SDT Focuses on Empathy, Kindness in Ideally Cast “Curious Savage”

February 11, 2025 by Michelle Kenyon ("Snoop")

The Curious Savage
by John Patrick
Directed by Gary F. Bell
Stray Dog Theatre
February 6, 2025

Tyson Cole, Liz Mischel, Gansner, Lindsey Grojean
Photo by John Lamb
Stray Dog Theatre

The Curious Savage may have flopped on Broadway when it debuted in 1950, but it’s had a vibrant life as a staple of regional, community, and school theatre in the decades since. Now, Stray Dog Theatre and director Gary F. Bell have brought John Patrick’s quirky, characterful comedy to their Tower Grove Abbey stage with wit, energy, and a first-rate cast that emphasize the show’s themes of kindness, compassion, and empathy in the midst of misunderstanding and greed in the outside world. In some ways, it’s a look at life in the past, but its message is timeless and engagingly compelling.

The story follows Ethel P. Savage (Liz Mischel), an eccentric widow and sometime actress who wants nothing more than to use her late husband’s fortune, that she has inherited, to give away and help people achieve their dreams. Unfortunately, her greedy adult stepchildren have other ideas and have Ethel committed to a private sanitarium, The Cloisters, as a way of trying to get the money from her. The establishment, headed up by the kindly Dr. Emmett (David Wassilak), assisted by capable nurse Miss Willie (Claire Coffey), is home to a quirky collection of residents who welcome Ethel with open arms. The contrast between the self-centered stepchildren and the patients at The Cloisters becomes clear as the stepchildren–stuffy senator Titus (Matt Anderson), much-married socialite Lily Belle (Sarajane Clark), and smarmy judge Samuel (Joseph Garner)–seem only out for their own interests, while the patients care about Ethel even in the midst of their own struggles. The story that unfolds is humorous and madcap on one level, but also serves as an object lesson in compassion and empathy.

The ensemble chemistry is essential here, with the truly terrific Mischel as Ethel leading a superb cast that works together especially well, displaying the strong bond that develops between Ethel and the patients in a credible “us vs. them” dynamic. Everyone has an important role, from Anne Vega’s motherly Florence, to displaced statistician Hannibal (Gansner), as well as the semi-silent and disgruntled Mrs. Paddy (Camille Fensterman); the childlike  Fairy May (Lindsey Grojean); to insecure war veteran Jeffrey (Tyson Cole), who suffers from survivor’s guilt and memory loss. Everyone is ideal for their role, with Grojean a particular standout in an energetic, vulnerable performance that reminds me in ways of Gilda Radner. There’s also excellent work from Wassilak as the even-tempered and kind Dr. Emmett, and Coffey as the caring Miss Willie, who has her own personal reasons to be there that will be revealed as the story goes on. As the greedy stepchildren, Anderson, Clark, and Garner make for a hilarious and pitiful trio, serving as a striking contrast to the gentler, more genuinely caring patients at the Cloisters.

The look and mood of this production are well maintained through director Bell’s excellent pacing and well-decorated set, aided by Colleen Michelson’s detailed period styled costumes. There’s also memorable work from sound designer Justin Been, with the use of music working especially well with the action. Tyler Duenow’s lighting is also proficient in helping to achieve and support the overall whimsical tone of the show.

Stray Dog Theatre is having excellent success lately with shows from the 1950’s, after closing out 2024 with a fun production of Bell, Book & Candle. The Curious Savage is in a similar vein as that show, but with more of an insightful, compassionate edge and a message that’s still as relevant today as it was 70 years ago. It’s also a remarkable showcase for a well-chosen and energetic cast. It’s a great way to start off the new year at SDT.

Cast of The Curious Savage
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre is presenting The Curious Savage at Tower Grove Abbey until February 22, 2025

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Chorus of Fools Does a “Double Take” of Promising New Plays

February 6, 2025 by Michelle Kenyon ("Snoop")

Double Take
Chorus of Fools
January 30, 2025

On of the newer theater companies in St. Louis, Chorus of Fools, recently presented a duo of new plays by local playwrights at Greenfinch Theater & Dive. Called by the collective name Double Take, the two one-acts each featured the work of strong casts and talented local playwrights. Both are comedies, but with a touch of drama added in, covering topics from the conspiratorial to the controversial, but focusing on the human experience and vulnerabilities of their characters.  Here are some thoughts on each play:

 

The Bigfoot Diaries
by Eric Satterfield
Directed by e.k. doolin

Xander Huber, Moira Healy
Photo by David Nonemaker
Chorus of Fools

Bigfoot is big business in a small North Carolina town, especially during their annual Bigfoot Days Festival. This play, framed as a podcast episode narrated by local journalist Harper (Irene Cornett) is essentially an examination of insecurity, manipulation, and obsession, and how these affect the town and especially the life of one young man who runs a Bigfoot themed tourist shop.

