NJT’s “We All Fall Down” is a Vividly Chaotic Family Portrait

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

We All Fall Down
by Lila Rose Kaplan
Directed by Rebekah Scallet
New Jewish Theatre
May 30, 2024

Alan Knoll, Jenni Ryan, Bridgette Bassa
Photo by Jon Gitchoff
New Jewish Theatre

The New Jewish Theatre’s latest production is a vividly realistic, alternately comic and poignant picture of a family in the midst of change, conflict, and chaos. With strong characterizations and believable relationships, this is a story that should be relatable to many, regardless of cultural or religious background. At NJT, under the direction of artistic director Rebekah Scallet, the play is brought to life with energy and great detail by an excellent cast and creative team.

Nothing runs smoothly in this story, as the Stein family prepares for a Passover Seder, led by matriarch Linda (Mindy Shaw), who insists on the celebration to the confusion of her family, because she had previously eschewed the religious aspects of Judaism, along with her sister-in-law, the politically active Nan (Jenni Ryan). Linda’s husband, recently retired college professor Saul (Alan Knoll) had fond memories of celebrating the holiday as a child with his grandparents, but this will be his first Seder as an adult. His and Linda’s daughters, California-based educator Sammi (Bridgette Bassa), and aspiring Yoga instructor Ariel (Hailey Medrano), are both confused by Linda’s sudden enthusiasm for Passover, and Nan is downright hostile. Also along for the evening are Linda’s graduate research assistant Ester (Taijha Silas), and former neighbor Bev (Bethany Barr), both of whom seem more positive about the preparations for the Seder than the rest of the family. 

And the Seder isn’t the only source of conflict, either. There’s a lot going on here, as Linda deals with her own lack of interest in technology as Ester tries to help her promote her new book with an exciting potential talk-show appearance, Nan and Bev deal with personality conflicts, and both daughters deal with their parents’ disapproval of various aspects of their lives and apparent refusal to see them as full-grown adults. Meanwhile, there’s another serious issue involving Saul that causes concern for his family, and informs Linda’s insistence on the Seder in the first place. 

This is a fast-moving, cleverly structured play that features a lot of humor and comes across as a comedy for the most part, although the underlying sense of drama is palpable and informs the relationships and character motivations. There’s a lot to relate to for audiences, whether viewers are from a Jewish background or not, and serious issues like mental health, aging, and political and religious differences are handled with surprising clarity given the fast pace of the events. The characters are well-portrayed by a strong cast, led by Shaw as the insistent, occasionally misguided but always caring Linda, and Knoll in a poignant performance as the likable, increasingly forgetful Saul. There’s also a believable sibling relationship between Bassa as the optimistic but often exasperated Sammi and Medrano as the somewhat secretive, overprotected Ariel. Ryan as Nan, Barr as Bev, and Silas as Ester also lend strong support, with Silas having a memorable singing moment during the Seder. While some characters are more likable than others, I also think some may be more and less relatable depending on individual viewers. It’s a cohesive cast that carries the story and message with believable humor, drama, and intensity as needed.

The set, by Andrea Ball, is remarkably detailed, presenting the cross-section of a house including stairs, and upstairs room, and a bathroom. The costumes by Michele Friedman Siler and Dennis Milam Bensie suit the characters well. There’s also excellent atmospheric lighting by Michael Sullivan and sound by Ellie Schwetye, helping to bring the world and moods of this family effectively to life. 

We All Fall Down is an intriguing show about a memorable family with situations that are at once particular and universal. With a fair amount of humor and drama, it leaves a lot for audiences to think about. It’s emphasis on memory, upholding family traditions while also questioning them, and the importance of maintaining relationships through change are all themes to which many should be able to relate. With its strong sense of character and setting, along with an excellent cast, it’s a thoughtfully staged theatrical experience.

Taijha Silas, Bridgette Bassa, Alan Knoll, Mindy Shaw
Photo by Jon Gitchoff
New Jewish Theatre

The New Jewish Theatre is presenting We All Fall Down at the J’s Wool Studio Theatre until June 16, 2024

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The Black Rep Entertains with Energetic “Timbuktu!”

