STLAS Highlights Communication, Connection in Latest LaBute Festival

July 18, 2024 by Michelle Kenyon ("Snoop")

10th Annual LaBute New Theater Festival
St. Louis Actors’ Studio
July 13, 2024

It’s that time again for St. Louis Actors’ Studio. For this local company, summer means the LaBute New Theater Festival, now in its tenth installment. This latest edition highlights themes of personal connection and communication, with an especially strong set of plays featuring memorable performances and strong technical elements.

There are two directors represented in this year’s festival–Kristi Gunther and Spencer Sickmann, who both turn out impressive work in the variety of short plays featured. Patrick Huber’s “blank canvas” set is back, and it’s as versatile as ever, augmented by Emma Glose’s strong props design and Abby Pastorello’s detailed costumes, wigs, hair and makeup design. There’s also excellent work from Huber on lighting design and sound from STLAS. It’s a good slate of plays this year, and another successful example of the more streamlined format that began with last year’s festival, featuring one set of five plays throughout the festival’s run. 

Here are some brief thoughts about this year’s featured plays:

“Grief & Woe”
by Paul Bowman
Directed by Spencer Sickmann

Lorelei Frank, Greg Hunsaker, Tyler Crandall
Photo by Patrick Huber
St. Louis Actors’ Studio

This is a somewhat whimsical take on the story of Adam (Tyler Crandall) and Eve (Lorelei Frank), who have a rocky start to their relationship to the consternation of their creator “Mr. G” (Greg Hunsaker), who keeps reminding them that they were made for each other. Enter Lou (Chuck Winning), the wily tempter who tries to derail the relationship even further, but Mr. G has his own ideas about how to handle their problems. 

This is a well-acted show with memorable portrayals from all, with Frank and Crandall portraying a believable love-hate relationship, and standout turns from Hunsaker as the exasperated but determined Mr. G and Winning making the most of every moment as the slippery Lou. It’s a quirky re-imagining of a familiar tale, and a memorable start to the festival. 

“Cage”
by Barbara Blatner
Directed by Kristi Gunther

Lorelei Frank, Jane Paradise
Photo by Patrick Huber
St. Louis Actors’ Studio

This story focuses on a fractured mother-daughter relationship, as the surly teenager George (Lorelei Frank) clashes with her critical mother, Bobby (Jane Paradise). While George takes refuge from the conflict in her love of animals, she upsets her mother by bringing in a wild snake as a pet. Meanwhile, Bobby has her own personal issues to deal with that are brought up by George. 

This play, more than the others here, seems like a scene from a larger work. The strong performances drive the plot well, but I find myself wanting to know more, and wishing this story had more time. This could easily be expanded into a full-length play, with its intriguing concept and believable relationship that could use more backstory.

“Walrus”
by Brandt Adams
Directed by Kristi Gunther

Greg Hunsaker, Anthony Wininger, Tyler Crandall
Photo by Patrick Huber
St. Louis Actors’ Studio

If this festival were giving out awards, this one would win for its hilarious concept. It’s essentially a run-of-the mill bar fight/conflict story, but the characters are all animals. It almost seems like the start of a joke–“a walrus and a manatee walk into a bar…” Here, the outspoken Walrus (Anthony Wininger) is telling loudmouthed stories to the more passive Manatee (Tyler Crandall), rousing the ire of bartender Mike (Greg Hunsaker), who happens to be a polar bear. 

This is easily the funniest play this year, with well-drawn characters and a thoroughly credible setup, with characters that are believably human, even though they’re animals. There’s even a subtle message about climate change thrown in for good measure, but what really makes this show work are the characters, and the performances. Everyone works well here, from Wininger’s blustery Walrus, to Crandall’s conciliatory Manatee, to Hunsaker’s volatile Polar Bear. It’s a dynamic, highly entertaining, well-portrayed story.

“Who’s On First”
by Neil LaBute
Directed by Kristi Gunther

Chuck Winning, Anthony Wininger
Photo by Patrick Huber
St. Louis Actors’ Studio

This year’s entry by the festival’s namesake, Neil LaBute, is a more serious twist that alludes to a famous comedy routine by means of its title and the character names. Abbott (Chuck Winning) is a Little League baseball coach having a clandestine and somewhat emotionally charged meeting with Costello (Anthony Wininger), the father of one of the team’s young players. From the start, it’s obvious that the coach isn’t comfortable with the idea that Costello is proposing, although it takes a while to become obvious what exactly the “deal” is. This is an intriguing, thought-provoking idea, raising concepts such as the purpose and goals of youth sports and its impact on the kids, as well as how seriously adults can take them. The performances are convincing, and this comes across as a believable moment that works more as a short play than some of the LaBute works in previous festivals, many of which seems more like extended monologues or acting exercises. 

“Love in the Time of Nothing”
by Jayne Hannah
Directed by Spencer Sickmann

Greg Hunsaker, Jane Paradise
Photo by Patrick Huber
St. Louis Actors’ Studio

Here, in the last and most poignant festival entry, Jane Paradise and Greg Hunsaker are Juleanna and David, a married couple who tell their love story and the difficulties they endure as David faces a heartbreaking diagnosis. This is an especially well done story, with memorable, sensitive portrayals by both performers and an engaging structure that brings the audience along for the ride as the story rolls along. There’s a strong sense of character and chemistry here, and although the overall concept is not new, it plays out in a convincing, heart-wrenching manner.

