Archive for the ‘St Louis Theatre’ Category

The Black Rep’s “Two Trains Running” Takes Audience on a Remarkable Theatrical Journey

Posted in St Louis Theatre, tagged , , , , , on January 25, 2020| Leave a Comment »

Two Trains Running
by August Wilson
Directed by Ed Smith
The Black Rep
January 18, 2020

James A. Williams, Ron Himes
Photo by Phillip Hamer
The Black Rep

The Black Rep has a reputation for excellence, and it consistently lives up to that reputation. It’s latest production, Two Trains Running, is a prime example of this excellence, with a vividly realized world put on stage for the audience to experience. With stunning production values and a superb cast, this is a profoundly affecting production that deserves all the praise it can get.

This company is no stranger to August Wilson’s plays, having produced many of his works several times. This latest production emphasizes again the strength of Wilson’s work, and the vivid way he portrays life in an African-American neighborhood in Pittsburgh throughout the 20th Century. Two Trains Running, a part of this cycle, brings us to Lee’s Restaurant in 1969, in the midst of economic struggles, “urban renewal”, and the influences of the Civil Rights movement. The owner, Memphis (James A. Williams), is hoping to sell his restaurant, which is declining in business as is much of the rest of the neighborhood. He wants to set his own price, though, and the white powers-that-be in the city government are giving him a hard time. The regulars in the restaurant hang out there daily, with the retired Holloway (Ron Himes) occupying his usual table and commenting on the neighborhood goings-on, while Wolf (Carl Overly, Jr.) uses the restaurant’s phone in his numbers running racket, to Memphis’s irritation. Memphis’s only employee is Risa (Sharisa Whatley), who waits tables and cooks, being taken for granted by her boss while catching the eye of newcomer Sterling (Jason J. Little), who is looking for a job after having spent five years in prison. Sterling is also increasingly involved in political activities that also irritate Memphis, although he quickly becomes a part of the group of regulars at the restaurant, building a rapport with Hambone (Travis Banks), who doesn’t talk much except about a ham that was promised to him a long time ago by a local grocery owner for a painting job. That promise hasn’t been fulfilled, and Hambone won’t let anyone forget that. There’s also West (Samuel J. Davis), who in contrast to the rest of the neighborhood, has made an ample income as the director of the local funeral home, which is currently busy with mourners filing in to pay their respects to a recently deceased religious leader and neighborhood icon, Prophet Samuel. At first the story plays out as something of a “slice of life” vignette, as we observe the characters interacting, but the story arcs develop gradually and surely, as bonds develop between characters, injustices are revealed and reiterated, hopes and dreams are expressed and sometimes realized, and the passage of time is made clear. It’s a fairly long play, but it moves so well and the characters and situations are so well defined, that even when the play ends, I find myself wishing I could find out more about what happens.

Such a brilliant script and well-drawn characters demand a first-rate cast, and this production certainly delivers in that respect. From Williams’s curmudgeonly Memphis, to Himes’s ever-present, world-wise Holloway, to Davis’s determined, confident West, to the entire cohesive ensemble, this production goes from strength to strength, without a weak link. Also strong are Little in a convincing performance as the activist Sterling and Whatley as the wary Risa, and the bond these two eventually form is marked by credible chemistry. There’s also a believable bond between Little and the also excellent Banks as the single-minded Hambone. Also excellent is Overly as the swaggering, enterprising Wolf. All of the players work together to form a convincing group chemistry that drives this story and gives it its palpable emotional weight.

The set here is especially worth noting, as designers Margery and Peter Spack have brought such a finely detailed representation of a restaurant that looks and feels so real, it’s easy to imagine sitting at one of the tables and ordering lunch. There are also excellent well-suited costumes by Daryl Harris that reflect the characters’ personalities especially well. Jim Burkwinkel’s atmospheric lighting and Kareem Deanes’s proficient sound design also work well in establishing and maintaining the world of these characters and their stories.

Two Trains Running might just be the best production I’ve ever seen at the Black Rep, and considering the consistency of excellence from this company, that’s saying something. It’s a powerful, profoundly affecting story, with superb performances and a vividly realized setting. It’s certainly a must-see.

Sharisa Whatley, Jason J. Little, Travis Banks, Ron Himes
Photo by Phillip Hamer
The Black Rep

The Black Rep is presenting Two Trains Running at Washington University’s Edison Theatre until January 26, 2020

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The Rep Studio’s “Thanksgiving Play” is Sharp, Hilarious Satire

Posted in St Louis Theatre, tagged , , , , , , on January 25, 2020|

The Thanksgiving Play
by Larissa Fasthorse
Directed by Amelia Acosta Powell
Repertory Theatre of St. Louis, Studio
January 18, 2020

Ani Djirdjirian, Adam Flores, Jonathan Spivey, Shayna Blass Photo by Phillip Hamer Repertory Theatre of St. Louis

The Rep Studio’s newest production looks at a controversial subject from a satirical point of view. The Thanksgiving Play, by playwright Larissa Fasthorse, tackles an especially relevant issue in society with a somewhat novel approach–over-the-top, biting satire that is unquestioningly hilarious while at the same time tackling some uncomfortable truths. Although the characters can be seen to some degree as “easy targets”, that doesn’t change the relevance and outright bombastic hilarity of the piece, or the overall importance of its message.

