Relationships Are in Focus In WEPG’s Engaging “Evening of One Acts”

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

An Evening of One Acts
Directed by Carrie Phinney and Renee Sevier-Monsey
West End Players Guild
February 10, 2024

Jane Abling, John Reidy
Photo by John Lamb
West End Players Guild

The latest production from West End Players Guild isn’t one play, but seven. An Evening of One Acts presents a series of short plays on the broad theme of relationships, most of them of the romantic variety. It’s an intriguing, entertaining evening featuring an enthusiastic cast and fairly simple production values. Here are some brief thoughts:

“A Sunny Morning”
by Serafin & Joaquin Alvarez Quintero

The focus of this play, set in Spain, is on an older woman, Dona Laura (Jane Abling), and an older gentleman, Don Gonzalo (John Reidy) who meet by chance as Laura sits on a park bench to feed the birds, and Gonazalo looks for a place to rest as his usual bench is occupied. He reluctantly joins Laura on her bench, and the two strike up an initially bristly conversation. As they begin to talk more amicably, they both soon realize that maybe they’re not strangers, after all. This is a bittersweet story that features two memorable performances and strong chemistry, along with some fine supporting work from Lesa Bush and Kurt Knoedelseder as the respective caretakers/companions of Laura and Gonzalo.

“Post Its (Notes on a Marriage)”
by Paul Dooley & Winnie Holzman

The staging of this play is simple, as an unnamed couple (Mike DePope, Amie Bossi) sit on either side of the stage, reading a series of Post-It notes, essentially telling their story from their first date to their eventual marriage and life together. There are some fun moments here, as well as moments of poignancy, featuring understated but compelling performances.

“The Spot”
by Steven Dietz

I’m not entirely sure how this play fits with the overall “relationship” theme, since this is essentially about a political campaign commercial, and the heavy “spin” that Roger (Reidy), who is in charge of the campaign, is encouraging. The “spot” focuses on a woman, Betsy (Shawntay “Tay” Vaughn), who will be endorsing Roger’s candidate, although Roger has doubts about her appeal to voters, as he’s constantly asking his assistant Nelson (Knoedelseder) to check the poll numbers for various topics. Roger is much more impressed with Gloria (Bush), who assists one of his staff members, but who seemingly fits Roger’s “ideal”, while Betsy grows increasingly uncomfortable with Roger’s manipulations, as his staff members Chumley (DePope) and Wagner (Michael Monsey) grow more anxious. This is sharp satire that seems especially timely in an election year, with strong performances all around, although again, I don’t really see where it fits with the overall theme of the evening. 

“Left to Right”
by Steven Dietz

Another play by Dietz, this one has something of a confusing structure, as two married couples sit at a table, having a series of conversations in pairs, changing positions when a bell rings. Bossi as Angie, Bush as Dee, Reidy as Ron, and Knoedelseder as Scott are each hiding their own secrets that they are trying not to reveal to their spouses, but as the conversations continue, it’s not always clear what the characters know and what they don’t. The performers do a good job with the overall timing, but this story can be a little difficult to follow.

“Controlling Interest”
by Wayne Rawley

This play features a clever twist, as a “business meeting” turns out to be not quite what it first seems to be. Jack (Reidy), Brad (Monsey), David (DePope), and Steven (Kurt Knoedelseder) are prepare to negotiate with Ashley (Vaughn) and Bethany (Abling) concerning the serious and daunting issue of “boys liking girls”. This is a fun concept, even though it indulges in stereotypes for the sake of much of its humor. The performances and pacing are especially energetic here. 

“Surprise”
by Mark Harvey Levine

This is perhaps my favorite play of the set, with a clever premise and strong characterizations. Even though it’s not very long, DePope, as Peter–a psychic who can only see two minutes into the future–and Bossi as Whitney, his increasingly exasperated girlfriend, are convincing and exhibit excellent timing. The two are sharing a contentious date at a restaurant, as sympathetic server Esther (Vaughn) has a surprise in store for Peter. The script is well-constructed, and the performances are strong across the board.