St. Louis Actors’ Studio is presenting The 10th Annual LaBute New Theater Festival at he Gaslight Theater until July 28, 2024

 

 

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Tuneful “My Heart Says Go” is a Promising New Musical from Tesseract

July 18, 2024 by Michelle Kenyon ("Snoop")

My Heart Says Go
Music and Lyrics by Jorge Rivera-Herrans
Additional Arrangements by Geoffrey Ko
Book by Matthew Hawkins
Directed by Brittanie Gunn
Choreographed by Maggie Nold
Tesseract Theatre Company
July 13, 2024

Kevin Corpuz and Cast
Photo by Florence Flick
Tesseract Theatre Company

The Tesseract Theater Company is launching their New Musical Summer Fest this year, with two musicals opening on successive weekends. The first entry is the earnestly engaging My Heart Says Go, which features a theme that can be seen as overused, although the characters are memorable, the score is catchy, and the cast is excellent. It’s got a lot in the way of entertainment value, although there are a few plot issues that need some work.

From the show’s title, you’ll essentially know the theme. This is one of those “follow your heart/find your dream” stories that are so plentiful these days. Because this general idea is so popular, a lot of these stories can seem to blur together after a while, so it’s something of a challenge to make them stand out from the others. This show has a tuneful score, memorable characters, and a quirky, knowing sense of humor that lends much interest to it’s story. The plot follows Indigo (Kevin Corpuz)– a young math/science whiz who quits medical school to pursue the dream of becoming a musician. He’s even developed an algorithm to write the “perfect pop song”, so he packs up his guitar and takes the train to Los Angeles, leaving behind his skeptical, hardworking dad (Kelvin Urday), who has had high hopes for Indigo’s success in the medical field. On the way, Indigo meets would-be fashion designer Clara (Sarah Wilkinson), who is also headed to LA and has an even more complicated relationship with her mother (Loren Goudreau). A sympathetic train conductor (Victoria Pines) encourages Indigo and Clara to make the most of their lives.

Upon arriving in LA, Indigo and Clara end up sharing an apartment, managed by geeky wannabe social media influencer Timmy (Clayton Humburg), who gives them a deal against the wishes of his mom, who owns the building. As Clara barters for groceries and Indigo looks for a job to make ends meet, they also meet Rob (Kevin Hester), a struggling musician who apparently used to be more successful, and who has connections at a recording studio. Soon, as Indigo’s dad tries to convince him to give med school another try, Indigo finds out about a TV talent competition and enters. Will this be the big break Indigo has been looking for? Or is there more drama ahead?

There are some plot issues with this show, in that it tends to be predictable, and some subplots–such as those involving Rob, as well as Clara’s mom–aren’t given enough time or suitable conclusion. And Clara’s story isn’t as fleshed-out as it could be, either. Still, even with its drawbacks, this is an engaging show, with humor and a promising score, and especially memorable characters played well by the well-chosen cast. Corpuz is highly likable as the talented but conflicted Indigo, with a great voice and convincing stage presence. Wilkinson is also strong as the quirky Clara, and Humburg steals every scene he’s in as the charmingly nerdy Timmy. There are also standout turns from Urday as Indigo’s loving but concerned father and Pines, in great voice as the wise train conductor. There’s also a fine ensemble in support, including Grace Langford, Laura Schultz, Milo Garlich, David Gregory, and Khristian Duncan. 

Visually, the show has a simple but eye-catching look, with Brittanie Gunn’s versatile set highlighted by a neon backdrop aiding the storytelling especially well. There are also well-suited costumes by Abby Pastorello, striking atmospheric lighting by Matt Stuckel,  strong music direction by Larry Pry, and energetic choreography by Maggie Nold, working together with the staging to create a sense of motion and moving forward that lends urgency and vibrancy as the plot unfolds.

Overall, although it could use some revision, this is an engaging, entertaining new musical. As staged by Tesseract, My Heart Says Go features an enthusiastic cast, strong vocals, and a cohesive visual style. It’s a highly promising new work. 

Kevin Corpuz, Clayton Humburg, Sarah Wilkinson
Photo by Florence Flick
Tesseract Theatre Company

 

Tesseract Theatre Company is presenting My Heart Says Go as part of the New Musical Summer Fest 2024 at the Marcelle Theatre until July 24, 2024

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Midnight’s Enigmatic “Old Times” Features Strong Cast and Direction

July 15, 2024 by Michelle Kenyon ("Snoop")

Old Times
by Harold Pinter
Directed by Sarah Lynne Holt
The Midnight Company
July 11, 2024

Kelly Howe, Joe Hanrahan, Colleen Backer
Photo by Joey Rumpell
The Midnight Company

Theatre comes in all types and styles, from light and entertaining to more intellectually challenging; from straightforward in story to more obscure. Harold Pinter’s Old Times is not one of those more obscure, challenging shows. It’s one of those plays you can write academic essays about, or debate interpretations of while still not being entirely sure what’s going on. It also doesn’t have much in the way of action, consisting mainly of conversation and reflection. This complex, fascinating, unsettling show is the latest production from The Midnight Company, currently being staged at The Chapel with deliberately paced, thoughtful direction, and a cast that is giving their all. 