To a degree, the characters here are funny because they are so familiar, and the type of obtuse, “trying-too-hard” white liberals portrayed here have been poked fun of in various media before. Still, there’s also a point to be made that these “types” are so funny because they do, to various degrees, represent reality. Also, from the point of view of a Native American playwright, we get to see even more how misguided many efforts of “cultural inclusion” turn out to be when you look at them closely enough, as well-meaning white artists try to “help” the cause, trying to avoid cultural appropriation and stereotype so much in one area that they don’t realize how much they reinforce these ideas in other ways. So here, we have self-important street performer and yoga enthusiast Jaxton (Adam Flores) and the ever-earnest and anxious director Logan (Shayna Blass), who are tasked with staging a culturally sensitive Thanksgiving themed play at an elementary school for Native American Month. Joining them are Caden (Jonathan Spivey), a history teacher and aspiring playwright who is hired to be their consultant on historical matters, and Los Angeles-based Alicia (Ani Djirdjian), who has been brought in to act in the show under the assumption that she’s Native American–an assumption reinforced by her series of specifically styled headshots that have been shopped around by her agent. What she turns out to be is vapid “Hollywood” type who, somewhat surprisingly, doesn’t pretend to be anything else and as a result, is envied by Jaxton and Logan because of her “simplicity”. So, these four work together to tell the traditional Thanksgiving story in a “sensitive” way and, predictably, things don’t go exactly as planned–and that’s an understatement. Their efforts start out relatively predictable and get more and more outrageous as the show goes on, managing to to provide loads of laughs along with some especially sharp and biting social commentary, along with some truly brutal reminders of the more unsavory aspects of history that have been glossed over in the “traditional” telling of the Thanksgiving story. Interspersed with the linear story are some out-of-time moments in which the four players enact some truly bizarre and sometimes horrifying representations of Thanksgiving presentations from various schools around the country. I’m not sure if these are taken from real life or not, but sadly, it wouldn’t surprise me if they are. In addition to its main message, the play also pokes fun at some other conventions, such as Hollywood, pretentious artists, and more.

The pacing here is ideal, as the story starts off slow-ish and then snowballs out of control, and the characters respond to the various conflicts in kind. The casting is excellent, as well, with Flores and Blass making a credible couple as both play off of each others’ quirks, augmenting them and spurring on the rest of the players in turn. Blass especially is strong as the over-earnest, increasingly insecure Logan, who is nervous about getting her play right but doesn’t quite know what “right” looks like. Djirdjian is also a treat as the vapid starlet who owns her vapidness, and Spivey also stands out in a strong performance as the closest thing to a “straight man” (in the comic sense) in this group, although he has his quirks as well. It’s the interplay between these four disparate characters and the way they play off of each other with their varying expressions of well-meaning but clueless determination that provides the bulk of the comedy here, and this company gets the tone just right.

Technically, the production values are simple but well-suited. The unit set, by Efren Delgadillo, Jr., is a detailed representation of an elementary school classroom. The costumes, by Lux Haac, represent the characters and their personalities, especially well. There’s also excellent lighting by Porche McGovern that especially highlights the “interlude” scenes, and Cricket S. Myers’s sound is proficient, as well.

Overall, this is one of those shows that’s likely to make audience members laugh their lungs out and then, when they’ve caught their breath, feel uncomfortable at the harshness of the reality being conveyed even by these broadly drawn, hilariously stereotypical characters. The reality that history has been written by those in power, at the expense of those not in power, is made clear in the midst of the hilarity, and the sharp satire works especially well in getting this message across. This is an ideal show for making one think, as well as laugh.

Shayna Blass, Adam Flores, Ani Djirdjirian, Jonathan Spivey Photo by Phillip Hamer Repertory Theatre of St. Louis

Repertory Theatre of St. Louis is presenting The Thanksgiving Play in its Studio Theatre until February 9, 2020

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Bold, Character-Driven “Madam” is a Promising New Show from Fly North Theatricals

Posted in St Louis Theatre, tagged , , , , , , on January 18, 2020| Leave a Comment »

Madam
Music, Lyrics, Book, and Orchestrations by Colin Healy
Directed by Sydnie Grosberg Ronga
Choreographed by Carly Niehaus
Fly North Theatricals
January 11, 2020

Abigail Becker, Gracie Sartin, Kimmie Kidd-Booker, Marta Bady, Eileen Engel
Photo by Caroline Guffey
Fly North Theatricals

It’s especially enjoyable to get to see new shows being developed locally, especially when they are as promising as the latest production from Colin Healy’s Fly North Theatricals. Madam takes a look at a once-prominent but now more obscure figure in St. Louis history, fashioning a story around her that proves to be a vehicle for a memorable score and strong performances. Even though some of the plot elements are predictable, it proves to be a thoroughly entertaining theatrical experience.