Marty (Xander Huber) doesn’t really believe in Bigfoot, but he’s been obsessed with the story of the creature his whole life nonetheless. As the town’s sheriff, Ruby Lee (Nikki Plato) investigates a recent incident in the woods in which a local teen, Daniel (Zach Pierson) was injured, Harper seeks to interview Marty for a story in the local paper. Meanwhile, Marty struggles with his own insecurities concerning his past as well as his burgeoning relationship with Cassie (Moira Healy), who works at his store. Soon, we learn that there’s more to the developing mystery than meets the eye, and some characters may not be as innocent as they seem.

This is an engaging play with a fun sense of humor and an intriguing premise, especially in its focus on Marty and his relationships, although the story seems a bit rushed as it begins to wind down, and the ending seems a little too easy. Huber is excellent and sympathetic as Marty, though, and the characters are well drawn, for the most part. There are strong performances all around, and Huber’s chemistry with Healy’s likable Cassie is a highlight. The technical aspects of this show are well done, with memorable costumes by LaWanda Jackson and Hazel McIntire, and fun props by Vickie Delmas, with strong lighting by Erik Kuhn, and excellent sound and projections by Eric Satterfield. 

The Pavement Kingdom: A Clinic Escort Play
by Courtney Bailey
Directed by Rachel Tibbetts

Marcy Wiegert
Photo by David Nonemaker
Chorus of Fools

This play, by the imaginative Courtney Bailey, is something of a stand-up routine with a story, featuring a tour-de-force performance by Marcy Wiegert as Charon, who tells her eventful story while on duty as an escort at an abortion clinic. 

At first, I wasn’t sure if this was really going to be much of a play, considering it spends a good amount of time as essentially an excuse for Charon to tell jokes. This part of the play could possibly stand being trimmed a bit, but it does eventually lead somewhere, as Charon’s presentations about comic “bits” eventually turn into an emotional personal story, as well as a kind of object lesson in empathy. The structure makes sense for Charon’s guarded-but-ultimately-vulnerable character, although I do wonder if the first part could be condensed a bit. 

Wiegert is fantastic as Charon, with excellent comic timing and a snarky but engaging personality, as well as a strong dramatic ability when it is needed, especially as the story finally veers more out of “stand up” territory and gets more personal. The character’s journey is at the heart of the story, and Wiegert plays it well. The costumers and props designers deserve kudos here, as well, with Charon’s colorful outfit and props adding to the overall mood and attitude of the story. 

Overall,  Double Take has served as an intriguing showcase for two local playwrights and some fantastic local performers, fitting well into the Greenfinch space and supported by an enthusiastic audience. It’s a memorable theatrical endeavor for this theater company.

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Excellent Cast Paints Memorable “Pictures” at Upstream

January 30, 2025 by Michelle Kenyon ("Snoop")

Pictures From a Revolution
by Tino Caspanello
Translated by Haun Saussy
Directed by Philip Boehm
Upstream Theater
January 24, 2025

Andre Eslamian, J. Samuel Davis, Lizi Watt, Isaiah DiLorenzo
Photo by ProPhotoSTL
Upstream Theater

Protest and revolution are on stage currently at Upstream Theater, along with a strong dose of cynicism, satire, and character study, with a backdrop formed by classic works of art. Pictures From a Revolution, from playwright Tino Caspanello–translated by Haun Saussy and directed by Upstream’s Philip Boehm–is an intriguing look at revolutionary fervor and idealism, power dynamics and greed, and how human nature can affect even causes whether noble, nebulous, or nefarious. At Upstream, this fast-moving but reflective play features impressive production elements and a strong cast of local performers for fascinating–and often surprisingly hilarious–evening of theatre.

The setting is in an unnamed city in an unnamed country, where three holdouts of an essentially dying revolutionary movement–rebelling against an unseen oppressive government–keep watch over their base at an abandoned stadium. These three men are known by their numbers rather than names. There’s the leader of the group, 892 (Isaiah DiLorenzo), who holds on to the group’s rulebook and touts it with insistent fervor; along with the group’s oldest member, 584 (J. Samuel Davis), who is also devoted if somewhat weary; and the youngest, 137 (Andre Eslamian), who is earnest and determined. Although the three are still dedicated to their somewhat nebulous cause, a sense of distrust has begun to show in their relationships with one another, especially for the increasingly suspicious 892. Soon, after 584 is sent out to catch a cow for food, he returns having apparently caught a Woman (Lizi Watt) by accident. Or is it really an accident? As the Woman insinuates herself into the group, apparently supporting their cause, the men become more an more suspicious of one another, and elements of the group’s history are revealed and the story marches steadily toward a seemingly inevitable conclusion. 