Old Times is characterized as one of Pinter’s “memory plays”, and the concept of memory looms large, since much of the “action” is driven by recollection and reflection of things that supposedly happened twenty years before. As the play begins, married couple Kate (Colleen Backer) and Deeley (Joe Hanrahan) are recalling Kate’s old friend Anna (Kelly Howe), who is due to visit soon after an absence of many years, since Anna has apparently been living abroad. Much is said concerning the contrasting personalities of the two women–the more reserved, isolated Kate and the more outgoing, fun-loving Anna. Deeley claims to never have met Anna, but that claim is called into question later after Anna arrives. There’s a lot of talking and “remembering”–discussing various events such as Anna’s and Kate’s exploits attending various events in London, and Deeley’s first meeting and developing relationship with Kate. There are several recurring themes, and various events and situations are brought up repeatedly, and the tension among the three becomes more palpable and disturbing, leading to a somewhat ambiguous ending that can be interpreted a few different ways.

That’s about all I can say about the plot without spoiling, but I will say that this is an especially talky play, and it requires full attention to follow the recurring themes and try to figure out what exactly is going on. The characters are an enigma, and they aren’t easily likable. The story seems more to be an exploration of the various personalities and power balances in the relationships. It’s Pinter at his most obscure, and it could easily come across as detached and boring if not paced or performed well. Kudos for this production go to director Sarah Lynne Holt and the cast for deliberately measured, well thought-out staging and performances, with as much being communicated in the silences between words as in the lines themselves.

The three performers work together well, with a palpable awkwardness and tension that grows throughout the production, and well-defined portrayals of the characters.  Kate is perhaps the most enigmatic character, and Backer’s performance highlights a calculated aloofness and underlying reflectiveness. Howe, as the more talkative, outgoing Anna, imbues her characterization with a sense of insistent ingratiation, and Hanrahan’s Deeley has an air of self-aggrandizement and objectification. The three play off of one another with convincing chemistry, lending energy to the proceedings even when its degree of verbosity threatens to veer into the overly obtuse. 

The look and atmosphere of this production is augmented by a strong sense of aesthetic, with Chuck Winning’s simple but effective set and Kayla Dressman’s well-suited costume design help set the scene and mood well. There’s also excellent lighting from Tony Anselmo and a memorable use of music in between scenes. 

Overall, this might not be a show for all audiences, considering its enigmatic, talky nature, but as staged by The Midnight Company, Old Times provides much food for thought, with a well-measured tension and strong performances. It’s Pinter, so it’s going to be odd, but it’s odd in an intriguing way. It’s a short play, even with an intermission, but there’s a lot to be said here, and in the hands of a talented director and cast, it’s worth a look, a listen, and a whole lot of thought. 

Kelly Howe, Colleen Backer, Joe Hanrahan
Photo by Joey Rumpell
The Midnight Company

The Midnight Company is presenting Old Times at The Chapel until July 27, 2024

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The Muny’s Energetic “Mermaid” Brings Out the Fun Under the Sea

July 13, 2024 by Michelle Kenyon ("Snoop")

The Little Mermaid
Music by Alan Menken, Lyrics by Howard Ashman & Glenn Slater, Book by Doug Wright
Directed by John Tartaglia
Choreographed by Patrick O’Neill
The Muny
July 10, 2024

Savy Jackson, Fergie L. Phillippe, and Cast
Photo by Phillip Hamer
The Muny

The Muny is taking its audience “Under the Sea” again, for its third staging of Disney’s The Little Mermaid. As this year’s “family show”, this production takes theatregoers on a colorful musical adventure in a vibrant staging directed by Muny veteran John Tartaglia. On the big Muny stage, the sea is brought to life by a strong cast and dazzling production values, including especially inventive usage of flying effects and puppetry.

The story is well-known to anyone who is familiar with the original animated film, its more recent live-action adaptation, or the stage show. The title character is Ariel (Savy Jackson), a mermaid and the daughter of Triton (Ben Davis), the King of the Sea. Noted for her remarkable voice, Ariel would rather be spending time on the ocean’s surface than attending concert rehearsals with court composer Sebastian the crab (Fergie L. Phillippe). There, she and her fish friend Flounder (Leia Rhiannon Yogi) meet with the enterprising seagull Scuttle (Jen Cody), who offers inventive descriptions of the discarded human artifacts Ariel finds to add to her collection. Soon, she meets Prince Eric (Michael Maliakel), who would rather be spending time at sea than becoming king. Of course, Ariel falls in love with him, saves his life after a shipwreck, and ends up making a deal with the devious Sea Witch Ursula (Nicole Parker)–trading for voice for legs with the stipulation that she must get Eric to kiss her within three days, or else she is doomed to forfeit her soul. Thankfully, Sebastian, Flounder, and Scuttle are there to help, but Ursula’s henchmen, the electric eels Flotsam and Jetsam (Kennedy Kanagawa, Adam Fane) hang around in an effort to thwart their plans. Some new songs by Alan Menken and Glenn Slater have been added to the show along with film favorites by Menken and Howard Ashman,  including the popular “Under the Sea”, “Part of Your World” and “Kiss the Girl”.  The book by Doug Wright has added some backstory for Triton and Ursula, as well as Prince Eric and his guardian Grimsby (Rich Pisarkiewicz). The scenes between Ariel and Eric are extended, as well, and the ending plays out a bit differently than in the original film. Overall, it’s the story audiences will recognize, brought to life on the large Muny stage with vibrancy and a good deal of energy, with thoughtful staging by director Tartaglia and enthusiastic choreography by Patrick O’Neill, backed by a terrific Muny Orchestra led by music director Michael Horsley.