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

Timbuktu!
Book by Luther Davis
Music and Lyrics by Robert Wright and George Forrest
Directed by Ron Himes
Choreographed by Haley Rhiney
The Black Rep
May 17, 2024

Evann De-Bose, Duane Martin Foster, and Cast
Photo by Keshon Campbell
The Black Rep

The Black Rep’s latest production has a somewhat complex history. Timbuktu! is essentially a 1978 reworking of the 1953 Broadway musical Kismet, with the setting changed, a new book, and an all-Black cast featuring such notable names as Eartha Kitt and Melba Moore. As director Ron Himes noted on Opening Night, after a US tour in 1979 and a production by the Black Rep in 1985, this show seems to have faded into obscurity. Now, Himes and the Black Rep have brought the show back to the stage for a new audience and a new generation, with the result being an eye-catching, well-choreographed production highlighting its 14th Century West African setting and an enthusiastic cast, even though it still can come across as a bit dated at times.

I hadn’t seen this show or its precursor before, but based on reading the synopses, it seems like the story of Timbuktu! follows the plot of Kismet fairly closely, with a few small plot changes and a slight shift in character emphasis. It still features the well-known score by Robert Wright and George Forrest–which in turn was largely based on themes by composer Alexander Borodin–while also including two new songs for this adaptation. Set in the West African city of Timbuktu at the height of its influence in the 14th Century, the story follows two connected main plots featuring a wandering, financially struggling Poet (Duane Martin Foster) and his sweet-natured daughter, Marsinah (Evann De-Bose). Through the course of the show, the Poet manages to  get in trouble with the villainous and ambitious Wazir of Police (Drummond “Drum” Crenshaw) and attract the amorous attentions of the Wazir’s Wife of Wives, Sahleem-La-Luum (Amarachi Kalu). Meanwhile, the region’s young ruler, the Mansa (Dereis Lambert) is being encouraged to find a bride, and while the Wazir is pushing his own choices for selfish reasons, the Mansa goes out into the town in disguise and meets Marsinah, falling instantly in love, but not getting her name before going back to the palace and announcing he’s going to marry her. This announcement sets into motion a series of machinations, mix-ups, and musical numbers that eventually leads to a somewhat predictable conclusion.

The show itself is entertaining, although the comedy does have the air of a 1970’s variety sketch show at times, and some of the characters don’t have much complexity. The Wazir is something of a stock villain, for instance, but Crenshaw plays the role for all its scheming, conniving worth. Foster and De-Bose are especially strong as the Poet and Marsinah, with Foster’s stage presence and comic timing on clear display, and De-Bose giving a eminently likable, impressively-sung performance as the love-struck young woman. Kalu, as Sahleem-La-Luum, is also memorable, making the role her own and not trying to imitate the incomparable Eartha Kitt. Lambert has a good degree of charm as the Mansa, and good chemistry with De-Bose, lending credibility to their characters’ whirlwind romance. There’s a convincing supporting cast as well, and an energetic ensemble who make the most of Haley Rhiney’s memorable choreography.

The set, by Dunsi Dai, is versatile and evocative of the time and place, enhanced by Sean Savoie’s excellent lighting. There’s also excellent, detailed and colorful period costume design by Christie Chiyere Osi. The band, led by music director Colin Healy, is strong for the most part, although at times the music can drown out the singers, and it can be difficult to understand the lyrics to some of the solo numbers. Of special note is the on-stage, African-styled percussion work by Caph P. Guei, which punctuates the story and emphasizes the overall style, adding much energy to the show.

Timbuktu! does have something of an “old-fashioned musical/1970s comedy” vibe to it that makes it seem dated at times, although the performers are giving it their all, and the music–featuring classic songs like “Stranger in Paradise”–is memorable. It’s a fun show overall, making the most of its setting and performances. If you’re familiar with this show, or with Kismet, or even if you’re new to both shows, this production is worth checking out.

Cast of Timbuktu!
Photo by Keshon Campbell
The Black Rep

The Black Rep is presenting Timbuktu! at Washington University’s Edison Theatre until June 9, 2024

 

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Cleverly Staged “Spirits to Enforce” is a Tempest of Fun from The Midnight Company

May 9, 2024 by Michelle Kenyon ("Snoop")

Spirits to Enforce
by Mickle Maher
Directed by Lucy Cashion
The Midnight Company
May 3, 2024

Cast of Spirits to Enforce
Photo by Joey Rumpell
The Midnight Company

Do you like Shakespeare and superheroes? Do you also like offbeat comedy with memorable character?  Well, if you answered “yes” to all of those questions, The Midnight Company has the show for you. Mickle Maher’s Spirits to Enforce is a hilarious, characterful mashup of Shakespeare’s The Tempest and a host of comic book tropes all put together in a cleverly staged, terrifically cast, and thoroughly entertaining production that packs a lot of energy and laughs into its relatively short running time.