The action is presented essentially in a series of tableaux based on famous works by artists such as Rembrandt, Manet, Caravaggio, Van Gogh, and others, and punctuated by hummed snippets of “The Internationale” between scenes to maintain the “revolutionary” atmosphere. The staging is striking, with a vivid set by Patrick Huber–featuring scenic painting by David Schuman–that manages to evoke both the idealism and the futility of the movement, along with excellent mood lighting by Steve Carmichael and evocative sound design by Boehm and Huber. Michele Friedman Siler’s costumes are also memorable, reflecting the characters and the dystopian world they live in with appropriate vividness. The pacing is timed well, with moments of reflection, waiting, and urgency as needed, and the the characters are richly drawn.

Those characters are impeccably played by a strong cast, with DiLorenzo, Davis, and Eslamian all having their memorable moments as the three zealous devotees who try to keep their cause alive, but struggle with lack of resources, rejection by their former allies, and that growing sense of distrust amongst themselves, which is further encouraged by the addition of Watt, who is terrific as The Woman, whose motives aren’t always clear–by design.  DiLorenzo, as the fiery, increasingly suspicious 892, gives a dynamic performance, and he’s matched by Davis as the well-meaning but weary 584, and Eslamian as the somewhat goofily earnest 137. The relationship dynamics between all four cast members are terrific, bringing out a good deal of humor as well as a growing sense of tension. 

Pictures From a Revolution isn’t a long play–running about 90 minutes with no intermission. Still, there is plenty of time here for a fascinating, fast-moving examination of the conflict between utopian idealism and the realities of the baser aspects of human nature. It’s certainly food for thought, and the focus on the paintings gives it an artistic flair that provokes even more thought and reflection. It’s another intriguing St. Louis premiere from Upstream Theater. 

Isaiah DiLorenzo, Lizi Watt, J. Samuel Davis, Andre Eslamian
Photo by ProPhotoSTL
Upstream Theater

Upstream Theater is presenting Pictures From a Revolution at the Marcelle Theatre until February 9, 2025

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Engaging Characters Spar with Humor, Insight in The Rep’s Fast-Moving “Athena”

January 22, 2025 by Michelle Kenyon ("Snoop")

Athena
by Gracie Gardner
Directed by Nancy Bell
January 17, 2025

Jailyn Genyse, Isa Venere
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

Teenagers playing sports has become a prime topic for drama, or in the case of the Rep’s newest production in their Steve Woolf Studio Series, comedy-drama. Gracie Gardner’s Athena looks at ambitious young fencers and their world, including their hopes, dreams, fears, and contrasting personalities as they each strive for excellence and success. Featuring a strong cast, a realistic set, and impressive production values, this is an engaging character study that brings the audience into its world with well-choreographed fencing action to add to the show’s appeal.

The central character is Mary Wallace (Jailyn Genyse), a determined but insecure young fencer who is looking to qualify for the national championships in hopes of being recruited by a top college. Mary Wallace is studious, somewhat reserved, and kind of stickler for the rules. When she fences against a brash opponent who calls herself Athena (Isa Venere), she’s challenged to be bolder and fiercer in her approach toward fencing and toward life. Meanwhile, Athena deals with a difficult home situation and often seems to be using her own boldness to mask her own uncertainty. The two become training partners and, gradually, friends, as Athena introduces Mary Wallace to dance clubs and pushing societal boundaries, and Mary Wallace encourages Athena to be more considerate of others. Anxiety builds as the big competition approaches, but what will it bring for these two ambitious fencers and their relatively new friendship?

The performance space has been set up with a clever and deceptively simple set by Seth Howard that serves as both the training space and the competitive arena, as well as other areas around the New York City area as needed. There’s also excellent lighting by Jayson M. Lawshee and sound by Jimmy Bernatowicz that works to enhance the overall competitive fencing atmosphere, along with realistic costumes by Renee Garcia. The pacing is brisk throughout the play’s short runtime, with dynamic fencing sequences  and a realistic athletic atmosphere. Kudos to fencing consultant Annamaria Lu for contributing to this overall air of authenticity.

The characters are at the center of this show, and particularly the developing relationship between Mary Wallace and Athena, made all the more believable and entertaining by the excellent performers in these roles. Genyse brings an amiable, relatable quality to Mary Wallace, making her easy to cheer for, and Venere is an ideal foil (pun intended) and a strong presence as Athena, whose brashness hides a vulnerability that Venere makes apparent. The back-and-forth sparring between these two, both in their fencing and in their budding  friendship, is what makes this show so fun to watch, with an approachable humorous tone that’s  balanced out with credible, poignant dramatic moments. There’s also a fine turn from Carmen Cecilia Retzer, making a memorable impression in a smaller role as Jamie, another fencer Mary Wallace works with. 