This isn’t just the Muny’s third production of this show–it’s also the third one I’ve seen, having attended both previous Muny versions. For many in the audience, though–especially the many children attending–this is a new experience, so too much comparing isn’t all that useful. For me, though, it’s interesting to notice the similarities–especially to the last staging in 2017, where some of the costumes, and especially the look and operation of Ursula’s costume, is essentially identical, with Parker’s Sea Witch surrounded by tentacles each played by a different ensemble member. The use of puppetry and flying, however, is used even more in this production than either of the previous two, with kudos to Puppet Kitchen International, Inc. for the puppets and ZFX for the flying (well, swimming, really). This is a great looking production, with a vivid sense of color and variety in the various sea creatures and land dwellers. The costumes by Robin L. McGee are colorful and whimsical, and Ann Beyersdorfer’s detailed set is eye-catching, augmented by Katherine Freer’s fun video design and atmospheric lighting by Jason Lyons. 

As for the cast, it’s especially strong, led by the delightful Jackson as Ariel, with all the likable personality and excellent vocals required for the role. Maliakel as Eric is also memorable, displaying a great voice as well, and fantastic chemistry with Jackson, making their scenes together a highlight of the production. There are also memorable turns from Davis as the loving but occasionally overbearing Triton and Parker as the gleefully villainous Ursula, backed by marvelously sneaky performances form Kanagawa and Fane as the devious Flotsam and Jetsam. Phillippe makes a great Sebastian, as well, with excellent support from the clear-voiced Yogi as Flounder and the delightfully comic Cody as the tap-dancing Scuttle. There’s a strong ensemble in support, with a good deal of enthusiasm on big numbers like “Under the Sea” and “Kiss the Girl”. 

Overall, this is The Little Mermaid that audiences will expect, with a good deal of energy, heart, and memorable visuals. If I have to sum it up in one word, it would be “fun”. It’s a musical treat for all ages from the Muny.

Michael Maliakel, Savy Jackson, and Cast
Photo by by Phillip Hamer
The Muny

The Muny is presenting Disney’s The Little Mermaid in Forest Park until July 16, 2024

This review was originally published at kdhx.org

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ERA Has a Lot Going on In Thoughtfully Staged, Characterful “Yard Sale”

July 11, 2024 by Michelle Kenyon ("Snoop")

Romanov Family Yard Sale
by Courtney Bailey
Directed by Lucy Cashion
Equally Represented Arts
July 5, 2024

Cast of Romanov Family Yard Sale
Photo by Jason Hackett
Equally Represented Arts

Upon arriving at the Kranzberg Arts Center for Equally Represented Arts’ production of Romanov Family Yard Sale, theatregoers are greeted with handmade signs on the door advertising the “Yard Sale Theatre Play” with the persistent slogan “Everything Must Go”. That phrase is essentially the motto of this new show by playwright Courtney Bailey, directed by ERA’s Lucy Cashion, and featuring an energetic cast of talented local performers who play their roles with gusto. Like everything from this company, this play is challenging, literate, and intensely thought-provoking. It’s engaging, fun, and occasionally poignant, and it’s marvelously inventive. 

You may recognize the name “Romanov”, and you’re supposed to, although the Romanovs here aren’t the famous ones, but distant relatives. These relatives are holding a yard sale and appearing in a “moviefilm” filmed by guests Kirk (John Wolbers) and Dody (Chrissie Watkins), whose speech is a barely intelligible blend of random English words and catchphrases–essentially indicating the language barrier between the Russian Romanovs and the filmmakers, whom they assume to be American. The experience of the show is somewhat immersive, in that audience members arrive and participate in a yard sale, as various items from clothing to books to toys to household gadgets and more are offered for sale in exchange for blue “yard sale tickets”. When the story gets going, the audience takes their seats and the Romanov family members tell their story, including their connection with their more well-known late royal cousins. The family is organizing the yard sale and participating in the film in the hope of moving to America to start new lives. What ensues is a story that involves clever pop-culture references–especially to the documentary Grey Gardens and the animated film Anastasia–and explorations of American capitalism, religious movements, and the Russian concept of Toska, an untranslatable term that essentially describes a deep sense of melancholy, longing, and despair, which is described as more pervasive than “measly American depression”. There are also Beanie Babies, a raccoon chorus, and lots more.

This isn’t an easy show to describe, because there’s a lot here to think about and ponder. It’s a clever examination of various concepts, for the most part, with the characters standing out and adding much in the way of heart and poignancy, in addition to humor. Like a lot of ERA’s plays, this play is best understood by experiencing it. There are a few moments where the story seems to drag, especially while the family is constructing an “origin story” for their invented religion–the Church of the Great Babooshka. At the performance I saw, though, this sequence was enlivened somewhat by the production’s smoke machine inadvertently setting off the fire alarm in the theatre, but the cast managed to work that into the show well after the audience returned from evacuation and the fire department cleared out. Cassidy Flynn as Rasputin gets a special nod in this regard, for handling the transition back to the show especially well. 

The cast is excellent, and all are fully committed to their characterizations of this quirky collection of Romanovs, including Big Yelena (Rachel Tibbetts), Little Yelena (Ellie Schwetye); three sisters all named Masha (Celeste Gardner, Kristen Strom, Maggie Conroy); the “rat princess” Anastasia (Ashwini Aurora)–who may or may not be dead; Cousin Katrina–who definitely is dead (played by Courtney Bailey and a fully dressed plastic skeleton); Katrina’s grieving husband Cousin Alexi (Adam Flores); the elderly Aunt Babooshka (Miranda Jagels Felix); and the egg-obsessed Uncle Boris (Anthony Kramer); along with the aforementioned racoon choir (Joe Taylor), as well as Rasputin and his crony Pigbat (Alicen Moser). It’s difficult to single anyone out, because all are strong and everyone has their moments to shine. It’s a true ensemble cast with excellent energy and chemistry, telling the quirky, offbeat story with style, humor, and occasional moments of surprising emotional resonance. 