The basic premise here is that a superhero group is raising money to put on a play. The Fathom Town Enforcers have just vanquished their arch enemy, Professor Cannibal, who has been jailed, and the town is, at last, at peace. At least, that’s what the Enforcers think. Now, in their underwater submarine base, they sit at a long table at old school landline phones, complete with long, tangly cords, calling up potential donors to fund their production of The Tempest. Their appeals seem to fall on skeptical ears, and they resort to tactics such as revealing their secret identities as an incentive to contribute. They also start rehearsals and the tensions and struggles among the group become obvious, as Emory Lawson/Ariel (Will Bonfiglio)–who may actually be the “real” Ariel of Tempest fame–struggles to figure out how to successfully play himself, Randall James/The Tune (Cassidy Flynn) becomes frustrated that his crush and romantic interest in the play (she’s Miranda to his Ferdinand), Susan Tanner/Memory Lass (Rachel Tibbetts) has memory powers but can’t seem to remember his real name. Meanwhile, Donna Blake/The Bad Map (Kayla Bush) keeps getting lost, Donna Adams/The Silhouette (Miranda Jagels Felix) deals with her living hand shadows getting out of hand, while the rest of cast all have their own unique problems contributing to difficulty in mounting the production, as well as continued trouble with the phone calls and their callers’ concern that Professor Cannibal may be on the loose once again. 

The cast also features Joe Hanrahan as Wayne Simon/The Untangler, Celeste Gardner as Oliver Kendall/Fragrance Fellow, Spencer Lawton as Dale Clark/the Intoxicator, Ross Rubright as Craig Cale/The Pleaser, Ash Arora as Rebecca Lloyd/The Ocean, Joey Taylor as Brad Allen/The Snow Heavy Branch (who is also the show’s musician), and Alicen Moser as Cecily Gray/The Page, who plays Prospero in The Tempest. The whole cast is cohesive and energetic, with strong comic timing and appropriately quirky characters and angsty moments as the story builds to a fun conclusion. It’s difficult to single out individual cast members, because everyone is strong, lending much character and enthusiasm to the proceedings that can get a little overly talky at times, but still hold the audience’s attention and provide for a witty, goofy, and literate production full of memorable performances and moments.

The staging is inventive and engaging despite the fact that the cast members spend most of their time seated at a long table. There’s enough “business” for them to do, as well as some creative staging that highlights their tight quarters and those ever-present tangly phone cords that keeps the interest going. The costume design by Liz Henning and Eric Widner is marvelous, as well, suiting the offbeat superhero characters with the right amount of style and quirky charm. Jayson Lawshee’s lighting also contributes well to the overall atmosphere and growing air of urgency as the story unfolds, and Taylor’s music adds a memorable soundtrack to the proceedings.

If you like offbeat superhero stories (think Dr. Horrible’s Sing-Along Blog, among others) and Shakespeare, Spirits to Enforce should be right up your alley. It’s a fun, character-driven piece highlighted by excellent performances and fun visuals. It’s another quirky success from The Midnight Company.

The Midnight Company is presenting Spirits to Enforce at the Kranzberg Arts Center until May 18, 2024

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Tesseract’s “Inheritance” is a Memorable Drama of Epic Proportions

May 9, 2024 by Michelle Kenyon ("Snoop")

The Inheritance Part One and Part Two
by Matthew Lopez
Inspired by the Novel Howards End by E.M. Forster
Directed by Stephen Peirick
Tesseract Theatre Company
April 26 and May 2, 2024

Gabriel Paul, Chris Kernan
Photo by Florence Flick
Tesseract Theatre Company

I can’t think of a better word than “epic” to describe Tesseract Theatre Company’s latest production, the two-part, seven hour drama The Inheritance, which was performed over two weekends at the Marcelle Theatre. A somewhat loose adaptation and updating of an E.M. Forster classic, this story follows a group of gay men in New York City and explores generational differences, relationships, and legacies in a highly personal manner. At Tesseract, as directed by Stephen Peirick, this marathon theatrical experience boasts a first-rate cast and fascinating staging that held the audience’s attention through two full-length plays worth of gripping drama. 