The Steve Woolf Studio Series is a great way for the Rep to showcase “smaller” shows with the company’s usual technical excellence and memorable performances. Athena is a prime example of a show that works well in this smaller space, featuring action and energy, but especially on character and first-rate performances. In some ways it reminds me of another play the Rep did in this space a few years ago, the youth soccer-focused The Wolves.  Athena is a play about sports, but even more so, it’s about the characters, their goals and their affects on one another. Even if you don’t know much about competitive fencing (there’s an information card included in the program), it’s a fascinating show to see. 

Jailyn Genyse, Isa Venere
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

The Repertory Theatre or St. Louis is presenting Athena as part of their Steve Woolf Studio Series until February 9, 2025

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Strong Cast Dishes out Lively Relationship Comedy in the Black Rep’s “Chicken and Biscuits”

January 15, 2025 by Michelle Kenyon ("Snoop")

Chicken and Biscuits
by Douglas Lyons
Directed by Ron Himes
The Black Rep
January 11, 2025

Cast of Chicken and Biscuits
Photo by Keshon Campbell
The Black Rep

Comedy and awkward family dynamics are on the menu in the Black Rep’s newest production, Chicken and Biscuits by Douglas Lyons, directed by Ron Himes. There are tensions between siblings, parents and children, and hidden secrets are exposed, and it all happens at a funeral. It’s an ideally cast show with a brisk pace and many memorable moments, and lots of laugh-out-loud comedy even considering the setting.

The program for the performance also includes a funeral program remembering Bernard Jenkins, the recently deceased pastor of the church in New Haven, CT that is now being pastored by his son-in-law, Reginald Mabry (A.C. Green), who is married to Bernard’s eldest daughter, the somewhat strait-laced Baneatta (Denise Thimes), who is anxious about the funeral for several reasons, and who has had a strained relationship with her more unconventional sister, Beverly (Paulette Dawn), who is attending the funeral with her fame-seeking teenage daughter, aspiring rapper La’Trice (Kaylyn McKoy). The sisters and their children haven’t seen each other since their mother’s funeral a decade ago, and old resentments linger, as newer ones also continue involving Baneatta’s adult children Kenny (Cameron Jamarr Davis) and Simone (Alex Jay). Kenny’s long-term boyfriend Logan (Jacob Schmidt)–who is white and Jewish–feels out of place for various reasons, especially since Baneatta hasn’t accepted his relationship with Kenny and seems to deliberately get his name wrong. Meanwhile, Reginald is nervous about giving the eulogy for his much-lauded and loved father-in-law, who was also his mentor. Much hilarity ensues as personalities clash, tensions threaten to boil over, and a latecomer to the proceedings, Brianna (Delisa Richardson) arrives with a surprising secret of her own. 

This show manages to be both an intriguing relationship story and a fast-paced comedy at the same time, with moments of poignancy to punctuate the humor, and some fun staging moments involving music and movement reminiscent of a music video or TV show montage. The sound design by Kareem Deanes adds much to the atmosphere, as does Ethan Steimel’s lighting,  along with Andre Harrington’s detailed costume design, Mikhail Lynn’s props and Tim Jones’s versatile set. Director Himes has paced the show just right, as well, with all elements blending together into the right combination of humor, heart, pandemonium, and eventually a strong dose of hope. 

There’s a great cast here, led by Thimes as the particular, somewhat controlling Baneatta, who can be difficult at times, but Thimes manages to bring sympathy to her situation and a great deal of presence. As the more outspoken sister, Beverly, Paulette Dawn is a delight, bringing a good deal of energy and comic timing to the role, and the two are believable as sisters who frequently clash, but ultimately seem to want their relationship to work. There’s also excellent work from McKoy as the somewhat brash young La’Trice, Jay as the unhappily single Simone, Davis as the determined, creative Kenny, and Schmidt as the perpetually anxious but kind-hearted Logan. Smith is also strong as Reginald, who often gets to be the calm one amidst the chaos, and a uniting voice in the midst of the tension. Richardson also turns in a fine performance as the mysterious Brianna. It’s a strong cast all around, with excellent chemistry and timing that drives both the humor and makes the relationships compelling. 

This is a fun, fast-paced, fascinating play, exploring family drama that many audience members will be able to relate to, while also presenting a specific cultural setting with vivid detail. The characters are well-drawn, and even the unseen, late pastor Bernard is a fully realized character. Chicken and Biscuits is a lively start for the new year at the Black Rep, paving the way for a promising slate of shows in the rest of the season.