The show is somewhat deceptively titled, in that, while 19th Century St. Louis madam Eliza Haycraft (Kimmie Kidd-Booker) is a prominent figure in the play, the story more often focuses on her “girls”, the employees at the high-class brothel she runs that is also greedily eyed by a well-connected man listed in the program only as “The Benefactor” (Phil Leveling). It’s the brothel’s residents and employees who start off the show and mostly serve as narrators, each one with her own signature color. Each of the girls also has her own hopes and goals for life beyond the brothel, or (in one case) not. There’s the adventurous but insecure Calista (Cameron Pille); the brash Billie (Marta Bady)–who once disguised herself as a man to serve in the Civil War; the caring Ripley (Gracie Sartin), who’s saving money to go to medical school; and Tennie (Eileen Engel), who wants to find and reconnect with her sister, a noted activist. At least some of these characters are loosely based on real people, as well. The action starts when the mysterious Mercy Jones (Abigail Becker) appears asking for help, and is taken in, eventually befriending the girls and gaining the confidence of Eliza. At least, that’s how it starts. There is a twist, and it’s not hard to guess, although the lack of suspense in that area doesn’t take away from the story, because the real drama here is in the characters, and especially in their relationships. Although the Benefactor is somewhat of a cartoonish villain, even that’s not a problem, as the memorable score heavily influenced by classic musical theatre traditions, and the compelling script make the show work. The strong performances, both in acting and in singing, also help immensely.

Those strong performances are turned in by an especially cohesive ensemble cast, led by the four “working girls” with Bady and Sartin especially standing out for their presence and the strength of their voices. Kidd-Booker is also a standout as the ailing but determined Eliza, and Becker is also strong as the enigmatic Mercy, and Leveling makes a suitably oily vilain, as well. Healy’s score is catchy, as well, providing a lot of excellent material for the strong voices of the cast, from the driving “Empire” at the beginning to ballads like Mercy’s “I Want to Be a Star” to Billie’s especially memorable “Another Fence (the Baseball Song)”.

A lot of the credit for this show’s success should go to Healy, who not only wrote the book, music, and lyrics, but also serves as the show’s musical director, plays piano, and conducts the excellent band. The shows other technical merits include a colorful set by George Shea and detailed period costumes by Eileen Engel. Kevin Bowman’s evocative lighting and Tazu Marshall’s sound also ably contribute to the overall mood and 19th Century atmosphere of the show.

There’s a message of empowerment here along with the memorable characterizations, as well, and although the setting is in a brothel, it’s not quite as raunchy as I had been expecting–though it has its moments in that department. It’s an especially strong showing for such a new show that’s only had one full-scale production before this one. Mostly, it’s a show full of memorable characters, strong relationships, and a catchy score, and although there are a few places where the script could be smoothed out a bit, Madam has made a strong showing in this highly entertaining production from Fly North Theatricals.

Kimmie Kidd-Booker
Photo by Caroline Guffey
Fly North Theatricals

Fly North Theatricals is presenting Madam at the .Zack Theatre until February 2, 2020

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The Rep’s “Mojada: A Medea in Los Angeles” is a Thoughtful, Thought-Provoking Take on a Classic Tragedy

Posted in St Louis Theatre, tagged , , , , , , on January 18, 2020| Leave a Comment »

Mojada: A Medea in Los Angeles
by Luis Alfaro
Directed by Rebecca Martinez
Repertory Theatre of St. Louis
January 10, 2020

Cheryl Umaña
Photo by Cory Weaver
Repertory Theatre of St. Louis

It’s a new year and a new production for the Rep, as the company takes on a tale inspired by a well-known Greek tragedy, with a decidedly 21-Century twist. In Mojada: A Medea in Los Angeles, playwright Luis Alfaro adapts the Euripides classic Medea to focus on a timely topic and a challenging, thought-provoking theme. At the Rep, director Rebecca Martinez’s production boasts an excellent cast and a memorable presentation.

Alfaro’s adaptation basically distills the Medea story into a highly personal look at Mexican immigrants adjusting to life in Los Angeles in different ways. After a difficult and sometimes violent journey from their hometown, Medea (Cheryl Umaña), Jason (Peter Mendoza), and their family react to life in America in different ways, with Jason eager to assimilate and succeed in American society, and seamstress Medea still haunted by her past and not knowing how to move forward, although she tries for the sake of Jason and their son, Acán (Cole Sanchez). Also accompanying the family from Mexico is their companion and household servant/helper Tita (Alma Martinez), who is devoted to Medea and tries to mentor her in carrying on her tradition of healing arts as well as trying to make an effort to adjust to a new way of living. Tita enlists fellow immigrant Josefina (Guadalis Del Carmen) to befriend Medea, all the while Jason aspires to make the most of his new life and his job with real estate developer Armida (Maggie Bofill), who has her own designs on Jason and, it seems, Medea’s whole family. Medea is increasingly shown to be the outsider, struggling to hold on to her family and identity as Jason becomes more and more ambitious and secretive, and as Medea’s relationship with her family and friends are threatened by the pressures of ambition and the pressure to assimilate into an upwardly mobile “American dream” based focus. The show paints a vivid portrait of Medea’s past, as well as setting an increasingly inevitable, ominous pace for her present, and future. Anyone who knows the classic Medea story knows where this is leading, and what’s most compelling here is the portrayal of how the characters, and especially Medea herself, get to that point. It’s a jarring story in ways, especially at the end, and also compelling, thoughtful, and especially timely today’s world.

As the show’s most vividly drawn characters, Umaña and Martinez are the standout performers here in an excellent ensemble. Martinez is strong as the one character who sticks by Medea throughout, displaying a fierce devotion as well as compassion and strength. Umaña is equally strong as the conflicted Medea, with a strong sense of presence and credible chemistry with Mendoza’s somewhat enigmatic Jason. Del Carmen is also a delight as the friendly but (eventually) also conflicted Josefina, and young Sanchez gives a fine performance as Acán, who is affected by the conflict between his parents and their competing views of life in LA. There’s also Bofill, as the driven Armida, giving a convincing performance in a somewhat underwritten role, and Luis Chavez who makes the most of his small role as a menacing soldier.

