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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STAGES Brings Another Successful Play with Memorable “Steel Magnolias”

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

Steel Magnolias
by Robert Harling
Directed by Paige Price
STAGES St. Louis
June 5, 2024

Kari Ely, Taylor Quick, Jilanne Marie Klaus, Amy Loui, Abigail Isom
Photo by Phillip Hamer
STAGES St. Louis

After last year’s resounding success staging a non-musical play, the multi-award-winning Clue, STAGES St. Louis is at it again. This time, they’re opening their season with Robert Harling’s Steel Magnolias, which is perhaps best known from its 1989 film adaptation starring Sally Field, Julia Roberts, and Dolly Parton. Here, director Paige Price has put together a funny, heartfelt production that’s an excellent showcase for a talented cast. 

The stage version of this story has a smaller cast–only six characters–and a fixed setting, the small-town Louisiana beauty parlor owned and operated by Truvy (Jilanne Marie Klaus), who at the start of the play is hiring a new stylist, the skilled but timid Annelle (Abigail Isom). In four scenes stretched out over two acts, the play tells its story as we meet the customers–mother and daughter M’Lynn (Amy Loui) and Shelby (Taylor Quick); along with the personable Clairee (Kari Ely)–the widow of the town’s longtime mayor–and the curmudgeonly Ouiser (Zoe Vonder Haar), who lives next door to M’Lynn and her family. Although we get to know all of the characters, the main focus is on Shelby and M’Lynn, who have a close relationship but clash over various issues, from quibbles over Shelby’s wedding plans to more serious concerns about her health, as the diabetic Shelby yearns for a child, getting pregnant against her doctor’s advice and to the consternation of her mother. It’s a characterful story, with a good deal of humor along with moments of poignancy and sadness, as the characters laugh together, share town gossip, share aspirations and regrets, and cry together as the seasons change and life moves on in their small Southern town.

One of the most striking aspects of this particular production of this oft-performed play is the magnificent set by Kate Rance, which is notable for its detail and 1980s atmosphere. The costumes by Brad Musgrove and the wig and hair design by Daniel Paller also contribute much to the characterization and era of the story. There’s also excellent lighting design by Sean M. Savoie and sound by Nevin Steinberg, with fun use of classic pop songs to fit the mood of the show. 

The casting is especially strong, with all the performers playing their roles well, despite occasional uneven accents. Loui and Quick make a believable mother-daughter pair as the protective M’Lynn and determined Shelby. They are supported by excellent performances from the always great Vonder Haar as the snarky but likable Ouiser and Ely as the more cosmopolitan Clairee. Klaus is also strong as the encouraging, bubbly Truvy, and Isom impresses as the character who changes the most in this show–the initially timid, then outgoing, then devout Annelle.  The sense of friendship among these six characters is essentially what makes this play work, and the cast does a commendable job conveying that believable bond. They also work well with the play’s shifting moods from comedy to drama, and from hope to heartbreak. 

Ultimately, this production succeeds by the strength of its cast, and the well-measured pacing by its director, Paige Price. This is a well-known story, and it’s a lively, emotional, well-told tale. The two plays and a musical format for the STAGES season is working out well, and I find myself hoping they continue this formula in the future.

Amy Loui, Zoe Vonder Haar, Taylor Quick, Abigail Isom Photo by Phillip Hamer STAGES St. Louis

STAGES St. Louis is presenting Steel Magnolias at the Kirkwood Performing Arts Center until June 30, 2024

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New Line’s Thoughtfully Staged “Dracula” Highlights Aesthetics, Strong Singing

June 5, 2024 by Michelle Kenyon ("Snoop")

Dracula
Music by Frank Wildhorn
Book and Lyrics by Don Black & Christopher Hampton
Based on the Novel by Bram Stoker
Directed by Scott Miller and Tony L. Marr Jr.
Choreographed by Tony L. Marr Jr.
New Line Theatre
June 1, 2024

Kent Coffel, Cole Gutmann
Photo by Jill Ritter Lindberg
New Line Theatre

I need to start out this review with a disclaimer–I am not a vampire fan. Although I grew up surrounded by family and friends who loved horror stories, and particularly vampires, for some reason I have never found these stories especially interesting or resonant to me personally. I’m OK with them in comic situations sometimes, but in general, vampire stories just aren’t my preference. Still, New Line Theatre is presenting Frank Wildhorn’s musical version of Bram Stoker’s classic Dracula, and I was determined to see it with an open mind. My conclusion is that, while vampires are still not my favorite, I can’t deny that this is a well-done show, with excellent production values, a striking aesthetic, a great cast, and the excellent singing I’ve come to associate with New Line. I imagine that anyone who loves classic horror tales, and particularly vampire tales, will love this show.

