers living in Louisiana–the older, Ogun (Nic Few), and the younger Oshoosi (Christian Kitchens). Ogun, a mechanic who owns an auto shop, is focused on work and duty, while Oshoosi–who has recently been released from prison–is full of dreams and nebulous plans, which only increase Ogun’s concern for him. There’s also Elegba (Donald Jones Jr.), a friend of Oshoosi’s from prison whose presence further unsettles Ogun while tempting Oshoosi to more risky aspirations and actions. It’s a story of multiple issues on different levels–familial, interpersonal, cultural, and societal, and a growing sense of unsettling inevitability about what’s going to unfold. 

It’s a gritty, intense tale, taking a mythic structure combining elements from the West African Yoruba belief system with occasional Christian references and a general overarching spiritual tone, told in a form that combines elements of music and dance to heighten the overall “cosmic struggle” theme and atmosphere. Music and sound by composer Tre’von Griffith and smooth, flowing choreography by Kirven Douthit-Boyd combine expertly to help tell this story and emphasize the emotion and conflict. There’s also powerfully effective lighting by Jayson M. Lawshee and memorable costume design by Kristie C. Orsi that works to help define the characters and further the story and themes. The staging, in the round with no concrete set, is almost deceptively simple,  working to powerful effect as director Jacqueline Thompson’s pacing builds the tension and sense of motion in the story.

The cast is fantastic, led by a strong turn by Few as the devoted but strict Ogun, and Kitchens as the restless, more carefree Oshoosi. Few has a powerful stage presence and credible sense of love and exasperation with his brother. Kitchens brings a sense of youthful energy to Oshoosi that adds relatability to his recklessness. These two also present a believable, affecting brotherly relationship. Jones is also a strong presence as the enigmatic, ineffable Elegba, and all three players are excellent in movement and energy, exhibiting a fluid energy that propels the drama. 

There are a lot of weighty issues dealt with in this show, and some strong language and topics that aren’t for all ages. It’s an important story in terms of human struggle, as well as highly specific to the characters and their situation, and intensely personal. It also features a host of local talent on the creative team, which is great to see. The Brothers Size is a play that will make audiences think, as well as feel. It’s a profound experience of theatre.

Donald Jones Jr., Nic Few, Christian Kitchens
Photo by Jon Gitchoff
The Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis is presenting The Brothers Size until November 16, 2025

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Albion Brings Immediacy, Emotion to “I Have Been Here Before” with Great Cast, Thoughtful Staging

Posted in St Louis Theatre, tagged , , , , , on October 21, 2025| Leave a Comment »

I Have Been Here Before
by J.B. Priestley
Directed by CJ Langdon and Robert Ashton
Albion Theatre
October 17, 2025

Dustin Petrillo, Bryn McLaughlin, Jeff Kargus
Photo by John Lamb
Albion Theatre

British playwright J.B. Priestley’s 1937 work I Have Been Here Before, as staged by Albion Theatre under the direction of CJ Langdon and Robert Ashton, is a time trip in more ways than one. In one sense, it takes its subject seriously and stages it with credibility and emotion, featuring an excellent local cast. In another sense, it’s a fully realized “world”, bringing the audience into the mindset and atmosphere of 1930s Europe with clarity and thoughtful attention to detail.

The show is one of Priestley’s “Time Plays”, in which the playwright explored various theories of the concept of time. In this one, influenced by the theories of Russian philosopher P. D. Oupensky, the concept of time as recurrent is expounded through the character of exiled German professor Dr. Görtler (Garrett Bergfeld), who has come to a small Yorkshire inn and pub on an “experimental” outing, soon meeting the staff and guests and serving as a subject of interest for some, and disturbance for others. Everyone has their concerns and interests apart from the Doctor’s philosophies, as well. Sam (Robert Ashton) and his widowed daughter Sally (Anna Langdon) are interested in being hospitable hosts, and Sally is particularly concerned for her unseen son Charlie, who is away at school. The two are initially hosting Oliver Farrant (Dustin Petrillo), the young headmaster of Charlie’s school who has been advised to take some time off to rest. Soon, they are joined, apparently by chance, by the wealthy Walter Ormund–who serves on the school’s Board of Governers–and his much younger wife, Janet (Bryn McLaughlin), after being predicted to do so by the mysterious but friendly Dr. Görtler.  Soon, a web of intrigue develops, as the characters’ lives become intertwined and the uncertain mood of the era is reflected in their backstories and choices. Suspicion, fear, regret, longing, and hope are mingled in the stories of this small group of characters who may or may not be bound to an ominous and bleak future fate. 

This is one of those stories that strikes me as fairly easy to do “wrong”–that is, to make it dull and plodding and lost in conjecture and stiff staging. Fortunately, this production is about as “right” as I can imagine, with a perfectly chosen cast and thoughtful, well-paced staging that brings out the emotion of the story and emphasizes the emotions and longings of the characters without melodrama or stereotyping. The well-crafted performance of all are to be commended, anchored by Bergfeld in an intelligent and compassionate turn as Görtler, and by Kargus at his best as the upper-class Walter, who gradually reveals much more to his seemingly stiff, distracted, hard-drinking character upon interacting with the gently insistent Görtler. These two form the emotional center of the story, which also features memorable performances from Langdon as the conflicted Sally, Ashton as the easy-going Sam, and McLaughlin and Petrillo as Oliver and Janet, who are both trying to avoid what seems to be an inevitable fate while professing contrasting reactions to Görtler’s professions. 

This excellent cast is given a lot to work with by the excellent sense of theming and atmosphere achieved through the work of a meticulous design team. The set by Brad Slavik and scenic design by Rachel St. Pierre provide a realistic and well-appointed backdrop for the action, appropriately lit by lighting designer Eric Wennlund. Tracey Newcomb’s costumes are well-chosen for the characters and era, and Leonard Marshall’s sound also adds much in the way of period atmosphere. 

I Have Been Here Before is an almost 90-year-old play, given much immediacy and relatability by Albion’s excellently staged production. The sense of uncertainty of the times lends much drama to the “time” aspects, as well, and there’s a lot here to think about that’s not always directly spelled out, but is still conveyed with clarity. Albion has quickly become one of St. Louis’s more consistent theatre companies in terms of quality, and this show is another memorable example of that reputation. 

Anna Langdon, Jeff Kargus, Robert Ashton, Garrett Bergfeld
Photo by John Lamb
Albion Theatre

Albion Theatre is presenting I Have Been Here Before at the Kranzberg Arts Center  until November 2, 2025

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