Technically, the show reflects the usually strong production values at the Rep, although not quite as dazzling as one may have come to expect. There’s one prominent special effect, employed late in the second act, that comes off as something of a gimmick and doesn’t quite add the dramatic effect to which it seemingly intends. Still, Mariana Sanchez’s set is convincingly realistic, as are Carolyn Mazuca’s costumes. There’s also effective lighting by Maria-Cristina Fusté and strikingly evocative sound and score by David R. Molina.

Mojada: A Medea in Los Angeles is ultimately a fine example of adapting a time-honored classic and its timeless themes to a modern, especially timely setting. With a first-rate cast and an especially strong leading performance, this is a well-paced, compelling drama. It’s another strong showing for this new artistic era at the Rep.

Alma Martinez, Guadalis Del Carmen, Cole Sanchez, Cheryl Umaña, Peter Mendoza
Photo by Cory Weaver
Repertory Theatre of St. Louis

Repertory Theatre of St. Louis is presenting Mojada: A Medea in Los Angeles until February 2, 2020

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Princesses Tell Their Own Tales in Funny “Disenchanted” at Stray Dog Theatre

Posted in St Louis Theatre, tagged , , , , , on December 19, 2019| Leave a Comment »

Disenchanted!
Book, Music, and Lyrics by Dennis T. Giacino
Directed by Justin Been
Stray Dog Theatre
December 12, 2019

Sarah Gene Dowling, Kelly Slawson, Dawn Schmid
Photo by John Lamb
Stray Dog Theatre

Revisionist versions of fairy tales have been in vogue for a while, with films, stage shows, and TV featuring different takes on classic stories. The latest production from Stray Dog Theatre, the cabaret-style DIsenchanted! is composer/lyricist/book writer Dennis T. Giacino’s take on this popular idea. It turns out to be something of a mixed bag in terms of orginality, but it’s still a lot of fun and features some memorable performances from an enthusiastic cast.

Hosted by iconic princesses Snow White (Kelly Slawson), Cinderella (Sarah Gene Dowling), and Sleeping Beauty (Dawn Schmid), Disenchanted! is presented in a sort of cabaret/variety show format, in which various princesses offer their own takes on their portrayals in popular culture, and especially  in Disney films. They focus much on the messages that these films, and the whole “Princess Complex” has on society, and particularly the young girls who grow up watching the films and are presented with the Fairy Tale Princess ideal. Well, these princesses are here to tell us that there’s a lot more to their stories than that ideal. There is also a lot of meta-exploration of how the characters themselves are dealing with how they have been portrayed and received, and some reminders of the pre-Disney origins of their stories, both serious and humorous,. There is “Honestly” sung by Pocahontas (Gitana Mims) in the former category and, in the latter category along with a good dose of meta and digs at commercialism, “Not V’One Red Cent” sung with gusto by Rapunzel (Erika Cockerham). While some of the songs seem rather obvious and one-note, others are more inventive and memorable. Also, for the most part there isn’t much said here that hasn’t been said before by other works.  Still, it makes for an entertaining evening, especially in the second act as the sense of camaraderie and solidarity between the characters grows and becomes most credible.

What this show is, ultimately, is a showcase for its talented cast. Although there is some deliberately comically “bad” singing (and a notice about it in the program), there are also some powerful voices, and some excellent comic performances. The standouts for me include Schmid as a determined, quirky, and frequently nodding off Sleeping Beauty, who (eventually) gets one of the show’s best songs in “Perfect”. Slawson and Dowling are also memorable as fellow co-hosts, a somewhat imperious Snow White and more whimsical Cinderella. Cockerham, as a statuesque, big-voiced, Germanic Rapunzel who gets her moment in a hilarious Cabaret-styled number, is another standout, as are Selena Steed as the Princess Who Kissed the Frog who leads the rousing “Finally”, and Eleanor Humphrey as Princess Badroulbadour (from the original source for Aladdin), in excellent voice on “Secondary Princess”. It’s an energetic, cohesive ensemble overall, carrying the somewhat uneven material here with a lot of personality and enthusiasm.

The overall irreverent, whimsical tone of the show is carried over well into the production values, with a colorful unit set by Miles Bledsoe and memorable costumes by Eileen Engel. Lighting designer Tyler Duenow contributes to the bold, variety-show styled look of the show. There’s also some fun choreography by  Mike Hodges and an excellent small band led by music director Jennifer Buchheit, although the sound mix is uneven at times and it can be difficult to hear the words to some of the songs.

Overall, while Disenchanted! isn’t the most original of this “meta-fairy tale” sort of shows, it’s an entertaining and frequently hilarious production. I think this show may especially appeal to people who are well-versed in the Disney versions of these characters and don’t mind some sharp criticism of the works or the company. It has it’s moments, definitely, and it’s another fun staging from Stray Dog Theatre.