“There Goes the Neighborhood”
by Marjorie Williamson

The final entry for the evening features a nosy woman, Eleanor (Abling) spying on her new neighbor, as her husband, Richard (Knoedelseder) humors her ramblings and assumptions. As Eleanor’s “concerns” about the hairdresser who has moved next door grow more and more elaborate and absurd, it becomes clear that a  revelation is coming about Eleanor herself, as well as Richard, which adds a new level of absurdity to Eleanor’s attitude along with a creepy twist. This is a clever concept, well played by Abling and Knoedelseder.

Technically, the staging is simple, with fine work from Sevier-Monsey on lighting and Mary Beth Winslow on sound, as well as props design by Anna Blair. It’s something of a minimalist presentation, with the focus mostly on the actors and the energetic staging. The plays range from sweet to the thought-provoking to disturbing, making for an intriguing evening of theatre.

 

Shawntay “Tay” Vaughn, Kurt Knoedelseder, John Reidy, Mike DePope, Michael Monsey, Jane Abling
Photo by Carrie Phinney
West End Players Guild

West End Players Guild is presenting An Evening of One Acts at Union Avenue Christian Church until February 18, 2024

Posted in St Louis Theatre | Tagged , , , , , , , , , , , , , , , , , , | Leave a Comment »

A Thrilling, Acrobatic “Moby Dick” at the Rep

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

Moby Dick
Adapted and Directed by David Catlin
From the Book by Herman Melville
Repertory Theatre of St. Louis
February 9, 2024

Felipe Carrasco, Walter Owen Briggs, Kevin Aoussou, Raymond Fox, Julian Hester
Photo by Liz Lauren
Repertory Theatre of St. Louis

Moby Dick on stage might seem like a strange idea, considering that Herman Melville’s classic novel takes place largely at sea, and staging it as a play seems like a difficult undertaking. Now, the Rep has brought director/adapter David Catlin’s production to St. Louis, and it certainly is a theatrical marvel. With a poetic sensibility, dance-like movements, acrobatic feats, wondrous production values, and a first-rate, enthusiastic cast, this Moby Dick is a whale of a show, and a truly astounding production. 

The story should be familiar to anyone who has read the book or seen any of the many film and television adaptations. The first line is one of the most well-known in literature, and it is used here, as well, as Ishmael (Walter Owen Briggs) introduces himself to start the story, and then carries on to narrate much of it. Ishmael is looking for adventure, so he seeks to join the crew of a whaling ship in mid-19th Century New England. He soon meets harpooneer Queequeg (Kevin Aoussou), who hails from a faraway island and is unlike anyone Ishmael has ever met. The two soon form a bond, and join the crew of the Pequod, a vessel captained by the elusive (at first) Captain Ahab (Christopher Donahue), who at first seems mysterious but soon reveals his single-minded quest for revenge on the great white whale, Moby Dick, to whom Ahab had lost his leg in a previous run-in. The crew of the ship is a mixture of characters with different background and motives, but they form a cohesive unit on board, although the growing disconnect between Ahab and the rest of the crew becomes apparent as voyage goes on, and the captain finds himself unable to think of anything but the elusive white whale, to the increasing chagrin of his crew, and especially First Mate Starbuck (Felipe Carrasco). As the ship continues across the wide, unpredictable seas and Ahab’s obsession grows deeper and more insistent, despite warnings from the crew and the Fates (Maggie Kettering, Ayana Strutz, Bethany Thomas), the Pequod moves inexorably closer to that inevitable, and devastating, final confrontation.