The technical production is striking, as well, with cohesive look and atmosphere maintained by Cashion’s scenic design, Marcy Weigert’s vividly realized costumes, Denisse Chavez’s mood-enhancing lighting, and impressive sound design by Cashion and composer Taylor, who provides a memorable soundtrack as the story unfolds. Taylor also served as cinematographer for the accompanying film, which adds a layer of depth to the preceding stage play.

This is another clever, innovative production from ERA. It’s part play, part yard sale, part immersive experience, and thoroughly entertaining and thoughtful. If you’re interested in Russian history, American pop culture, Beanie Babies, raccoons, yard sales, or just good, challenging experimental theatre, this is a show that shouldn’t be missed. While it could use a bit of editing, for the most part it’s a profoundly inventive theatrical experience. 

Cast of Romanov Family Yard Sale
Photo by Jason Hackett
Equally Represented Arts

Equally Represented Arts is presenting Romanov Family Yard Sale at the Kranzberg Arts Center until July 20, 2024

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Tuneful, Energetic “Dreamgirls” Entertains in Style at the Muny

June 29, 2024 by Michelle Kenyon ("Snoop")

Dreamgirls
Book and Lyrics by Tom Eyen, Music by Henry Krieger
Directed by Robert Clater
Choreographed by Lesia Kaye
The Muny
June 28, 2024

Charl Brown, Courtnee Carter, Aramie Payton, Nick Rashad Burroughs, Tiffany Mann, Aisha Jackson, Ron Himes
Photo by Phillip Hamer
The Muny

Dreamgirls is back at the Muny, and it’s impressive. Last staged on the Muny stage in 2012, this new production has the same director and choreographer as before, and a great deal of fast-paced energy. With a catchy soundtrack, strong production values that evoke the time and place especially well, and a great cast, this Dreamgirls is an entertaining delight.

Although the story is fictional, it bears a strong resemblance to that of the development of Motown and particularly Diana Ross and the Supremes. Here, the main focus is on Effie White (Tiffany Mann) who starts the show along with her young friends Deena Jones (Aisha Jackson) and Lorrell Robinson (Courtnee Carter) at a talent contest at New York’s famed Apollo Theatre, hoping for their big break in show business as the Dreamettes, along with Effie’s brother, C. C. (Aramie Payton), who writes songs for the group. There, they meet ambitious car salesman Curtis Taylor, Jr. (Charl Brown), who manages to get the Dreamettes a gig touring as backup singers for R&B star James “Thunder” Early (Nick Rashad Burroughs). Soon, the group rises in popularity, but Effie is bothered by Curtis’s attentions to Deena and his ambitions for the group–eventually renamed the Dreams–that seem to involve Deena more and Effie less. Over the years, we see the group’s rise to fame and Effie’s struggles to be seen and appreciated as an artist. It’s a story of hopes, dreams, and ambitions occasionally hampered by heartbreak, love triangles, and greed, with a driving soundtrack and a brisk pace that emphasizes motion and constant change.

The show is perhaps best known for its excellent R&B, soul and pop score, including the showstopper “(And I’m Telling You) I’m Not Going” and other memorable songs such as “I Am Changing”, “One Night Only” and the title song. It’s a sweeping tale that takes place mostly in various performance venues, with clever staging for the concert sequences that often lets the audience look on from the viewpoint of backstage. All the technical elements work together well here, maintaining the look, sound, and atmosphere of the 1960’s and 70’s with impressive detail, from Edward E. Haynes, Jr.’s versatile set to Elain J. McCarthy’s evocative video design, to Rob Denton’s dazzling lighting. There are also strikingly detailed period costumes by Leon Dobkowski, and a first-rate Muny Orchestra led by music director Anne Shuttlesworth.

As for the cast, everyone is excellent. The much-coveted role of Effie is taken here by Mann in a dynamic, emotional, superbly sung performance that commands the stage from her very first appearance. She is the heart and soul of this production. The rest of the cast is also fantastic, with Jackson as Deena, Carter as Lorrell, and Natalie Kaye Clater as later member of the Dreams Michelle Morris all in great form and strong voice. Brown is also memorable as the ambitious, manipulative Curtis, and Burroughs is a standout in a strong display of showmanship as Jimmy Early. There’s strong support as well from Payton as C.C. and Ron Himes as Jimmy’s first manager Marty, who later manages Effie. The leads are backed by an energetic ensemble who help to bring the world and era of the show to life with strong vocals and impressive dancing, choreographed with flair by Lesia Kaye.

Dreamgirls has become a classic musical, although in its 40+ year history, this is only the second staging at the Muny. I’m sure this will not be the last Muny production, though, as it works so well on that massive stage and in the Forest Park environment. As for this latest version, it’s nothing short of marvelous, with a terrific cast and dazzling production values. It’s a thoroughly entertaining production. 