Cast of Disenchanted!
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre is presenting Disenchanted! at Tower Grove Abbey until December 21, 2019

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STLAS’s “Life in the Theatre” Is a Reflection for Theatre Lovers

Posted in St Louis Theatre, tagged , , , , , on December 14, 2019|

A Life in the Theatre
by David Mamet
Directed by John Contini
St. Louis Actors’ Studio
December 8, 2019

William Roth, Ryan Lawson-Maeske
Photo by Patrick Huber
St. Louis Actors’ Studio

If you’ve ever been involved in theatre at any level, St. Louis Actors’ Studio’s latest production will have something to which you can relate. A Life in the Theatre is David Mamet’s two-hander focusing on two actors at different stages in their careers, continuing STLAS’s season of two person plays. Here, with two excellent performers in the leading roles, this is a show that serves as an insightful glimpse at the theatrical life, for actors and for anyone who loves this art form.

This isn’t a long play, running at roughly 85 minutes and with no intermission, but makes its point well in that short running time. Its a series of vignettes, essentially, following the interactions of two actors who frequently work together. Robert (William Roth) is the older, more seasoned performer and John (Ryan Lawson-Maeske) is the younger actor whose career is on the way up. Through the course of the evening, we get to see their backstage interactions as well as portions of some of their plays, including a World War I drama, an office drama, and others. As the show goes on, there are successes and mishaps, including several that many who have worked on a play will recognize. There are missed technical cues, forgotten lines, mistimed entrances, and more. Also, we see the changing dynamics of the relationship between the two characters, as John experiences new successes and Robert is reminded of the swift passage of time and deals with jealousy as well as mortality. Mamet’s script is insightful and frequently humorous in a knowing sort of way, demonstrating the timelessness of theatre and the acting profession, and how the art goes on even as the performers age and change. It’s a witty show with moments of cynicism and poignancy, but ultimately it reinforces the old adage that “the show must go on”.

It’s an intriguing character study in which the characters are “types” as much as they are individuals. The two are played with flair by STLAS veterans Roth and Lawson-Maeske. Roth gets to make the most of his range as Robert starts out with a sense of projected overconfidence and then gradually loses that and grows more and more unsure and unstable. Lawson-Maeske is also winning as the young performer gaining experience and learning to deal with success as well as managing his relationship with his colleague. The two share a strong on-stage rapport as well, that turns into something of a “frenemies” situation, occasionally crossing the line into combative, and both performers excel in these moments, and in the more comic moments as well.

The staging by director John Contini is well paced, and Patrick Huber’s set is versatile and well-realized, allowing for various easy scene changes that change the perspective from backstage to on stage. There’s also a range of appropriately suited costumes by Andrea Robb, and excellent sound design by Contini and lighting by Huber. Even in its staging, this is an excellent glimpse of the life of a performer in its various aspects.

This is a show for theatre lovers, and especially for anyone who has worked on a production. If you know theatre, you should know a lot of what’s portrayed here. A Life in the Theatre is an apt title, since even though it depicts particular characters, there is something universal about this art, and the life of a performer. It’s well worth seeing, and remembering.

Ryan Lawson-Maeske, William Roth
Photo by Patrick Huber
St. Louis Actors’ Studio

St. Louis Actors’ Studio is presenting A Life in the Theatre at the Gaslight Theater until December 22, 2019

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WEPG Tells a Quirky, Heartwarming, Thoroughly Dickens Holiday Tale in “Cricket on the Hearth”

Posted in St Louis Theatre, tagged , , , , , , on December 14, 2019| Leave a Comment »

The Cricket on the Hearth
by Charles Dickens
Adapted by Vladimir Zelevinsky
Directed by Steve Callahan
West End Players Guild
December 7, 2019

Samantha Hayes, Kent Coffel, Mary Tomlinson, Kellen Green, Charles Heuvelman, Chuck Winning, Gracie Sartin
Photo by John Lamb
West End Players Guild

 

As the title of the giant storybook onstage at West End Players Guild suggests, it’s a Charles Dickens Christmas for the company this year. It’s a thoroughly Dickens story, and probably the second most well-known of the author’s Christmas writings. The Cricket on the Hearth has been dramatized and filmed quite a few times over the years, although not nearly as much the more famous Dickens holiday tale, and WEPG is presenting an all-new adaptation by a playwright they’ve worked with before, Vladimir Zelevinsky. As is to be expected with Dickens, it’s a play full of memorably named characters involved in a somewhat convoluted plot with some surprising twists and moral messages involved. As adapted and presented here, even though there are some slow moments, overall it makes for a heartwarming theatrical experience for the holiday season.

The storytelling convention used here works well for this particular story, having various characters take turns narrating the story, starting and ending with the cheerful Mary “Dot” Peerybingle (Grace Sartin), a young mother and the wife of the local mail carrier, the kindly but much older John Peerybingle (Chuck Winning), who dotes on his wife and child but is somewhat insecure about whether he deserves his by all accounts devoted young bride. It certainly seems like a happy home, blessed with occasional chirping of a cricket, viewed as a symbol of good luck. The cricket may not be seen by the audience, but its presence is made known through the use of playwright Zelevinsky’s memorable score, admirably played by Heather Chung on violin and accompanied by Cameron Perrin on flute. The Peerybingles’ lives are intersected with various others in this twisty little story, including the kind and weary toymaker Caleb Plummer (Charles Heuvelman), who weaves fantastic tales of an idealistic life to his daughter Bertha (Samantha Hayes), who is blind but who turns out to be much more perceptive than Caleb realizes. Caleb, who is a widower and whose other child, a son, is apparently lost after leaving to travel the world, works for an imperious boss, Mr. “Gruff and” Tackleton (Kent Coffel), who hates toys and children despite his line of business. Tackleton is set to marry the young May Fielding (Mary Tomlinson), and old friend of the Plummers and of Dot Peerybingle’s, to the consternation of Caleb. The preparations for the impending wedding, along with the situation of the Peerybingles’ taking in a mysterious, obviously disguised “Stranger” (Kellen Green), form the center of the conflict in this story that seems to emphasize the virtues of loyalty and kindness and their eventual triumph over the evils of greed.