The structure and look of this show are remarkable and refreshing, with elements of circus acrobatics, and highly physical staging as the cast and crew adjust the elements of Courtney O’Neill’s impressive, evocative set, featuring looming whale bone-like framework, a wooden plank “ship’s deck” like central platform, and lots of ropes and rigging. There’s also fantastic work from lighting designer William C. Kirkham and composer/sound designer Rick Sims in keeping with the poetic, haunting quality of the story, as well as providing thrilling effects including volatile weather conditions and the overall evocation of a sea journey. And then there’s the truly astounding costume design by Carolyn “Sully” Ratke, whose work blends detailed realism and fantasy to stunning effect. The acrobatic choreography, by Sylvia Hernandez-Distasi, also contributes much to the unique look and feel of this production, as do the remarkable athletic abilities of the actors.

The cast is wonderful, led by Briggs in a convincing “audience surrogate” role as the eager Ishmael, who makes an ideal relatable narrator. Aoussou, as Queequeg, is also excellent, with a good deal of charisma and stage presence, and Carrasco is also a standout as the determined Starbuck. Donahue, as Ahab, is a force, portraying the character’s descent into the depths of single-minded obsession with increasingly menacing resolve with occasional glimmers of sympathy that emphasize the character’s humanity even in the midst some of his more heartless acts.

There are also strong supporting performances by Raymond Fox as Second Mate Stubb, Micah Figueroa as timid young sailor Cabaco, and Julian Hester as harpooneer Bulkington. Kettering, Strutz, and Thomas are also memorable as the Fates, who are a haunting presence throughout the story–pronouncing prophecies and commentary, as well as contributing strong vocals in some important musical moments. Many cast members play other parts, as well, in addition to their main roles, as there’s a lot of story to tell, and this show manages to tell everything with an impressive sense of poetic flow, and even though the running time is about three hours, there is never a dull moment.

This Moby Dick is like nothing I had seen before. I have seen shows with some similar elements, but this one is such a cohesive marvel of visceral emotion, powerful athletics, poetic structure, and evocative drama that it presents its own unique quality. It’s a thrilling show, with heart-pounding moments of sheer theatrical wonder, as well as some true dramatic intensity, telling the much-told tale with a fresh vibrance while also evoking its time and setting with credibility and detail. It’s a remarkable show, and I highly recommend taking the opportunity to see it while you can.

Kevin Aoussou, Christopher Donahue, Walter Owen Briggs
Photo by Liz Lauren
Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis is presenting Moby Dick until February 25, 2024

Posted in St Louis Theatre | Tagged , , , , , | Leave a Comment »

Moonstone’s Expertly Staged “Sound Inside” is a Carefully Constructed Psychological Drama

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

The Sound Inside
by Adam Rapp
Directed by Gary Wayne Barker
Moonstone Theatre Company
February 8, 2024

Sharon Hunter, Ryan Lawson-Maeske
Photo by Jon Gitchoff
Moonstone Theatre Company

The latest production from Moonstone Theatre Company is a compelling two-character drama that explores relationships not only between individuals, but also between writers and literature. Adam Rapp’s The Sound Inside is a somewhat twisty play that can seem predictable at times, but always seems to have surprises in store. At Moonstone, directed by Gary Wayne Barker, this play features a well-chosen cast and thoughtful staging that makes this play an intense, fascinating experience.

The way the play is constructed helps present the idea of an authors’ relationship with their work, as well as personal experiences, literary influences, and personal interactions that contribute to shaping that work. Bella Baird (Sharon Hunter) is a tenured professor at Yale who teaches creative writing, as well as being a published author herself. Bella narrates the story in the “present day”, although the sense of time is at times deliberately ambiguous. Bella is a dedicated teacher, but doesn’t seem to have any real friends.  She also has endured some major disappointments and tragedies in her family life, as well as more disappointment regarding the public and critical reception of her writings. Bella seems resigned to the routine of her life until she encounters Christopher Dunn (Ryan Lawson-Maeske), one of her students who shows up at her office without an appointment, and who appears alternately confrontational and evasive. As their interactions continue, Christopher reveals his efforts to write a novel, and Bella offers advice and encouragement, leading to a complex bond developing between teacher and student as the two reveal more about their lives and attitudes toward writing and literature. As Bella’s narrative continues, and a health crisis develops, it may seem obvious where this story is headed, but nothing is entirely as it seems here, with the playwright constructing a clever, insightful script that seems to be not only exploring the relationship between literature and its readers and writers, but also the distinction between fiction and reality.