Cast of Dreamgirls
Photo by Phillip Hamer
The Muny

The Muny is presenting Dreamgirls in Forest Park until July 3, 2024

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The Black Rep’s Memorable “King Hedley II” Explores Ambition, Legacy with Profound Emotion

June 26, 2024 by Michelle Kenyon ("Snoop")

King Hedley II
by August Wilson
Directed by Ron Himes
The Black Rep
June 21, 2024

Geovonday Jones, Karamuu’ Kush, A. C. Smith, J. Samuel Davis
Photo by Keshon Campbell
The Black Rep

The Black Rep is closing out its season with a memorable production of August Wilson’s King Hedley II. As part of a well-known cycle of plays, each one set in a different decade of the 20th Century–mostly in Pittsburgh’s Hill District–this play takes the audience to a backyard in that neighborhood in 1985. With a strong cast and excellent production values, it’s an impressively realized staging that explores a variety of issues in the lives of its characters and the world around them.

While many of the plays in Wilson’s cycle are connected through themes and (mostly) off-stage characters, King Hedley II is even more directly related to one of the previous plays, Seven Guitars, which the Black Rep last staged in 2017. The play’s title character, King Hedley II (Karamuu’ Kush) is named for a character in the previous play, and other characters from that play appear in this one, while others are mentioned, and some are relatives of previous characters. The sense of the passage of time, progress (or lack thereof), and the concepts of ambition and carrying on a legacy are emphasized by the connection to the earlier plot and characters.

In this play, King Hedley II has been recently released from prison, and wants to make a new life for himself and his wife, Tonya (Alex Jay) by opening a video store with his friend Mister (Geovonday Jones). They are raising the money by selling refrigerators, but they are evasive as to the appliances’ origin and storage location. King also reckons with his past, as the cousin of the man he killed is apparently out for revenge, and his mother Ruby (Denise Thimes) deals with her own past, as the reappearance of her old paramour Elmore (J. Samuel Davis) reminds her of past regrets and tragedies, as well as a long-held secret she is keeping from King. Meanwhile, there is the neighbor known as Stool Pigeon (A.C. Smith), who acts as something of a prophetic figure, promising a future apocalyptic event, hoarding newspapers, and indulging in cryptic rituals that threaten to disturb King’s newly planted flower seeds in a patch of backyard dirt. There’s a good deal of symbolism, as well as well-drawn characters and a sense of striving and persistence amid adversity that characterizes this story, even to the point of potential self-destruction. It’s a profound, incisive, insightful look at a group of characters and their overall situation in life, as well as a more overarching examination of the hopes, dreams, and struggles of Black Americans in the city in the 1980’s. 

The characters are memorable and especially well-portrayed by an excellent cast, led by Kush in a commanding performance as the stubbornly ambitious King Hedley II. Kush has a strong stage presence, making the rest of the characters’ emotional connection to him especially credible. There’s also a strong turn from Thimes as the once-promising young singer Ruby, who is now older and full of regrets while still hoping for a better life for her son and a better relationship with him. Davis, as the smooth-talking gambler Elmore, is also impressive, as is Smith as the insistently prophetic Stool Pigeon. Jones as Mister and Jay as Tonya are also memorable, rounding out the first-rate ensemble cast that drives the plot and themes of this story with energy and strong emotion.

Visually, the show is nothing short of stunning in its realization, with a detailed set by Timothy Jones that transports the audience to a specific time and place, with strong support from Mikhail Lynn’s props. The costumes by Kristie Chiyere Osi are well-suited to the characters, adding to the overall atmosphere of the show. There’s also excellent work from lighting designer Travis Richardson and sound designer Alan Phillips, bringing the world of the play to life with a vivid sense of atmosphere and mood.

King Hedley II, as staged at the Black Rep, is a profoundly affecting tale of persistence, legacy, tragedy, and stubborn hope. Its blend of stark realism and fantastical symbolism is memorable, as is the strong casting and excellent pacing. It’s a memorable work from one of the best playwrights of the 20th Century, and another strong production from the Black Rep.

Denise Thimes, Alex Jay, Karamuu’ Kush
Photo by Keshon Campbell
The Black Rep

The Black Rep is presenting King Hedley II at Washington University’s Edison Theatre until July 14, 2024

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Exquisitely Staged “Les Misérables” Opens the Muny Season in Epic Fashion

June 19, 2024 by Michelle Kenyon ("Snoop")

Les Misérables
A Musical by Alain Boublil and Claude-Michel Schönberg
Based on a Novel by Victor Hugo
Music by Claude-Michel Schönberg, Lyrics by Herbert Kretzmer
Original French Text by Alain Boublil and Jean-Marc Natel
Directed by Seth Sklar-Heyn
Choreographed by Jesse Robb
The Muny
June 18, 2024

Jordan Donica, John Riddle
Photo by Phillip Hamer
The Muny

Les Misérables is a modern classic musical. Based on Victor Hugo’s 19th Century French novel, this show has taken the world by storm over the past 40 years. Now, the Muny is staging their third production of this epic show in Forest Park, and it’s a staging that more than lives up to the show’s epic reputation. With well thought-out direction by Seth Sklar-Heyn that highlights the meaning of moments both big and small, along with first rate singing, a stellar cast, and impressive production values, the Muny’s season is getting off to a spectacular start. 