Not having read the original story, I don’t know exactly how faithful the adaptation is, but as a play, it works. There are some twists and resolutions that at turns seem overly obvious, sudden, and implausible, but that’s in keeping with some Dickensian conventions. The story is dramatized well, for the most part, with a focus on generally likable characters (with the exception, for the most part, of “villain” Mr. Tackleton), as well as the musical themes that recur throughout the show and provide a fitting soundtrack to the production. The acting is excellent all around, with especially strong performances from Sartin and Winning as the Peerybingles, who seem well-matched despite the oft-mentioned age difference. Heuvelman as Caleb and Hayes as Bertha are also excellent, as is Coffel as a suitably and comically “Gruff” Tackleton. Green as the enigmatic “Stranger” and Tomlinson in the somewhat underwritten role of May round out the strong ensemble with their fine performances.

The production values here are especially impressive, among the best I’ve seen from this company, with a versatile, detailed, and whimsical set by George Shea that forms the ideal backdrop for the story. There are also well-suited, colorful costumes by Tracey Newcomb and excellent atmospheric lighting by Tony Anselmo that helps to set and maintain the overall mood of the production. There’s also that excellent music, already mentioned but worth mentioning again, serving so well to emphasize the overall Dickensian tone and themes of the story.

Overall, I would say this production makes an effective, thoroughly entertaining holiday tale. The Cricket on the Hearth may not be as celebrated as other Christmas stories, but it’s a worthwhile one nonetheless. As staged so effectively by the strong cast at West End Players Guild, this is an engaging, heartwarming holiday story.

Kent Coffel, Chuck Winning
Photo by John Lamb
West End Players Guild

West End Players Guild is presenting The Cricket on the Hearth at Union Avenue Christian Church until December 15, 2019

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A Fast-Moving, Highly Entertaining “Pride and Prejudice” at the Rep

Posted in St Louis Theatre, tagged , , , , , , on December 12, 2019| Leave a Comment »

Pride and Prejudice
by Jane Austen
Adapted by Christopher Baker
Directed by Hana S. Sharif
Repertory Theatre of St. Louis
December 6, 2019

Nick Rehberger, Katie Kleiger
Photo by Phillip Hamer
Repertory Theatre of St. Louis

The Rep’s brand new Artistic Director Hana S. Sharif makes her directorial debut with the company with an adaptation of the much-dramatized Jane Austen classic, Pride and Prejudice, and it’s a fun production. Although, as is usual with stage adaptations of literature, there are some liberties taken with the story, this version is extremely fast-paced and comedic, and the leads give compelling and relatable performances. It’s witty and engaging, with sumptuous production values and inventive staging.

The story here is essentially what anyone who knows the book will remember, with a few alterations. For instance, instead of five Bennet sisters as in the novel, there are four, and their age order has been changed around a bit. Jane (Rebecca Haden), Elizabeth (Katie Kleiger), and Lydia (Sydney Leiser) are presented essentially as they are in the book, but Mary (Maison Kelly)–who is the youngest sister here–is something of an amalgamation of book-Mary, her younger sister Kitty (excised from this adaptation), and youngest Dashwood sister Margaret as interpreted in the two most recent filmed versions of another Austen novel, Sense and Sensibility. Also, some characters, such as Georgiana Darcy and Anne DeBourgh, are relegated to off-stage status, mentioned but not seen. This all makes sense in terms of the direction the adapter seems to have taken with the material, which is to focus on the most important characters and relationships, and to play up the comedy while managing to keep most of the characters on a more human scale and out of the realm of caricature. The central relationship, as always, is between the witty second daughter Elizabeth and the seemingly haughty, socially awkward Mr. Darcy (Nick Rehberger), with due time also given to Jane’s courtship with new neighbor and Darcy’s friend Mr. Bingley (Grayson DeJesus), and the initially charming but rakish ways of Darcy’s old acquaintance Mr Wickham (Stephen Michael Spencer), who tries to cast his spell on both Elizabeth and Lydia, with varying degrees of success. What I especially like here is the emphasis on the Bennet parents (Michael James Reed as Mr. Bennet, Michelle Hand as Mrs. Bennet), and their portrayal as genuine flawed human beings rather than caricatures. Mrs. Bennet in particular has often come across as cartoonish in adaptations, and thankfully she doesn’t come across that way here. While she certainly can be single-minded and meddling, the playwright and the production give her a clearly communicated reason for her actions, which I find especially refreshing. Although the second act especially seems to move too fast at times in an effort to get all the important plot points covered, for the most part this is lively, quick-witted and spirited production that preserves the general essence of the novel while also making the story work as a theatrical presentation.