The show, scored by Wildhorn in a modern pop-rock style, follows the story of Stoker’s novel fairly closely, with a degree of dramatic license to make it fit into something of a “gothic romance” framework. I don’t see a lot of romance, personally, since Dracula (Cole Gutmann) basically decides to stalk Mina (Britanny Kohl) through telepathy upon simply seeing a picture of her, and they don’t physically meet for quite a while. There’s also Jonathan Harker (Ian McCreary) who is engaged to Mina, and also seems to have a loving relationship with her. This “love triangle” of sorts is at the forefront of the plot as Dracula aims to travel to England and feed his hunger for blood, while his minions, the Weird Sisters (Ann Hier Brown, Chelsie Johnston, and Sarah Lueken) continue to haunt his Transylvania castle. Meanwhile, mental patient Renfield (Rafael DaCosta) also appears to have a psychic connection with Dracula, and he announces the impending arrival of his “Master” to the head of the asylum, Dr. Jack Seward (J.D. Pounds). Seward is also one of three suitors who propose marriage to Mina’s friend Lucy Westenra (Vanessa Simpson), along with Texan Quincey Morris (Christopher Strawhun) and her “boring” childhood friend Arthur Holmwood (Alex Vito Fuegner). When Lucy suddenly starts acting strangely after Dracula’s arrival, Seward calls in his former professor, Abraham Van Helsing (Kent Coffel), and the vampire hunt is on! Mina, who struggles between her feelings for Jonathan and her burgeoning desire for Dracula, joins the men in their hunt, but what will happen when she does finally see the Count face-to-face?

The look, sound, and atmosphere of this production is top-notch, especially considering the relatively small space at the Marcelle. Rob Lippert’s set is suitably dark and gothic, as well as versatile, with its most prominent feature being a large cryptlike platform that serves various purposes throughout the story. Matt Stuckel’s lighting is also eye-catching, setting just the right ominous tone as the story unfolds, and the costumes by Zachary Thompson are simply fantastic, with Victorian styling and hints of modern influence, such as Dracula’s shiny black leather-like pants, and the detailed dresses for Mina and Lucy, as well as the more fantastical garb of the Weird Sisters. There’s also an excellent band led by music director Jenna Lee Moore, filling the space with Wildhorn’s memorable score.

Performance-wise, directors Scott Miller and Tony L. Marr Jr. have cast well, with Gutmann making a convincing, brooding Dracula, who has a sense of presence that projects quiet confidence, as well as a strong, resonant voice. As Mina, Kohl is the biggest standout, convincingly portraying her character’s intelligence, compassion, and internal struggle between her established love for Jonathan and her new, initially unwelcome attraction to Dracula (even before she has actually met him in person). McCreary is also impressive as the earnest Harker, and DaCosta is terrific as the Dracula’s frenzied, devoted disciple Renfield. There are also excellent turns from Simpson as the tragic Lucy, Coffel in especially strong voice as the determined Van Helsing, and Pounds, Fuegner, and Strawhun as the three suitors-turned-vampire hunters. Brown, Johnston, and Lueken are also suitably creepy and bloodthirsty as the Weird Sisters. The ensemble is especially cohesive, with particularly impressive singing all around. 

Overall, I’m impressed in an aesthetic, dramatic, and vocal sense. Even if vampires aren’t exactly my cup of tea, I can’t deny that New Line has done a great job with Dracula. This is a well-paced, thoughtfully staged, impressively designed production. I would think that vampire aficionados will love this show.  