Even though the program says this play was “inspired by” Forsters’ Howards End, and playwright Matthew Lopez certainly adapts that story to fit his own storytelling purpose, it follows the basic plot structure of its source novel surprisingly closely, especially in the thread that follows the earnest activist Eric Glass (Chris Kernan) and wealthy businessman Henry Wilcox (Jonathan Hey). As the story begins, Eric and his long-term boyfriend, aspiring writer Toby Darling (Gabriel Paul) are living in New York City and frequently hosting their various friends–all gay men of varying professions and personal aspirations. They soon become acquainted with Adam (Tyson Cole) who gets his shopping bag mixed up with Toby’s. The ambitious but secretive and hedonistic Toby soon becomes somewhat obsessed with Adam, who becomes the star of Toby’s new play. Eric, meanwhile, forms a friendship with his neighbor Walter (Alex C. Moore), an older, man who tells Eric stories and memories of his house in upstate New York that he bought with his partner Henry to be a retreat from the city, but eventually became a place for Walter to take care of his many friends who were dying as a result of the AIDS epidemic, while also becoming a point of contention between him and Henry. If you’ve read Howards’ End, or seen any of the filmed versions of the story, you probably know where this is going. 

Although this story is told in two parts that are both three act, full-length plays, it’s essentially one very long play that has to be broken up for time. It’s essentially a mini-series onstage, and Part Two continues the story, focusing more on Eric’s relationship with Henry as well as the important role that Walter’s house plays in the story. It also follows Toby’s story as he plunges into indulgence and excess, eventually reckoning with the past he’s tried to hide. We also get to know Leo (also Cole), who showed up in part one as a young man Toby pays for a sexual encounter, but later returns and becomes a major focus of the story. We also get to meet Margaret (Margery Handy), the caretaker of Walter’s house, who has a poignant story of her own. 

There’s a lot of story here, and a lot of focus on the differences in the lives of gay men of different generations and cultural backgrounds. E.M. Forster himself (also Moore) also appears as an influence on the story, but the characters have some challenges for him in terms of how he lived his life in a time when gay men couldn’t be as open about their lives as they can now. Many other issues are raised in dialogue, and there are some moments where characters seem to be reciting issues more than acting them out, but for the most part, this is an effecting, powerful piece of theatre that challenges perspectives, educates about important history, and expounds on the importance of connection, compassion, and legacy, especially among gay men. 

The cast is excellent, led by Kernan in a compelling, engaging turn as the idealistic but self-doubting Eric, Cole in a dual role as the rising star actor Adam and the struggling, intellectually curious Leo. Paul, in the difficult role of the self-destructive writer Toby, is also fantastic, making a character who is hard to like fascinating and sympathetic. There is also a strong turn from Moore in the dual role of E.M. Forster (who goes by “Morgan”) and Walter, making both characters compelling and memorable. He also shines as the somewhat prickly Henry, and Handy makes the most of her fairly short stage time with some terrific work as Margaret. The rest of the cast is also excellent, with Stephen Henley, Donald Kidd, Kevin O’Brien, Jacob Schmidt, Sean Seifert, Nic Tayborn, and  Kelvin Urday all turning in strong performances in a variety of roles and contributing to the overall ensemble chemistry in a convincing way.

The production design works well in maintaining the overall tone of the story, with a simple but effective set by director Peirick that adapts well to the various changes of time, place, and situation. Tony Anselmo’s lighting is especially impressive in conveying the various shifting moods of the story. There’s also excellent work from sound designer Jacob Baxley and dialect coach Mark Kelley.

This has been an especially ambitious undertaking by Tesseract, which has become more bold as of late, with their successful venture into musicals, as well as bigger productions in general. The Inheritance is a riveting, intelligent, emotional theatrical experience, with a strong sense of structure as well as an inventive use of its source material. Although it doesn’t always follow the plot of Howards End exactly, I found it especially helpful to know that story while watching this one. This was a marathon of a play, and a remarkable success for Tesseract Theatre Company.

Cast of The Inheritance ( in Part 2)
Photo by Florence Flick
Tesseract Theatre Company

 

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Dazzling “Moulin Rouge!” Glories in Excess at the Fox

May 3, 2024 by Michelle Kenyon ("Snoop")

Moulin Rouge! The Musical
Book by John Logan
Based on the 2001 Twentieth Century Studios Motion Picture written by Baz Luhrmann and Craig Pearce, Directed by Baz Luhrmann
Directed by Alex Timbers
Choreographed by Sonya Tayeh
The Fox Theatre
May 1, 2024

Robert Petkoff and Cast
Photo by Matthew Murphy for MurphyMade
Moulin Rouge! The Musical US Tour

“Truth! Beauty! Freedom! Love!” The newest touring production onstage at the Fox, Moulin Rouge! The Musical, has all that and more, throwing everything it can onstage in terms of music, style, production values, intense emotions, and a seemingly endless list of pop music hits. Even though it’s not quite as dazzling as Broadway simply due to the limitations of touring, this show pulls out all the stops with impressive flair. The great cast is also a major selling point.