The cast here is, for the most part, excellent and ideally chosen. Kleiger and Rehberger lead the way with their strong personalities and palpable chemistry in a particularly effective pairing as Elizabeth and Darcy, who grow and change believably throughout the production. The sisters are also excellent, with fine performances from Haden as the shy and sweet-spirited Jane, Leiser as the more reckless Lydia, and especially Kelly in a fun performance in this show’s unique interpretation of Mary. There are also convincing performances from DeJesus as the kind, charming Mr. Bingley, Rebeca Miller as Elizabeth’s friend Charlotte Lucas, Blake Segal as the fastidious and over-eager Mr. Collins, and Jennie Greenberry as Bingley’s haughty sister Caroline. Particularly notable, though, are Reed and especially Hand as the Bennets, who bring a real sense of humanity along with humor to their characterizations and their relationship. Hand was also particularly impressive on opening night, dealing with a set furniture malfunction in a thoroughly in-character and appropriately hilarious manner. There are fine performances all around, with the one weaker link being Lizan Mitchell as Lady Catherine DeBourgh, whose wildly over-the-top performance seems like it belongs in a different play than everyone else. Still, that’s a small role and not enough to detract from the overall enjoyment of this delightful production.

In terms of set, designer Scott Bradley has given us something that’s appropriately dazzling, with grand windows and staircases and an excellent use of shadowy rooms behind the main playing area, where the audience is allowed to view the various characters observing one another at various moments. There’s also dazzling lighting by Xavier Pierce and colorful, meticulously detailed period costumes by Dorothy Marshall Englis. The music and sound by Nathan A. Roberts and Charles Coes contributes an effective brightly atmospheric tone to the production, and the projections by Alex Basco Koch contribute well to the transitions between scenes, although they do occasionally suggest an “English travelogue” vibe.

I love Pride and Prejudice, and I’ve seen many adaptations (film, television, and stage) over the years in addition to having read the book a few times. To my mind, this latest version from the Rep strikes a lively tone and pace, bringing out qualities of the characters that have sometimes been ignored in other productions. Austen purists might object to some of the liberties taken, but I think that they are mostly well within the spirit of the piece. It’s a fun, witty, extremely fast-moving show that showcases a classic literary pairing with appropriate emphasis, but also provides a tone and atmosphere that adequately reflects its English Regency setting and Austen’s well-established characters. The adapter, Christopher Baker, even managed to work Christmas into the story in a believable way that makes this work as a holiday show. It’s a treat of a production.

Cast of Pride and Prejudice
Photo by Phillip Hamer
Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis is presenting Pride and Prejudice until December 29, 2019

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Bonfiglio Gives “Fully Committed” Performance in New Jewish Theatre’s Hilarious Production

Posted in St Louis Theatre, tagged , , , , , , on December 12, 2019| Leave a Comment »

Fully Committed
by Becky Mode
Directed by Ellie Schwetye
New Jewish Theatre
December 5, 2019

Will Bonfliglio
Photo by Jon Gitchoff
New Jewish Theatre

One person shows are difficult enough, I would think. Still, when that one person is playing a multitude of characters all in the course of approximately 80 minutes, that seems especially challenging. Will Bonfiglio, as a performer, is no stranger to one person shows, winning critical acclaim, but now he’s taking the challenge to the next level in New Jewish Theatre’s latest production, the quick-paced, multi-character comedy Fully Committed. In fact, that title is an apt description for Bonfliglio’s performance, as he shows off his comic and dramatic abilities with impressive versatility and timing.

Bonfiglio showed his versatility playing multiple characters a few years ago in Stray Dog Theatre’s production of Buyer and Cellar. This time, he’s in a differently structured show and playing a lot more characters, and he’s just as stellar. In fact, his feat might even be more impressive considering how quick-moving playwright Becky Mode’s script is, and just how fast the transitions are between the 40-ish different characters Bonfiglio plays. He’s not narrating here, as he was in the show at SDT. Here, the play throws us right into the action as out-of-work actor Sam (Bonfiglio) is working the reservations desk at a highly trendy New York restaurant. The play is structured as such that at first, we are “meeting” so many different characters–difficult customers, restaurant staff, the personal assistants of celebrities, Sam’s friends and family–that we don’t really get to know Sam very much, until his personality and goals are gradually revealed through his various phone conversations. We are allowed to become invested in Sam’s situation as we experience his difficult job along with him, and as he is “encouraged”/taunted by his acting friend/rival Jerry and too-politely avoided by his agent, we see what his real passion is–acting, as he waits to hear the outcome of a recent audition. We also learn of his desire to take a few days off to spend Christmas with his father and siblings, and how that hope is variously ignored and treated as an inconvenience by some of his co-workers. We also get to the see the contrast between how he is treated by co-workers, relatives, friends, and strangers alike, as his day gets busier and busier and occasional respites come in the form of conversation partners who actually listen, realizing the person they are talking to is an actual human being and not merely an obstacle to their own goals. It’s a cleverly structured play that starts out as a simple series of conversations and eventually becomes a story told through those conversations. It’s also hilarious, with fast-paced comedy and broadly drawn characters that give the excellent, versatile Bonfiglio a lot to work with, and he never ceases to impress as he conveys the story, reveals Sam’s distinct character, and manages to become a host of contrasting characters consistently throughout the production.

Although in a real sense, Bonfiglio is the show, he is also ably supported by the top-notch technical aspects of the production. David Blake’s detailed set brings the audience into a vividly realized restaurant basement, which becomes something of a symbol of Sam’s reluctant confinement. There’s also excellent lighting by Elizabeth Lund and sound by Kareem Deanes that contribute to the overall tone of the production. Director Ellie Schwetye’s staging makes excellent use of the whole performance space, as well.