Kent Coffel, Ian McCreary, Brittany Kohl, J.D. Pounds
Photo by Jill Ritter Lindberg
New Line Theatre

New Line Theatre is presenting Dracula at the Marcelle Theatre until June 22, 2024

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STLSF Brings Delightful, Melodic “As You Like It” to Forest Park

June 4, 2024 by Michelle Kenyon ("Snoop")

As You Like It
by William Shakespeare
Directed by Nancy Bell
St. Louis Shakespeare Festival
May 31, 2024

Bianca Sanborn, Michelle Hand, Riley Carter Adams, Beth Bombara
Photo by Phillip Hamer Photography
St. Louis Shakespeare Festival

As You Like It is my favorite Shakespeare comedy, possibly tied with Much Ado About Nothing. I’ve seen many productions over the years, staged in various ways. In terms of what St. Louis Shakespeare does in Forest Park every year, this seems like one of the most ideal for staging among the trees in Shakespeare Glen. This year’s show is simply fantastic, marked by excellent production design, superb music, and a stellar cast and crew including a lot of local talent. 

I can’t overstate how ideal this setting is for this show. The colorful, 19th Century styled set by Scott C. Neale highlights the rustic, forested area in which it is placed, and the costumes by Dottie Marshall English as delightfully whimsical and detailed, also with an early Victorian flair. There’s also wonderfully atmospheric lighting by Denisse Chavez. The music is also handled with true excellence as well, with locally-based singer-songwriter Beth Bombara serving as music director and composer, as well as playing the role of Amiens, who travels with Duchess Senior (Michelle Hand) and her band of wandering ladies. The folky style of the songs works well for the bucolic setting, and Bombara’s guitar and voice, backed by an excellent on-stage band, provides a marvelous soundtrack for the charming, humorous tale. Young Riley Carter Adams, as another of the Duchess’s followers, also has a memorable singing moment.

If you’re familiar with the story, you’ll already have noticed that there’s a bit of gender-bending in this production, and more so than there already was in the script. Duke Senior is now a Duchess, and Touchstone the clown (Ricki Franklin) is also portrayed as a woman, as are most of the Duchesses’s followers, except for the melancholy Jaques (Wali Jamal), whose philosophical musings are still a highlight of the show. The usurping Duke Frederick (Joel Moses) is still here banishing his niece Rosalind (Caroline Amos) from his kingdom, where she disguises herself as a young man, Ganymede, accompanied by her best friend and cousin Celia (Jasmine Cheri Rush), who calls herself Aliena. There, the also-banished Orlando (Christian Thompson)–who had met Rosalind at court and fell in love at first interaction–wanders the forest hanging overwrought love poems on the branches, and Rosalind-as-Ganymede promises to help him forget his love by engaging in a game of witty banter wherein she “pretends” to be Rosalind. Meanwhile, devoted shepherd Silvius (CB Brown) pines after the vain Phoebe (Molly Wennstrom), who is annoyed by the shepherd’s attentions and finds herself attracted to Rosalind-as-Ganymede. Also, Touchstone indulges in a flirtation with the forest-dwelling, goat-keeping Audrey (Bianca Sanborn). These are just the most prominent plots–other threads involve the menacing wrestler Charles (Lenny Mephisto) who is surprisingly bested by Orlando, Orlando’s imperious older brother Oliver (Greg Cuellar), Orlando’s faithful servant Adam (Joneal Joplin) and more. It’s a lively witty, occasionally romantic story that portrays a variety of relationships, as well as musings on life and love, with a few sudden surprises thrown in for good measure.

The cast is superb, led by the eminently likable Amos in a memorable turn as Rosalind, who carries the main plot of the show with confidence and displays excellent chemistry with Thompson’s charming Orlando and Rush’s gutsy Celia. Franklin is also hilarious as Touchstone, memorable in scenes with Rosalind and Celia, as well as with the equally memorable Jamal as the moody, philosophical Jaques, and with the hilarious Sanborn as Audrey. Wennstrom and Brown also make for a humorous duo as Phoebe and Silvius, and professional wrestler Mephisto makes a suitably skilled and menacing Charles. There’s strong support from the entire cast, as well, including a scene-stealing goat! 

As You Like It is a comic triumph for St. Louis Shakespeare Festival. The wonderful cast and creative team, led by director Nancy Bell, fills the Glen with music, humor, romance, and charm. Despite a late start due to weather, the show moved along at a brisk pace and filled the time with magical energy. It’s another great success for this consistently excellent company.

 

Jasmine Cheri Rush, Christian Thompson, Caroline Amos, Wali Jamal
Photo by Phillip Hamer Photography
St. Louis Shakespeare Festival

St. Louis Shakespeare Festival is presenting As You Like it in Shakespeare Glen in Forest Park until June 23, 2024

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