This story has become quite familiar to anyone who has seen the show, read Hugo’s sprawling novel, or watched any of the filmed adaptations (musical and non-musical) of the book. It’s a story of love, loss, redemption and revolution, with a backdrop of class struggles around France in the first half of 19th Century. The focus is mainly on  reformed escaped convict Jean Valjean (John Riddle)–who has vowed to turn his life around after a life-changing encounter with the forgiving Bishop of Digne (Ken Page). Valjean’s persistent nemesis is the determined, unforgiving Inspector Javert (Jordan Donica), who has made it is mission to track down Valjean and return him to prison. Meanwhile, Valjean meets the tragic Fantine (Teal Wicks) and feels honor-bound to care for her young daughter Cosette (played as a child by Kate Kappel, and as a young woman by Gracie Annabelle Parker), who is initially being cared for and neglected by the greedy Thénardier (Red Conceptión) and his equally greedy wife, Madame Thénardier (Jade Jones). Eventually, the scene shifts to a decade later in Paris, where the Thénardiers are leading a gang of con artists and thieves, and their daughter Éponine (Emily Bautista) is enamored with the idealistic young student Marius (Peter Neureuther), although he only has eyes for the newly-arrived Cosette. The students, led by Enjolras (James D. Gish) are planning a rebellion, and Javert is planning to foil it, although he is soon distracted when he becomes aware that Valjean is now in town. All the plans, ideals, hopes, dreams, and schemes come together in the explosive second act, and anyone who knows the story is aware of where it all leads. Romance, redemption, tragedy, comic relief, idealism, and hope are all in store, and at the Muny, the result is simply thrilling.

This production is staged with a great deal of thought and care, filling the huge Muny stage with a massive cast, but still managing to maintain a degree of intimacy when necessary, and emphasizing the meaning of the words in this epic-scale show. It’s highly personal, with particularly impressive personnel on hand in the key roles. Riddle is a noble, relatable Valjean, with a soaring voice and obvious connection with Fantine, Marius, Cosette, and–in a more combative sense–Javert. Donica  gives a powerful performance as Javert, with a stubborn determination and a magnificent voice that is sometimes reminiscent of original Broadway Javert Terrence Mann. Conceptión and Jnooes are energetic scene-stealers as the scheming Thénardiers, as well. The younger characters are also well cast, with Bautista as a particularly sympathetic Éponine, Neureuther and Parker showing strong chemistry as Marius and Cosette, and Gish makes for a charismatic Enjolras. Kappel as Little Cosette and Will Schulte as street urchin Gavroche also give winning performances. It’s a strong cast all around, with truly spectacular vocals from the ensemble, bolstered by a group of singers from the St. Louis Symphony Chorus. Ensemble numbers like “One Day More” and the finale simply soar with strong harmonies and lush vocal arrangements. There’s also energetic choreography by Jess Robb that adds to the overall dynamics of the story.

This is an impeccably staged production, with a clever, versatile set by Ann Beyersdorfer that consists of various moveable pieces that can be arranged into many different configurations. The barricade scenes are especially striking here. There’s also remarkable lighting by Jason Lyons, sound by John Shivers and Davide Patridge, and video design by Shawn Duan that add to the epic atmosphere of the story. The costumes by Gail Baldoni and wigs by Ashley Rae Callahan are also impressive, suiting the characters well and adding to the overall look of the production. There’s also a great Muny orchestra led by music director James Moore, bringing the well-known score to life with vibrancy and resonance.

If you love Les Misérables, I think you’re likely to especially love this version. It has spectacle and impressive production values, as well as poignancy and heart. It’s a thrilling beginning for what promises to be a marvelous 2024 season at the Muny.

Cast of Les Misérables
Photo by Phillip Hamer
The Muny

The Muny is presenting Les Misérables in Forest Park until June 23, 2024

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“Ripcord” is a Well-Cast, Fast Paced Comedy from Stray Dog Theatre

June 14, 2024 by Michelle Kenyon ("Snoop")

Ripcord
by David Lindsay-Abaire
Directed by Gary F. Bell
Stray Dog Theatre
June 8, 2024

Jan Mantovani, Annie Bayer
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre’s latest production is a showcase for two first-rate comic performances, along with a strong supporting cast in an increasingly madcap series of situations. Directed by artistic director Gary F. Bell, David Lindsay-Abaire’s Ripcord is a hilarious, fast-paced, character-driven comedy that explores issues of aging, personality conflicts, grief and regret, and more. It’s a small show with a big sense of humor, and a good deal of action.

The story, set at the Bristol Place Senior Living Facility, follows the curmudgeonly, reclusive Abby (Annie Bayer), and the more outgoing, bubbly Marilyn (Jan Mantovani), who are unlikely roommates. Abby complains to staff member Scotty (Victor Mendez), that she’s used to having the room to herself, and she wants Marilyn to be moved to another room. The facility’s new superintendent seems to be against this idea, and as the two roommates continue to clash, they come up with an idea: a bet. The upbeat Marilyn is challenged to frighten the stoic Abby, while Abby’s goal is to make Marilyn angry. The “prize” for Abby is that Marilyn would move out, and if Marilyn wins, she gets the bed closer to the window. This bet sets the plot in motion, in which a series of increasingly wild happenings ensue, including the involvement of Marilyn’s daughter Colleen (Donna Parrone), son-in-law Derek (Matt Anderson), and son Lewis (Jeremy Goldmeier), as well as another important character named Benjamin (also Goldmeier).  As the situations get more and more unusual–and dangerous–the audience is made to wonder exactly how this bet is going to end, and whether the women will emerge from this series of events as friends or enemies. 