The show, based on Baz Luhrmann’s buzzy 2001 hit film, follows the same basic plot as the film but throws in a lot more music, including many songs that have become hits since the movie first came out. Pop hits from the 20th and 21st centuries along with some notable opera themes highlight this story set in late 19th Century Paris and centered around a group of ambitious artists and performers as the fabled Moulin Rouge venue. The love story of aspiring songwriter Christian (Christian Douglas) and Moulin Rouge headliner Satine (Gabrielle McClinton) features humor, romance, melodrama, tragedy, and a heavy dose of idealism. It’s also a celebration of the performing arts and art in general, with Christian and his compatriots Toulouse-Lautrec (Nick Rashad Burroughs) and Santiago (Danny Burgos), along with the performers at the club and emcee Harold Zidler (Robert Petkoff) rehearsing a new show and struggling to keep the venue alive. Of course, there’s also the villain, the self-centered and possessive Duke of Monroth (Andrew Brewer), who insists on controlling the club–and Satine–for his own interests. 

Even though there is a plot, that’s not what drives this show ultimately. It’s all about spectacle, the chemistry of the performers, and all those songs performed with appropriate intensity and over-the-top style. The cast is great, for the most part, led by the charmingly optimistic Douglas as Christian, whose strong vocals and likable stage presence hold attention–along with McClinton in an excellent turn as the talented and tragic Satine. These two light up the stage with their chemistry. Petkoff as Zidler is also impressive, as is Burroughs as a particularly sympathetic Toulouse-Lautrec, and Burgos as the humorously bold Santiago. Sarah Bowden also stands out, making the most of a smaller role as Nini, one of the club’s more prominent performers. Brewer makes the most of his role as Duke even though the character doesn’t have much in the way of depth. There’s also a fantastic ensemble of singers and dancers backing up the leads, filling out the spectacular production numbers and adding appropriate pizzazz to Sonya Tayeh’s sparkling choreography.

Physically, the show looks great as well, if not quite as grand as it did on Broadway when the set was built into the theatre for a more immersive experience. This is a tour, though, so that immersion factor is a bit limited, although Derek McLane’s flashy, stylish set fits in well at the Fox and matches the overall style of the theatre. The costumes are also superb, designed by Catherine Zuber to fit in with the fashions of the era with a bold range of colors and textures. There’s also dazzling lighting by Justin Townsend and impressive sound by Peter Hylenski, as well as an excellent orchestra led by music director Andrew Graham. The look, atmosphere, and overall vibe of the show echoes the film, but doesn’t exactly copy it, and that works well considering the transition to a theatrical setting.

If you saw the movie, you will definitely notice changes, especially in terms of the music. Although prominent songs such a “Your Song”, “Nature Boy”, and the original (for the film) “Come What May” are still prominently featured, there are many new hits added to the mix, some of which are more heavily features with some showing up for only a few lines. The music and overall style of this show are the stars here, with the strong cast giving their all and providing for a deliciously over-the-top experience at the theatre. 

Christian Douglas, Gabrielle McClinton
Photo by Matthew Murphy for MurphyMade
Moulin Rouge! The Musical US Tour

The US tour of Moulin Rouge! The Musical is running at the Fox Theatre until May 12, 2024

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“Sandra’s Son” at Greenfinch Compellingly Reflects on a Life in Art

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

Sandra’s Son
Written and Directed by Colin Healy
A Dharma Management Production
Greenfinch Theater & Dive
April 18, 2024

Image: Dharma Management/Greenfinch Theater & DIve

For an artist, it seems like it can be difficult to distinguish one’s life from one’s art. That’s what celebrated artist Cbabi Bayoc communicates with his one-person show, Sandra’s Son, running this weekend at Greenfinch Theater & Dive. The stage play is written and directed by Colin Healy and starring Bayoc as himself, in a story that’s essentially a living memoir focusing on Bayoc’s memorable personality and impressive artistic talent.

It’s a short production, running a little over an hour, and it comes across as more of a personable, illustrated lecture than a play much of the time, but it’s engaging and entertaining, driven by Bayoc’s compelling stories of his life and art. Speaking on a staged filled with canvases and art supplies, and backed by a screen that illustrates his talk with images of from his life and work, Bayoc holds the stage amiably. Whether sitting at an easel, or on a chair near an old TV surrounded by paintings-in-progress, he tells his life story from family beginnings, to personal triumphs and tragedies, to his education at Grambling State University, to the start of his career as an artist and his experiences working with music artists like Prince. It’s a compelling story characterized by a growing love and sense of purpose in art and life.