I can’t go too much into plot details, because the discovery is such an essential part of the drama. I can say that the playwright managed to successfully keep me guessing, and that the construction of this play is both clever and engaging. The staging is also especially gripping, with excellent pacing and strong technical elements like Dunsi Dai’s evocative set and Spencer Roe-Weaver’s striking projections. There’s also impressive work from lighting designer Michael Sullivan, sound designer Amanda Werre, and costume designer Michele Friedman Siler, all contributing to the overall mood and drama of the story and characters.

The centerpiece of this production is its remarkable cast, featuring Moonstone’s artistic director Hunter in an impressively complex performance as Bella, who can be alternately relatable and difficult to figure out. Hunter does a great job of portraying Bella’s professorial side, as well as her clear love of literature, as well as her pervasive loneliness and sense of regret. She is well-matched by the equally excellent Lawson-Maeske as the likable but also difficult to decipher Christopher, who is a fascinating character in his own right, with an air of mystery that only adds to the drama. The interactions between these two are credible and form the emotional heart of this story with all its twists, turns, and explorations of life, literature, loneliness, and longing for personal connection.

The Sound Inside is a short play, running at about 90 minutes with no intermission, but there’s a lot going on in this story, including exploration of some difficult life-or-death issues and decidedly adult subject matter. Some elements seem to be deliberately left up to the audience’s interpretation, as well, and there’s a lot to think about here, including the differentiation between fiction and reality. The well-drawn characters, and compelling performances, are at the center here, making for a remarkable theatrical experience that may linger in viewers’ minds for some time. 

Sharon Hunter, Ryan Lawson-Maeske
Photo by Jon Gitchoff
Moonstone Theatre Company

Moonstone Theatre Company is presenting The Sound Inside at the Robert G. Reim Theater in Kirkwood until February 25, 2024

Posted in St Louis Theatre | Tagged , , , , , | Leave a Comment »

Visually Striking, Suspenseful “Mousetrap” Entertains at SDT

February 7, 2024 by Michelle Kenyon ("Snoop")

Agatha Christie’s The Mousetrap
by Agatha Christie
Directed by Gary F. Bell
Stray Dog Theatre
January 31, 2024

Cast of Agatha Christie’s The Mousetrap
Photo by John Lamb
Stray Dog Theatre

Agatha Christie is well-known as the queen of the “Whodunit”, and The Mousetrap is one of her most well-known works. It’s especially notable because the original production is still running in London after more than 70 years. It’s also an excellent showcase for actors, and Stray Dog Theatre has assembled an especially strong cast for their latest production, directed by Gary F. Bell and featuring some striking visuals in addition to the usual murder-mystery plot.

Taking place in the English countryside, outside of London but within a reasonably short distance, the show features a mid-20th Century setting and, as is usual for Christie, memorable characters and a good deal of intrigue. As young couple Mollie and Giles Ralston prepare to open their cavernous old house, Monkswell Manor, as a guest house, two notable events happen as they await their guests–a snowstorm and a murder. The storm helps add to the suspense as the collection of characters soon become stranded together at the house, and the news of a murder in London brings up memories of a tragic story from years before to which that crime is apparently connected. What’s more, when Detective Sergeant Trotter arrives on skis, he announces that the perpetrator is still on the loose, and there’s reason to believe that the killer has fled to Monkswell Manor, and that anyone connected to the earlier case could be in danger. Of course, the guests all have their secrets, but soon there is another murder, and the tension ramps up, as the characters race to solve the mystery before the killer can strike again.