This is a funny show, with a good deal of laugh-out-loud humor, but also a more poignant side as both of the main characters have hidden depths. The complexity of the characters is conveyed well by Bayer as the initially difficult to like Abby–who is insistent on pushing away anyone who tries to get close–and Mantovani as the almost too-chipper Marilyn, who has her own reasons for being so insistently positive. These two characters are the heart of the show, and both performers shine, working together well and conveying a believable competitive energy. Mendez is also excellent as the likable and often exasperated Scotty. There is also strong support from Parrone and Anderson as the helpful Colleen and Derek, and Goldmeier in a dual role that proves to be integral to the story.

The play fills out the stage at Tower Grove Abbey with a suitably realistic set by Rob Lippert, and excellent evocative lighting by Tyler Duenow. The lighting, as well as the sound by Justin Been, is put to excellent use in some especially memorable scenes, such as a Halloween “haunted house” that Scotty is a part of, and another inventively staged “action” scene later. The costumes by Colleen Michelson are well suited to the characters, with the haunted house scene also being a fun highlight in this respect. 

Overall, Ripcord is a well-plotted show that portrays the ups and downs of aging and personality conflicts in memorable fashion. At SDT, the show is brought to life with truly marvelous performances from the two leads, who make a credibly hilarious dualling duo. With a strong supporting cast and fast-paced staging, this is a thoroughly entertaining, thought-provoking play.

Matt Anderson, Victor Mendez, Jan Mantovani, Annie Bayer
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre is presenting Ripcord at Tower Grove Abbey until June 22, 2024

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Albion Explores Relationships, Mental Health in Well-Cast “Woman In Mind”

June 14, 2024 by Michelle Kenyon ("Snoop")

Woman In Mind (December Bee)
by Alan Ayckbourn
Directed by Robert Ashton
Albion Theatre
June 7, 2024

Emily Baker, Isaiah Di Lorenzo
Photo by John Lamb
Albion Theatre

Many people probably know what it’s like to daydream of a different life, especially when your “real life” doesn’t turn out as you may have hoped. Albion Theatre’s latest production, Alan Ayckbourn’s Woman In Mind (December Bee) explores what happens to one woman when the daydreams start to take over, confusing the distinction between fantasy and reality. It’s an increasingly dark comedic look at issues including relationship problems, unrealized hopes and dreams, parental expectations, and the complex issue of mental health. On stage at the Kranzberg Arts Center as directed by Robert Ashton, this is a challenging, thought-provoking play that makes the most of its small performance area and excellent cast.

When the play opens, Susan (Emily Baker) is lying on the ground in her garden, slowly returning to consciousness after having stepped on a rake and hit on the head with its handle. It’s a small English town, near London, in the 1980’s, and Bill (Danny Brown), her doctor, is there but what he’s saying doesn’t make a lot of sense to Susan, even though the words sound almost intelligible. When she finally comes to and Bill is looking to call for an ambulance, Susan is soon joined by her loving husband Andy (Isaiah Di Lorenzo), fun-loving brother Tony (Joseph Garner), and devoted daughter Lucy (Sarah Vallo), who all express concern for Susan and wish to cheer her up, offering a look at a happy, wealthy family life. Soon, however, Bill returns and gets confused by Susan’s descriptions of her family, because he knows that her husband is a vicar named Gerald (Matt Hanify), and they live with Gerald’s widowed sister Muriel (Susan Wylie). Also, Susan doesn’t have a daughter, but a son named Rick (Ryan Lawson-Maeske), who has spent the last few years of his life estranged from his parents and living in a cult-like communal group.  The garden itself is also a lot smaller than Susan had initially led us to believe. As the story plays out, the realities–Susan’s imagined “ideal” family and her real, complicated one–start to become more blurred together and confused, revealing the issues in Susan’s family relationships and eventually spiraling out of control in the most ridiculous ways. 

The blend of comic situations and serious implications is well fleshed-out in Ackbourn’s well-constructed, witty and characterful script. The cast is excellent, led by Baker in a tragicomic tour-de-force as the gradually unraveling Susan. The rest of the cast is also strong, with Hanify as the more staid Gerald and Di Lorenzo as the effusive, upper class Andy both making strong impressions as the wildly contrasting husbands. There are also impressive turns from Garner as the enthusiastic Tony; Wylie as Muriel, who is notable for her air of sadness and her insistent inability to cook; and Lawson-Maeske and Vallo as the very different offspring; the disenchanted Rick and the ever-devoted Lucy. Brown is also memorable in an increasingly influential role as Bill. The chemistry is especially strong and cohesive, with all the cast members playing off of one another well, especially when the real and imaginary start to become more and more mixed up, and elements of the real relatives start to show up in the fantasy family.

There’s a simple but well-realized set by Erik Kuhn that fills the performance space well and appropriately evokes a small English garden. Tracey Newcomb’s costumes are appropriately of the era and suit the characters well, with a whimsical flair as things start to get weirder in the story. There’s also excellent lighting by Michelle Zielinski and sound by Jacob Baxley.

With quirky, well-cast characters, a clever script, and thoughtful staging, this show is sure to provoke a lot of thought and conversation. Albion has established itself as one of the better small theatre companies in St. Louis, and Woman In Mind (December Bee) is another memorable example of its excellence. I’m looking forward to their next play later this year.

Emily Baker, Matt Hanify, Ryan Lawson-Maeske
Photo by John Lamb
Albion Theatre

Albion Theatre is presenting Woman In Mind (December Bee) at the Kranzberg Arts Center until June 23, 2024

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