The Greenfinch Theater space works well for this loosely structured evening of reflection, with strong production design by Colin Healy and technical direction by Bradley Rohlf. The audio-visual elements are informative and add much in the way of entertainment value. It’s a fitting celebration of an artist and his art, as well as a great introduction for those unfamiliar with Bayoc and his work. 

Dharma Management is presenting Sandra’s Son at Greenfinch Theater & Dive until April 21, 2024

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Upstream’s “Marlboro Man” is an Intriguing, Cleverly Staged Drama

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

Don’t Wait for the Marlboro Man
by Olivier Garofalo, Translated by Philip Boehm
Directed by Philip Boehm
Upstream Theater
April 12, 2024

Isaiah Di Lorenzo, Caitlin Mickey
Photo by ProPhotoSTL.com
Upstream Theater

Upstream Theater’s latest production is notable at first glance for its simple but memorable set, giving the audience something to think about before the play even begins. Don’t Wait for the Marlboro Man is a US premiere that presents a story that’s at once highly personal and relatable to modern society. With a convincing cast and clever staging, this is an intriguing show that provides much to ponder and discuss.

The show is presented in an unusual manner, as something of a “living script”, with Eric Conners onstage as a sort of observer, reciting many of the stage directions as the story plays out. That story involves Sarah (Caitlin Mickey), an ambitious businesswoman who is anxiously waiting in what appears to be a hospital waiting room. While her fiancé is undergoing surgery after having been critically injured in a motorcycle accident, Sarah waits for news not only of her unnamed fiancé’s health, but also of an apparently urgent business matter. She is joined in the waiting room by Pedro (Isaiah Di Lorenzo), who apparently was a witness to the accident and knows a lot about Sarah, even though she says she hasn’t met him before.  Although she is wary of him at first, they are soon engaged in conversation about everything from the accident, to Sarah’s career goals, to junk food, life priorities, and the habits and behaviors of ants. There’s a suggestion that Sarah might be involved in something dangerous and shady, and that she’s neglected her fiancé to focus on her job. There’s also some question about who Pedro is exactly, and why he is really there in the waiting room. 

The staging is inventive, with a set by Mike Loui that sets the action in something of an observation area, as the waiting room is surrounded on three sides by a walkway that Conners traverses as he recites the stage directions in a somewhat clinical manner. The lighting by Steve Carmichael is also notable here, in giving a bit of a stark air to the proceedings. There’s also excellent sound design by Michael Musgrave Perkins and Philip Boehm, and well-suited costumes by Michele Friedman Siler. The frequent talk of observing ants in a colony is strongly suggested by the staging and structure, as the audience–along with Conners–become the observers, and Mickey and Di Lorenzo are the objects of that observation. 

The story itself is mostly about its characters and larger concepts such as work/life balance, ethics in business, priorities in relationships and “the greater good”, and more. There’s a lot to think about here, and even some open-ended questions. What’s not in question, though, is the quality of the performances. Di Lorenzo is convincingly challenging and enigmatic as Pedro, and Mickey is also strong as the credibly anxious, distracted Sarah. Conners is a strong presence, as well, with his descriptions seeming somewhat intrusive at first, but becoming a more obviously essential part of the story as the play continues.

This is a challenging play, with a lot to think about. I find myself still thinking about what this story means, and especially about the characters, even a while after seeing it. It leaves a strong impression, with its clever staging and especially strong performances. It’s a fascinating new production from Upstream Theater. 

Isaiah Di Lorenzo, Caitlin Mickey, Eric Conners
Photo by ProPhotSTL.com
Upstream Theater

Upstream Theater is presenting Don’t Wait for the Marlboro Man at the Kranzberg Arts Center until April 28, 2024

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St. Louis Shakespeare Brings Impeccably Staged “Hamlet” Down to Earth

April 17, 2024 by Michelle Kenyon ("Snoop")

Hamlet
by William Shakespeare
Directed by Patrick Siler
St. Louis Shakespeare
April 11, 2024

Hamlet is unquestioningly one of Shakespeare’s most well-known plays. It’s also frequently studied in high school and college (both for me). It’s also known for being particularly philosophical, with many celebrated reflections on life, death, family, theatre, and more. There have been many approaches to staging it over the years–or centuries, in fact, and I’ve seen quite a few productions in my lifetime. This latest version, from St. Louis Shakespeare, takes a direct, down-to-earth approach that brings the characters’ humanity and relatability to the forefront, while still doing justice to it’s more philosophical moments.