Paulette Dawn, Cameron Jamarr Davis, Jacob Schmidt, Denise Thimes
Photo by Keshon Campbell
The Black Rep

The Black Rep is presenting Chicken and Biscuits at Washington University’s Edison Theatre until January 26, 2025

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“Million Dollar Quartet Christmas” is a Well-Cast, Tuneful Celebration from the Rep and STAGES

December 10, 2024 by Michelle Kenyon ("Snoop")

Million Dollar Quartet Christmas
Book by Colin Escott
Directed by Keith Andrews
Repertory Theatre of St. Louis and STAGES St. Louis
December 6 ,2024

Cast of Million Dollar Quartet Christmas
Photo by Jon Gitchoff
Repertory Theatre of St. Louis, STAGES St. Louis

Both the Rep and STAGES St. Louis have presented the musical Million Dollar Quartet before, with STAGES’ version occurring just last season. Now, the two prominent local companies are teaming up for the first time to present the holiday-themed sequel, Million Dollar Quartet Christmas, with most of the cast from last year’s STAGES show on the Rep’s main stage at  the Loretto-Hilton center for a well-cast evening of music, reflection, and yuletide cheer as the cast of (mostly) well-known characters continue their jam session with a series of popular songs and holiday favorites.

Since the “Million Dollar Quartet” of Elvis Presley (Sean Buckley), Johnny Casy (Scott Moreau), Carl Perkins (Jeremy Sevelovitz), and Jerry Lee Lewis (Brady Wease) were only brought together by producer Sam Phillips (Jeff Cummings) at the Sun Records studio in Memphis on one occasion, I wondered how a sequel would work. What book writer Colin Escott has done, however, is just to extend that “jam session” on the same night, taking place after the four posed for the famous photo. It’s December, and Christmas is approaching, so I guess it makes sense that the group would add some carols and other holiday tunes to their repertoire such as “Rockin’ Around the Christmas Tree”, “Go Tell It on the Mountain” and “Blue Christmas”, along with a few other hits of the day including Elvis’s “Don’t Be Cruel” and well known songs by other artists including “Que Sera, Sera”, “Hot Diggity Dog” and more. It isn’t purely a concert, though, and there is a bit of  a plot, if you can call it that, as Phillips continues to express his disappointment at the artists leaving Sun Records for more glamorous contracts elsewhere, the artists stress over family commitments and other developments,  and the role of Elvis’s fictional girlfriend, Dyanne (Shelby Ringdahl) has been expanded in a way that works surprisingly well, as she serves as more a catalyst for some of the events this time as well as having some memorable vocal moments with songs like “Santa Baby” and the aforementioned “Que Sera, Sera”. 

It’s a fun musical experience, with a great cast returning and turning in stellar performances all around, joined by newcomer Buckley as an appropriately charismatic, vocally strong Elvis who also moves well. Sevelovitz and Zayas, as Carl and Jay Perkins, are standouts again as they were last year at STAGES, and Wease has all the electric energy that the role of Lewis requires, along with great piano skills. Moreau is solid as Cash, as well, and Ringdahl gets an impressive showcase in the slightly expanded role of Dyanne. Cummings as Phillips is also strong, although the script can make him occasionally come across as overly whiny, and there’s also strong support again from musical director Dave Sonneborn as percussionist W.S. “Fluke” Holland. This is a fun little story, but mostly it’s a jam session, and it’s all about the music, which is played very, very well, and with an additional dose of holiday spirit this time.

The set by Adam Koch is appropriately authentic-seeming, and there’s also excellent lighting by Sean M. Savoie and sound by Beef Gratz. The costumes by Brad Musgrove are suitably colorful and authentic to the characters who wear them. The late 1950’s atmosphere is well-maintained, along with the extra Christmasy elements that make this a holiday show.

Overall, Million Dollar Quartet Christmas is just about as entertaining as the first addition, coming across as something of an extended, holiday-themed encore. It’s great to see the impressive cast returning, with an excellent new addition in Buckley. What’s especially encouraging, though, is the collaborative effort of the Rep and STAGES, and I hope this won’t be the last time we see these excellent companies working together.

Brady Wease, Scott Moreau, Jeremy Sevelovitz, Shelby Ringdahl, Sean Buckley, Chuck Zayas
Photo by Jon Gitchoff
Repertory of St. Louis, STAGES St. Louis

The Repertory Theatre of St. Louis and STAGES St. Louis are presenting Million Dollar Quartet Christmas  at the Loretto-Hilton Center until December 22, 2024

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“Bell, Book & Candle” Casts a Lively Spell at Stray Dog Theatre

December 10, 2024 by Michelle Kenyon ("Snoop")

Bell, Book & Candle
by John Van Druten
Directed by Gary F. Bell
Stray Dog Theatre
December 5, 2024

Claire Coffey, Liz Mischel
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre is offering another offbeat show for the holidays, closing out their 2024 season with John Van Druten’s classic supernatural rom-com Bell, Book & Candle. A story about a New York City witch who falls in love with an “ordinary” guy, this play was an acknowledged influence on the hit TV show Bewitched, and this show has some of that whimsical tone that viewers of that sitcom might recognize, although there are several obvious differences. Here on stage at Tower Grove Abbey, director Gary F. Bell has made some clever choices in staging, as well as featuring a strong cast and well-orchestrated production values, making for a lively, often hilarious staging.