The cast is excellent, with all playing their characters with degrees of complexity and distinctive personality. Claire Coffey and Sean Seifert display strong chemistry as Mollie and Giles, the hopeful young couple who are soon driven to suspicion of one another by the determined Sergeant Trotter, played with impressive intensity by Drew Mizell. The rest of the cast is also strong, including Jason Heil as the sensitive and excitable Christopher Wren, Julie Healey as the strict Mrs. Boyle, David Wassilak as the even-tempered Major Metcalf, Shannon Campbell as the gruff and secretive Miss Casewell, and Matt Anderson as the especially mysterious “surprise” guest Mr. Paravacini. The interplay between the characters adds much to the suspense and tension of the play, as do their wildly contrasting personalities.

The staging is well-paced and thrilling, making use of the remarkably detailed two-level set by Richard Brown and Dominic Emery and the atmospheric lighting by Tyler Duenow. There’s also excellent work from sound designer Justin Been, adding to the building tension of the story. The costumes, by Colleen Michelson, are especially memorable, as well, using a bright palette of colors and giving each character a distinctive color, reminiscent of Clue to a degree.

Agatha Christie’s The Mousetrap may be an oft-performed show, but Stray Dog Theatre has put its own stamp on it here, with a strong cast and just the right balance between thrilling mystery and moments of needed comic relief. It works well in the Tower Grove Abbey space, and the cast keeps up the energy to the last moment. For fans of old-fashioned murder mystery, this should be an especially appealing production.

Drew Mizell (center) and cast of Agatha Christie’s The Mousetrap
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre is presenting Agatha Christie’s The Mousetrap at Tower Grove Abbey until February 17, 2024

This review was originally published at kdhx.org

Posted in St Louis Theatre | Tagged , , , , , , | Leave a Comment »

Intense “Dutchman” is a Memorable Debut for Soul Siren Playhouse

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

Dutchman
by Amiri Baraka
Directed by Cameron Jamarr, Eileen Engel, Bradford Lewis Rolen, and Zahria Moore
Soul Siren Playhouse
February 1, 2024

Cameron Jamarr, Eileen Engel
Photo by Zak Littrell
Soul Siren Playhouse

A new theatre company is staging an production of a celebrated 1964 play at one of St. Louis’s newest venues, and the energy on stage is palpable. Artistic director Cameron Jamarr, who also stars in the production of Amiri Baraka’s Dutchman, is bringing the long-planned Soul Siren Playhouse to life at Greenfinch Theatre & Dive. With a great cast and impressive production values, the show fits into its venue well and brings a challenging story and themes to St. Louis in a compelling and memorable way.

The play is billed as something of an “Adam and Eve” story, while also embodying playwright Amiri Baraka’s political philosophies calling out white supremacy as well as challenging the non-violence of the Civil Rights Movement. Clay (Jamarr) is a young Black man, a passenger on a subway car, minding his own business until he encounters Lula (Eileen Engel), a white woman who at first appears to be something of a standard “temptress” type, trying to get Clay to bring her to the party he’s going to, and then up to her place later. It doesn’t take long, though, for Lula’s motives to become more clearly menacing, as she insists she knows Clay’s “type” and starts spouting offensive accusations and terminology, while apparently trying to simultaneously seduce Clay and belittle him. As a third passenger, a drunk man (Jeremy Thomas), appears on the train car, the adversarial “dance” between Lula and Clay continues, even though Clay gets increasingly uncomfortable until an explosive conclusion that is shocking in one sense, although there’s also the sense that it should have been expected all along. There’s not much else I can say without spoiling, but there’s a lot here to think about, and a powerful emotional impact that lingers after the show’s fairly short running time is done.