This is one of those shows that provide a prime showcase for a talented performer, and Will Bonfiglio certainly makes the most of that showcase with his excellent timing and winning stage presence. It’s a hilarious show that introduces the audience to a variety of characters, from accepted “types”–the gruff, pompous celebrity chef, the overworked staff, the demanding celebrities, and more–but also reveals a fair amount of depth in the course of a relatively short intermissionless show. There are a lot of laughs here, certainly, but there’s also a clear glimpse of humanity. It’s a gift of a show for the holiday season.

Will Bonfiglio
Photo by Jon Gitchoff
New Jewish Theatre

New Jewish Theatre is presenting Fully Committed at the Marvin & Harlene Wool Studio Theatre at the JCC’s Staenberg Family Complex until December 22, 2019

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St. Louis Shakespeare Presents a “Merchant of Venice” Boldly Staged, Impressively Cast

Posted in St Louis Theatre, tagged , , , , on November 15, 2019| Leave a Comment »

The Merchant of Venice
by William Shakespeare
Directed by Phil Gill
St. Louis Shakespeare
November 8, 2019

Addison Brown, Julie George-Carlson, Riley Capp
Photo: St. Louis Shakespeare

For St. Louis Shakespeare’s latest production, director Phil Gill has made a bold move. The Merchant of Venice is known as one of the Bard’s more problematic plays, especially when viewed by modern audiences. Other companies have found various ways of approaching this material to mitigate or somehow try to “fix” some of the problems, but this production seems to go the other way, presenting a fairly straightforward staging–aside from one notable twist–that highlights the difficulties, forcing the audience to confront them and think about what they mean, both for the Shakespearean setting and for today.

The one twist here is that the character of Jewish moneylender Shylock, who is usually played by a man, is played here by a woman (Julie George-Carlson), and as a woman, with all the pronouns and other references previously referring to the character as male changed to reflect the casting. Otherwise, though, nothing else has significantly changed. It’s a difficult story, ostensibly a comedy, in which characters who are supposed to be likable do some especially unsavory things, especially in reference to Shylock and the attitude toward Jewish people in general. When this was written in Shakespeare’s day, the message regarding Shylock may have been considered moderate for its day, but now it’s most certainly not, and the audience is forced to face the reality of how society mistreats and marginalizes those who don’t fit in. So, while the Shylock character does make a demand that seems unreasonable, the staging and portrayal here emphasizes what her reasoning may have been for that. The rest of the story, in which Antonio (Addison Brown) borrows the money from Shylock to help his friend Bassanio (Riley Capp) woo the wealthy Portia (Liv Somner), and some other plot points involving Bassanio’s associates Gratiano (Jeremy Goldmeier), Portia’s lady in waiting Nerissa (Erin Struckhof), as well as Bassanio’s other friend Lorenzo (Joseph Garner) and Shylock’s daughter Jessica (Erin McRaven) are more in the vein of romantic comedy, but these get tied into the Antonio and Shylock dispute eventually, as Portia and Nerissa disguise themselves as men to participate in the trial, and the Duke of Venice (Jeff Lovell) presides. There’s also some funny business involving a provision by Portia’s father for how she is to find a husband, involving choosing between three caskets and featuring some hilariously bombastic would-be suitors, the princes of Morocco (Victor Mendez) and Arragon (Duncan Phillips). It’s a compelling story, if more than a little uncomfortable to watch at times, as we see otherwise “noble” characters behaving not-so-nobly in several notable moments, and particularly at the trial, and then after some fairly brutal moments we are expected to switch back to more light romance scenes. It’s jarring, and in this staging remarkably effective.

The casting is, for the most part, excellent. Leading the way is George-Carlson in an especially memorable turn as Shylock. Her Shylock is stubborn, to be sure, but there is also a real sense of pain and anger here, which is credible considering how everyone else treats her. She is the clear standout here, although there are strong performances all around. Brown is something of a laid-back Antonio, but Capp is a lively Bassanio, displaying strong chemistry with Somner’s equally strong Portia. Goldmeier is also memorable as a particularly boisterous Gratiano, who is well-matched by Struckhof’s amiable Nerissa. Mendez and Phillips are also notable in strong comic performances as the would-be suitors, and also with Phillips in an additional role as Shylock’s dissatisfied servant Launcelot. It’s a good ensemble all around, keeping up the pacing and tone well.

The physical staging is limited somewhat by the venue. The stage at Tower Grove Baptist Church isn’t ideal, with a difficult seating set-up and not much in the way of a backstage. Still, the simple set by Kyra Bishop Sanford is in keeping with the traditional setting, even though the frequent scene changes can get monotonous. The costumes by Michele Friedman Siler are excellent, however, with rich period detail and well-suited for the characters. The lighting by Tony Anselmo, sound by Kaitlynn Ferris, and props by Trish Baylard also work well for the production, making for a coherent, engaging presentation.

The Merchant of Venice is, for various reasons, not my favorite of Shakespeare’s plays. It has its moments, but it’s especially problematic in its overall theme. St. Louis Shakespeare is to be commended for facing the problems straight on with this relatively simple, bold staging. It’s a picture of a society that’s not particularly pretty, which forces viewers to reflect not only on the reality of this situation, but on the aspects of our own society that need to be confronted. Even with a few rough edges staging-wise, it’s a truly memorable production.

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