Famously, Hamlet is the story of the young prince of Denmark (Dustin Petrillo) who is mourning the death of his father, the former king, and resents the recent marriage of his mother Gertrude (Donna Parrone) to his father’s brother and newly crowned king, Claudius (Colin Nichols). When the Ghost of his father (Don McClendon) appears at the castle walls, Hamlet confronts the spirit and is informed that Claudius is a murderer, having killed the old king in order to get his crown, and apparently his queen as well. Hamlet’s quest for revenge affects his relationships and the lives–and sometimes deaths–of those he cares about most, including friends like bestie Horatio (Creighton Markovitch), would-be love interest Ophelia (Hannah Duncan), Ophelia’s brother Laertes (Bradley M. Dillon), father Polonius (Chuck Brinkley) and more. 

The whole kingdom is affected by the goings-on in this famous tragedy, but this production, directed by Patrick Siler, focuses most on the personal stakes of the characters, even editing the ending to reflect this focus, and portraying the characters and relationships in a direct, immediate way. The relationships are at the forefront here, and the performances are powerful and credible, led by Petrillo in a dynamic and reflective performance as one of the most melancholy of Melancholy Danes I’ve seen, with a fully believable degree of emotional investment. His moments with the also strong Duncan as a guarded but clearly conflicted Ophelia and Markovitch as devoted friend Horatio are especially effective, as is the famous “closet scene” with Parrone’s convincingly concerned Gertrude. Nichols makes for a memorable Claudius, as well, not showing the character’s clear ambitions without overplaying it, and in a similar vein, Brinkley’s portrayal of the somewhat foolish Polonius is firmly rooted in reality and not over-the-top as some versions of this character can be. The humor is there, but so is a degree of sympathy that makes the character even more convincing. McClendon is another standout in a dual role as the Ghost of Hamlet’s father and as the First Gravedigger. It’s a strong ensemble all around, with a strong supporting cast and cohesive chemistry, bringing a directness to the proceedings that strikes me as especially accessible to new audiences as well as those already familiar with the play.

This production fits well into its venue–the smallish theatre at Lift For Life Academy–with an effective minimalist set by Kaylie Carpenter and dynamic lighting by Tony Anselmo that highlights the action, mood, and characters well. The sound and musical accompaniment by David A. N. Jackson is especially well done, with Jackson even interacting with the characters onstage in key moments. The costumes by Michele Friedman Siler are contemporary and stylish, suiting the characters appropriately and adding to the modern flair of this staging.

This is an especially powerful Hamlet, and all the more memorable for its credible performances and in-the-moment, well-paced staging. The only regret I have is that it didn’t run longer. It’s a commendable effort from St. Louis Shakespeare, and a clear reminder of the greatness of this play that it can be adapted so well with such timeless relevance. 

 

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STLAS’s Intense “The Whale” Showcases Relationships, Strong Acting

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

The Whale
by Samuel D. Hunter
Directed by Annamaria Pileggi
St. Louis Actors’ Studio
April 6, 2024

Nadja Kapetanovich, William Roth
Photo by Patrick Huber
St. Louis Actors’ Studio

Samuel D. Hunter’s The Whale is probably best known for its recent film adaptation starring Brendan Fraser. In fact, although I haven’t seen the film, I didn’t even know it was a play until St. Louis Actors’ Studio announced its current season. Their production, directed by Annamaria Pileggi, is a thoughtfully staged, intensely emotional relationship drama that serves as a showcase for an excellent cast of local performers. 

This play is the story of Charlie, a lonely, unhealthy, and overweight man who teaches online writing classes from his small apartment, which he never seems to leave. He’s cared for by his friend Liz, who is a nurse and also has another connection to him that will be revealed in the story. Liz urges Charlie to take better care of himself and to go to the hospital, but she also brings him unhealthy food to eat. As Charlie’s health continues to deteriorate, he seeks comfort in an old essay about Moby-Dick and in conversations with a young Mormon missionary, Elder Thomas, who has happened by one evening, and who Charlie thinks can help him find answers concerning a personal tragedy. Charlie also seeks out his teenage daughter, Ellie, who hasn’t seen her father since she was two when Charlie came out as gay and began a relationship with his late partner, Alan, ending his marriage to Ellie’s mother, Mary. Ellie seems to be angry at everything and claims to hate everyone, but Charlie wants to get to know her in hopes that he can somehow help her have a better life. There are many complications, as emotions flare and secrets are revealed, as volatile relationships are explored in a quest for some kind of hope in the midst of regret and despair.