The four directors–Jamarr, Engel, Bradford Lewis Rolen, and Zahria Moore–have done an excellent job of staging a highly emotional, though-provoking work, with a lot of dynamic interaction and first-rate performances by the cast. Jamarr and Engel are at the center of the production, which also features Bryant and Donald Kidd alternating a “Young Man” who appears later in the play, and Thomas in a dual role as the drunk man and train conductor. It’s Jamarr and Engel who bring most of the drama, with terrific performances from each, and palpable adversarial chemistry along with hints of attraction, especially at first. Jamarr does a convincing job of playing the suspicious but curious Clay who is brought into the also excellent Engel’s scheming trap. Engel, for her part, is fantastic at gradually displaying the darker levels of Lula’s character. While her character is never likable, she seems less extreme at first than she eventually reveals herself to be. There’s a sort of “dance” that plays out between the two characters that is staged with remarkably effective energy and emotion.  

Visually, the show works well in the space as well as credibly portraying the somewhat grimy subway car setting, designed by Rolen. There’s also excellent work from sound and wig designer De’Janna Scales-Hand and lighting designer Lenny Banks. The “dive bar” setting at Greenfinch with its versatile and somewhat unpolished theatre space works especially well for this production, as well, with the close proximity of the audience to the actors adding something of an immersive note to the production and adding to the overall tension and dramatic experience.

There’s a lot of challenging material here, and Soul Siren Playhouse handles it about as well as I can imagine. They also provide compelling background information on a wall in the theatre that I found especially helpful in terms of context. This is a promising new company, and I look forward to seeing more shows from them in the future. 

Eileen Engel, Cameron Jamarr
Photo by Zak Littrell
Soul Siren Playhouse

Soul Siren Playhouse is presenting Dutchman at Greenfinch Theatre and Dive until February 18, 2024

Posted in St Louis Theatre | Tagged , , , , , , , , | Leave a Comment »

“Funny Girl” Tour Showcases Its Star, Despite Uneven Script

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

Funny Girl
Music by Jule Styne, Lyrics by Bob Merrill
Book by Isobel Lennart, Revised Book by Harvey Fierstein
Directed by Michael Mayer
Choreographed by Ellenore Scott
The Fox Theatre
January 23, 2024

Katerina McCrimmon, Izaiah Monteque Harris
Photo by Matthew Murphy for MurphyMade
Funny Girl North American Tour

The recent Broadway revival of Funny Girl was certainly not without controversy. Even though this show has always been sort of overshadowed by the reputation of its original star, Barbra Streisand, the revival had its own casting drama that went beyond Streisand comparisons. While the show has closed on Broadway, the tour is going strong, and even though the show itself is hardly worthy of decades of hype, it’s still a fun vehicle for the right performer. And in this tour, in terms of sheer talent and energy, Katerina McCrimmon makes a strong case for being the “Greatest Star” that this show needs.

The story, as anyone who is familiar with the show knows, is a highly embellished rags-to-riches story following famous comic performer Fanny Brice (McCrimmon), who starts out as an unknown from Henry Street and eventually becomes the toast of the famed Ziegfeld Follies, eventually appearing in radio, film, and TV, as well. The story follows her humble beginnings trying to break in to show business, meeting dancer Eddie Ryan (Izaiah Monteque Harris), who helps her get her first job, where she is eventually noticed by ambitious businessman and gambler Nick Arnstein (Stephen Mark Lukas), who charms his way into her life and eventually marries her. The show is at its strongest when showcasing Fanny’s talents–from her first big solo “I’m The Greatest Star” to well-known hits “People” and “Don’t Rain on My Parade” to her final torch-song “The Music That Makes Me Dance”, along with her glitzy, choreographed Follies numbers. Her relationships with Eddie and her mother (Barbara Tirell) are also memorable, as are her early moments with Nick, although in the second act the romantic drama becomes something of a slog. Also, the scenes with Mrs. Brice and her poker pals Mrs. Strakosh (Eileen T’Kaye) and Mrs. Meeker (Hannah Shankman) can distract unnecessarily from the main story. Still, this show is it its best when it centers on Fanny herself, and even though the first act is better than the second–until the memorable finale–for the most part it’s an entertaining, well-cast show. 