In the first act, we are introduced to Gillian Holroyd (Claire Coffey), an elegant, sophisticated witch who manages a New York City apartment building. Her mischievous Aunt Queenie (Liz Mischel), also a witch, also lives in the building and has been causing trouble for their neighbor, young publisher Shepherd Henderson (Joel Wilper). Gillian finds Shep attractive, and contemplates a romantic adventure, but it’s not supposed to be serious because witches aren’t supposed to fall in love. Gillian promises to introduce Shep to a popular writer, Sidney Redlitch (Gary Wells), who writes about magical happenings but doesn’t seem to understand what’s really going on, and Gillian’s troublemaking brother, Nicky (Victor Mendez) soon becomes involved, teasing Gillian about Shep and promising to “help” Redlitch with his book. Shenanigans ensue, of course, but Gillian soon finds more than she bargained for, as she grows closer to Shep and more at odds with her friends and relatives in her secretive community. There’s a lot in the way of mixed motives, whimsical pranks, and unexpected reactions as the disparate characters become involved in hilarious clashes, schemes, misunderstandings, and surprises, with Gillian herself getting perhaps the biggest surprise of all.

The tone here is whimsical and upbeat, for the most part, with an arch upper-class 1950’s tone that works well with the story, accentuated by impressive Mid-Atlantic accents from most of the cast. The costumes, lighting, set, and sound are all used in creative ways to enhance character development and story. Bell’s marvelously detailed set, with scenic painting by Jude Hagene, adds much in the way of atmosphere and Mid-Century New York sophistication with an air of quirkiness and mystery. There’s also excellent lighting by Tyler Duenow and sound  design by Justin Been that add to the overall atmosphere, and the costumes by Colleen Michelson are a work of art in themselves, from Aunt Queenie’s and Nicky’s more colorful, whimsical attire to Shep’s more toned-down but also stylish outfits, to Redlitch’s rumpled look, and especially the succession of ensembles worn by Gillian that change in tone, color and style over the course of the play reflecting changes in her character and situation. It’s an impressive technical effort that adds to the overall emotion and whimsicality of the show.

The cast is excellent, with all the performers well-chosen for their roles. Coffey as Gillian has the most character development, and she plays the changes well, from confident, sophisticated, and worldly, to somewhat bewildered. Her growing relationship with Wilper’s goofily charming Shep is thoroughly believable. There’s also excellent support from Mischel as the sweetly wacky Aunt Queenie, Mendez as the mischievous Nicky, and Wells as the rumpled, eager but somewhat clueless Redlitch. There’s also a memorable feline performance from Agatha Coffey as Gillian’s magical cat, Pyewacket. The energy levels are lively, the pacing is spirited, and the tone is an appropriate blend of goofy comedy and mid-century sophistication and quirkiness. 

I hadn’t seen this play before, although I had heard of it, and I’m glad SDT’s version has been my introduction to this wacky, occasionally risqué, and ultimately sweetly romantic story. The “witchcraft” in the story often serves as a metaphor for any kind of offbeat or artistic nature or way of living, and there is a bit of a conformity message that may register differently with modern viewers than it would have in the 1950’s, however. Still, it’s a fun show, with a great cast, and a whimsical “holiday” show for Stray Dog Theatre.

Victor Mendez, Claire Coffey, Gary WElls, Joel Wilper
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre is presenting Bell, Book & Candle at the Tower Grove Abbey until December 21, 2024

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New Jewish Theatre Takes Theatregoers on a Lively “First Date”

November 25, 2024 by Michelle Kenyon ("Snoop")

First Date
Book by Austin Winsberg, Music & Lyrics by Alan Zachary & Michael Weiner
Directed and Choreographed by Lee Anne Mathews
New Jewish Theatre
November 21, 2024

Mitchell Henry-Eagles, Will Bonfiglio, Molly Wennstrom
Photo by Jon Gitchoff
New Jewish Theatre

Have you ever been on a blind date? I haven’t, but after seeing New Jewish Theatre’s production of the musical First Date, I feel like I know all I need to know about the topic. First Date is a small-cast musical that had a relatively short run on Broadway, and its tone is mostly comic with a bit of a hopeful air that maybe there is someone out there for everyone, but it might take persistence and broadening your expectations. With likable leads and an enthusiastic supporting cast, this is a quirky, eventful look at the modern dating scene, especially for middle class city dwellers.