The personal relationships are intensely believable, driven by William Roth’s heartfelt performance as Charlie, and supported by the equally strong Colleen Backer as the fiercely protective Liz and Nadja Kapetanovich as the surly Ellie. These are the key relationships here, and all three actors give powerfully emotional performances. There is also excellent work from Thomas Patrick Riley as the friendly but guarded Elder Thomas, and Lizi Watt as the hard-drinking, emotionally wounded Mary. There’s a lot of emotional hurt going on here, with sadness and anger at the forefront but with a lingering, persistent suggestion of hope. 

The detailed set and moody lighting design by Patrick Huber add to the overall melancholy tone of the story. There has been some criticism of this story as potentially exploitative, considering the use of padding of a thinner actor to look overweight, but the thoughtful direction here doesn’t seem mocking or belittling to me, and Teresa Doggett’s work on the costumes and prosthetics comes across as realistic, and even understated.  There’s also strong work from sound designer Kristi Gunther and props designer Emma Glose.

The Whale is intense, and acted with impressive depth by St. Louis Actors’ Studio’s well-chosen cast. It works especially well in the intimate setting of the company’s Gaslight Theater. There’s a lot to process in this play, concerning relationships, literature, self-expression, religious influence, and more. It’s a profoundly affecting story.

Nadja Kapentanovich, Thomas Patrick Riley, Lizi Watt, Colleen Backer, William Roth
Photo by Patrick Huber
St. Louis Actors’ Studio

St. Louis Actors’ Studio is presenting The Whale at the Gaslight Theater until April 21, 2024

This review was originally published at kdhx.org

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“Dark Matters” is Chilling, Fascinating at WEPG

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

Dark Matters
by Roberto Aguirre-Sacasa
Directed by Karen Pierce
West End Players Guild
April 5, 2024

Cory Burke, Joseph Garner, Suki Peters, Ben Ritchie
Photo by John Lamb
West End Players Guild

West End Players Guild is venturing into science fiction and mystery with its latest production. Playwright Roberto Aguirre-Sacasa’s suspenseful, intriguing Dark Matters proves to be a fascinating story with an increasingly chilling tone. With strong direction and four convincing performances, this play tells its story well, with enigmatic characters and a challenge for the audience concerning what–and who–to believe. 

The story is narrated occasionally by Jeremy (Cory Burke), a teenager whose parents have recently moved the family from Washington, DC to a small mountain town in Virginia. As the story begins, Jeremy’s father Michael (Joseph Garner) is concerned that his wife, Bridget (Suki Peters) has gone missing. The local Sheriff, Benjamin Egan (Ben Ritchie) is working with Michael to figure out what’s happened, and his questioning gets more and more intrusive, calling into question Bridget’s mindset and pre-disappearance activities. Meanwhile, Jeremy has been rummaging in the attic and has found writings by Bridget that suggest she really believes in aliens from outer space, rather than just researching them for a book as Michael has told the sheriff. Soon, however, Bridget returns with a story that seems too strange to be believed, and Michael grows even more suspicious, while Jeremy is more inclined to believe his mom and the Sheriff continues to ask questions. 

That’s about all I can say without spoiling, and make no mistake–it’s the sense of building suspense and mystery that makes this show as effective as it is. That sense of something being “off” but not being sure what the truth actually is, and where this story is all leading, even at the very end, is what makes this play so powerful and spine-tinglingly chilling. The well-paced direction by Karen Pierce, and the strong performances of all the players make this worth seeing. From Garner’s increasingly doubtful and unhinged Michael, to Burke’s devoted, alternately hopeful and frightened Jeremy, to Ritchie’s matter-of-fact and increasingly enigmatic Sheriff Egan, to Peters’ fully convinced and persistent Bridget–the whole cast is excellent. It’s not always clear what to believe, but one sure thing is that the acting is superb, and the ensemble is cohesive and impressive.

The set by director pierce makes good use of the stage in the basement of Union Avenue Christian Church, as well as the area in front of the stage. The lighting by Jacob Winslow and sound by Morgan Maul-Smith add to the overall mysterious atmosphere and growing sense of urgency. 

Dark Matters is fully engaging and compelling theatre, especially for viewers who like mystery and science fiction. It’s a human drama with an otherworldly air, and after its conclusion, questions still linger. There’s a lot to think about here. Who, and what, do you believe? That’s a question that will be surely talked about for a while after seeing this remarkably well-staged play.

Suki Peters, Joseph Garner
Photo by John Lamb
West End Players Guild

West End Players Guild is presenting Dark Matters at Union Avenue Christian Church until April 14, 2024

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