One of the odd phenomena surrounding this show, though, is that now, Brice herself isn’t as well-known as the performer who originated the role in the first Broadway production of this play, as well as the movie, and whenever anyone hears the name “Fanny Brice” or Funny Girl, the first name that comes to mind is usually Streisand’s. The audience members sitting behind me at the Fox are testament to this, as they wondered who else could live up to that illustrious reputation. Well, I’m pleased to say that McCrimmon does about as excellent a job as I can imagine, and the audience appeared to agree with me, giving her thunderous applause after her big numbers and an enthusiastic ovation at the end. McCrimmon is great with the comedy and the drama, and her powerful voice does justice to the score. She doesn’t copy Streisand, although there are a few moments in “People” especially in which she evokes memories of the legendary singer. Still, this show is about Fanny Brice, not Barbra Streisand, and that is reflected well in the strong direction. There are also standout performances by Harris–a tap-dancing marvel–as Eddie, and Tirrell as the feisty, supportive Mrs. Brice. Lukas also brings a good deal of charm and charisma, as well as a great voice, to the role of Nick, even though I still find it difficult to sympathize with his character. There’s also a strong, enthusiastic ensemble, especially in the Ziegfeld numbers, and energetic choreography by Ellenore Scott.

The show looks good, as well, for the most part, except for a few awkward set pieces in the Henry Street scene. Still, the set by David Zinn, costumes by Susan Hilferty, and lighting by Kevin Adams bring out a credibly authentic mood reflecting the early 20th Century time period and “Old Broadway” setting. The sound is a bit low in parts, and especially early in the show, the songs can be difficult to understand, although this does improve noticeably as the show goes on. The orchestra, led by music director Elaine Davidson, does a great job with the classic Jule Styne score, as well.

So, as I’d say with any production of Funny Girl, if you’re looking for Barbra Streisand, you won’t find her here. Still, if you’re looking for a funny, talented, big-voiced talent that can light up a stage, you will certainly find her in this production on tour at the Fox. It’s not a perfect show, but the star is excellent, supported by a great cast, and this show makes for an entertaining evening of musical theatre. 

Stephen Mark Lukas, Izaiah Monteque Harris, Katerina McCrimmon
Photo by Matthew Murphy for MurphyMade
Funny Girl North American Tour

 

The North American tour of Funny Girl is running at the Fox Theatre until February 4, 2024

Posted in St Louis Theatre, USA Theatre | Tagged , , , , , , , , , , | Leave a Comment »

Well-Cast “Hold On!” is a Memorable Start to the Season for the Black Rep

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

Hold On!
by Paul Webb
Directed by Ron Himes
The Black Rep
January 12, 2024

Cast of Hold On!
Photo by Dunsi Dai
The Black Rep

Opening the weekend before Martin Luther King Jr. Day, the Black Rep’s latest production focuses on an important moment in time in the life Dr. King and the American Civil Rights Movement. Hold On! was written by Paul Webb, who also wrote the screenplay for the film Selma, on which this World Premiere play is based. Focusing on the work of King and other Civil Rights leaders, along with their efforts for voting rights and for the support of President Lyndon B. Johnson, the play has a sweeping scope, a fairly large cast, and a quick pace. It covers a lot of historical ground, and as staged at the Edison Theatre by the Black Rep, it’s a fascinating play.