Although the Broadway production was set in New York City, a few tweaks have been made to the script to move the action to St. Louis for this version. Here, in a relatively upscale restaurant/bar, we meet Aaron (Mitchell Henry-Eagles), who has never been on a blind date before and is nervous, while also trying to keep his mind off his ex-fiancée, Allison (Greta Rosenstock), who still looms large in Aaron’s mind, while his best friend Gabe (Jayson Heil) also appears in imaginary form to encourage Aaron to move on. The somewhat geeky Aaron soon meets his date for the evening, Casey (Molly Wennstrom), a quirky aspiring artist who is a veteran of blind dates and has had a series of disastrous relationships with “bad boys”, and is wary upon finding out that Aaron is not her usual type. The pair have been set up by Casey’s happily married sister, Lauren (Grace Seidel), and Lauren’s husband, Kevin, who works with Aaron.  Among the figures such as Lauren, Allison, and Casey’s bestie Reggie (Drew Mizell)–who keeps calling to offer Casey a “bail-out” of the date–who either “appear” in the would-be couple’s minds or from elsewhere, there’s also the Waiter (Will Bonfiglio), who is determined to make his guests’ lives entertaining for the time they are there, including leading a production number with the other staff that he supposedly wrote himself. Meanwhile, we see the progression of Aaron’s and Casey’s date, from skeptical first impressions, to sharing details of their lives, and trying to sort out the voices in their heads and figure out whether they actually want to pursue a relationship beyond this one encounter. It’s a funny show, with memorable songs and well-drawn characters–especially the two leads, and the Waiter who essentially serves as Narrator/Master of Ceremonies/Commentator on the Action. 

The cast is great, with much in the way of presence and enthusiasm, and strong voices. Wennstrom and Eagles make an excellent will-they-or-won’t-they pair, with chemistry that builds naturally but also effectively keeps viewers guessing, at least for a while, since the show is fairly predictable in most of its arcs. Both performers portray a believable mixture of trepidation and vulnerability, and Wennstrom especially has an impressive voice.  Bonfiglio is a delight as the Waiter, as well, with strong comic timing and hilariously snarky charm. Heil, Mizell, Seidel, and Rosenstock each play a variety of characters in addition to the ones listed above, providing some memorable comic moments.  These four also form a strong supporting ensemble in the group numbers. The direction and choreography,  both by Lee Anne Matews, are thoughtful and energetic, with a “quirky rom-com” sort of vibe that’s appropriate for the subject matter.

The technical qualities are top notch, as is usual for this company. John Stark’s set is effective, with a fun setup giving it an appropriate restaurant vibe, including seating some audience members at tables mixed in with the tables containing the members of the ensemble. The fantasy elements are well-realized by means of the set and the excellent lighting by Denisse Chavez. Amanda Werre’s sound design is also strong, as is the first-rate on-stage band led by music director Larry D. Pry. 

First Date is a fun show, playing out the highs and lows of the dating scene with humor and heart. Its two leads make a convincing pair to root for, especially, even though there are moments of indecision that drag out a little too much. Still, this is an entertaining, mostly upbeat way to end an excellent 2024 season for the New Jewish Theatre. 

 

Molly Wennstrom, Mitchell Henry-Eagles and Cast
Photo by Jon Gitchoff
New Jewish Theatre

The New Jewish Theatre is presenting First Date at the J’s Wool Studio Theatre until December 8, 2024

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PPA Alumni Reflect, Ponder, and Educate in Engaging “As Told by Us”

November 20, 2024 by Michelle Kenyon ("Snoop")

As Told By Us
PPA Alumni Theatre Company
November 17, 2024

PPA Alumni Theatre Company recently came to Greenfinch Theater & Dive to tell their stories in the form of two intriguing and engaging one-act plays reflecting personal relationships and experiences. It was an entertaining and sometimes educational mix of comedy and drama, featuring some memorable performances.  Here are some brief thoughts:

“Go Before I Do”
by Hazel McIntire
Directed by Eric Satterfield

Katie Leemon
Photo by RayBay Creates
PPA Alumni Theatre Company

In this story, Katie Leemon as the bartender gives the audience thoughts about life and drink recipes before a Daughter (Jocelyn Padilla) and Father (David Nonemaker) enter the bar and engage in occasionally tense conversation about their views of life, relationships, city vs. small town living, and more. It’s an intriguing relationship, with the idea being that the daughter doesn’t necessarily realize what she can learn from her father until it may be too late, although the story is a bit talky.

All three players turn in engaging performances with Leemon’s Bartender being the obvious standout. The staging is simple, with a fairly basic set featuring the bar and a table and chairs that serve the story well, and good work from lighting and set designer Bess Moynihan in establishing and maintaining the mood of the production.

 

“Don’t Be a Hero, Thank You”
by Katie Leemon
Directed by Rachel Tibbetts

LaWanda Jackson
Photo by RayBay Creates
PPA Alumni Theatre Company

This play was the highlight of the production for me, dealing with the complex topic of re-entry into the outside world after release from prison with humor and occasional poignancy, and featuring a thoroughly winning performance by LaWanda Jackson as Kate, who is adjusting to her new life and reflecting on her time while incarcerated. There’s also fun use of projections by Eric Satterfield to illustrate Kate’s points that cover topics of maintaining friendships, dating, getting used to life on the “outside” and more. There’s fun recurring segment about “How to Make a Prison Christmas Tree” that runs throughout the play, as well. 

Jackson is excellent, plain and simple, with the right blend of comic timing and credibility in the more serious moments. There’s also a strong turn from Kristen Strom in a variety or roles, including one of Kate’s best friends from prison, Sara, who is struggling with her own unique issues after getting out. This is an engaging and educational show with a strong sense of pacing and excellent use of the set and props. It’s an enlightening look at the experience of incarceration for those who haven’t experienced it, and I imagine it would be especially relatable for those who have. 

Overall, As Told By Us was an engaging, memorable theatrical experience featuring memorable themes and performances, and working especially well at the Greenfinch venue. It offers insights into aspects of the human experience that not everyone may have lived, but that are important to know for purposes of empathy and understanding. 

 

 

 

 

 

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Well-Played Characters Tackle Serious Subjects in First Run’s Engaging, Somewhat Talky “Elephants’ Graveyard”

November 20, 2024 by Michelle Kenyon ("Snoop")

Elephants’ Graveyard
by Marjorie Williamson
Directed by Rob Corbett
First Run Theatre
November 16, 2024

Jan Meyer, Gwrynneth Rausch
Photo by John C. Lamb
First Run Theatre

First Run’s latest premiere production, by local playwright Marjorie Williamson, takes on some serious subject matter and packages it in the form of relatable characters, especially for viewers of the Baby Boom generation. Elephants’ Graveyard focuses on two longtime friends with contrasting personalities, well-played by a pair of excellent local performers and featuring impressive production values for their small space. It’s a story that will provoke much in the way of thought and discussion about issues of life, death, friendship, and personal connection.

Although many of the issues dealt with here are universal, the theme here is very much Boomer-focused, using songs that people who came of age in the late 1960s would resonate with by artists like Bob Dylan, Joni Mitchell, Neil Young, and more. The characters–longtime friends Smitty (Jan Meyer) and Margaret (Gwynneth Rausch)–also talk much about their experiences in their younger years such as attending Woodstock, participating in Vietnam war protests and the sexual revolution, among other things. The two are both in their 70s and have much to look back on in their lives, but they are not sure what they will be able to look forward to. The more outgoing, well-traveled, amorously adventurous Smitty talks about not having the energy to live the life she’s had before, while the more “conventional” Margaret has recently lost her husband and is dealing with a cancer diagnosis. Margaret has lived a life full of family, friends, and obligations to others, while Smitty has lived more of a carefree adventurous life with few long-term attachments. Their friendship has endured despite their differences, and they both enjoy their regular “tea parties” at Smitty’s place, where they talk, reminisce, and drink. It soon becomes obvious, though, that the generally upbeat Margaret isn’t as well as she has been letting on, and Smitty has to deal with the very real prospect of losing her closest friend, while both women take stock of their lives and try to figure out what’s really important to both of them.

This is an intriguing story, and the characters are well-defined and engaging, although there isn’t much in the way of action. Most of the story is the two women sitting at a table and talking, although there’s much to talk about and, especially as presented by these two talented performers, it never gets boring. There are some moral dilemmas presented and much to think about in terms of end-of-life issues as well as the idea of what constitutes a life well lived. It’s alternately funny, heartwarming, heartbreaking, and poignant.

The connection between the friends is the highlight of the production, with richly portrayed characterizations by the excellent Meyer and Rausch, who both manage to convey many layers to their characters and motivations. The connection between the two is strong, and both have strong presence and energy. Rausch does a commendable job portraying a believable arc for Margaret, and Meyer gives Smitty a believable mix of cynicism and worldliness. This is a character-driven play, and the casting is essential to make it work. This production has hit a home run in that department.

The set, by director Rob Corbett, is impressively detailed, becoming something of a character in itself and reflecting Smitty’s personality and the changes in the seasons and the characters’ situations with remarkable clarity. There’s also excellent work from lighting designer Nathan Schroeder and sound designer Jenn Ciaverella in setting and maintaining the overall atmosphere and reflecting the characters, who are also impressively outfitted by costume designer Tracey Ann Newcomb in ways that reflect their personalities and character arcs.

There’s some difficult and occasionally intense subject matter here, dealing with sensitive and sometimes controversial issues revolving around illness, death, and reflections on personal life choices and relationships. It’s sure to provoke much in the way of thought and discussion. It’s well worth seeing for the strongly realized performances, and should be relatable especially to Boomers and those who are close to them. It’s an intriguing, promising new work given a strong production from First Run Theatre. 

First Run Theatre is presenting Elephants’ Graveyard at the Kranzberg Arts Center until November 24, 2024

 

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