As director Ron Himes pointed out in his program notes, this show is sort of the “flip side” of Robert Shenkkan’s All the Way, which focuses on LBJ and his role in the passage of the Civil Rights Bill in 1964. Himes appeared in the production of that play at the Repertory Theatre of St. Louis in 2015, and has cast the same actor who played LBJ in that production, Brian Dykstra, to play the same role here. In Hold On! while LBJ does play a prominent role, the main focus is on Dr. King (Enoch King) and other activists involved in the effort for voting rights in Selma, Alabama in 1965. The build-up to the well-known marches and protests is covered, while portraying many figures involved in the events, including local activists Annie Lee Cooper (Tamara Thomas) and Jimmie Lee Jackson (Jason Little) as well as Coretta Scott King (Evann De-Bose),  Ralph Abernathy (Gregg Carr, Sr.), and John Lewis (Greg Carr II); as well as prominent opposition figures like Sherriff Jim Clark and Governor George Wallace (both played by Eric Dean White). There’s a lot of story to tell here, with locations shifting between Selma, Washington, DC, and elsewhere, and as King deals with pressures from Johnson to call off the Selma efforts, as well as personal issues in his marriage, as the governor tries to quell the protests with tragic results. It’s a sweeping, well-constructed show that manages to include many details while portraying its characters as complex human beings. 

The staging is excellent, emphasizing action, with a prominent Oval Office setting center stage and the rest of the events staged around it with precision. Dunsi Dai’s set is detailed and versatile, with vivid lighting by Sean Savoie and memorable projections by Zach Cohn that evoke the time, place, and mood of the story. There’s also strong work from costume designer Marc W. Vital II and props designer Meg Brinkley, helping to transport the audience to 1965 in an effective way.

The cast is wonderful, led by King in remarkably complex performance as Dr. King, effectively portraying his charisma and ideals as well as his conflicts. Dykstra, as LBJ, is also strong, in a thoroughly believable portrayal. White is also a standout in a double “villain” role as the profane, ambitious Governor Wallace and the belligerent Sherriff Clark. De-Bose, as Coretta King, also gives a convincing performance, as well as displaying a strong singing voice at a few moments. The rest of the cast, most playing multiple roles, is also memorable, with Isaiah Di Lorenzo as LBJ’s aide and speechwriter Richard Goodwin, Thomas as the persistent Annie Lee Cooper, and Little as Jimmie Lee Jackson as standouts. It’s a strong ensemble all around, also featuring Walter Cummings, Joel Anthony, Thomas Patrick Riley, and Tammie Holland. 

Hold On! manages to capture a sense of urgency as well as the sense of importance of its subject, which still resonates today. It’s a superbly crafted production of a well-constructed script, featuring a first-rate cast. It’s another example of theatrical excellence from the Black Rep.

Enoch King, Brian Dykstra
Photo Dunsi Dai
The Black Rep

The Black Rep is presenting Hold On! at Washington University’s Edison Theatre until January 28, 2024

Posted in St Louis Theatre | Tagged , , , , , | Leave a Comment »

SDT’s “Sister Mary” Offers a Darkly Comic Alternative for the Holidays

December 19, 2023 by Michelle Kenyon ("Snoop")

Sister Mary Ignatius Explains It All For You
by Christopher Durang
Directed by Gary F. Bell
Stray Dog Theatre
December 14, 2023

Tommy Pepper, Sarajane Clark
Photo by John Lamb
Stray Dog Theatre

Sister Mary Ignatius Explains it All For You has something of a controversial history. Christopher Durang’s pitch-dark satire of Catholic Church teachings, particularly in American parochial schools, has been the subject of protests and complaints over the years. It’s also the latest “alternative” holiday offering from Stray Dog Theatre. With a strong cast and simple but effective staging, the show certainly makes a memorable impression. 

Unfortunately, I wasn’t able to see this production until late in its run, and it closed this past weekend, so this is an “after the fact” review. Still, Sister Mary made her mark, as the titular nun (Sarajane Clark) started out on a simply decorated stage backed by a large Christmas wreath, poised to teach the audiences the basics of Catholic belief, in her own insistently cheerful manner. Occasionally, she would call on one of her young pupils, Thomas (Tommy Pepper) to recite various points of doctrine. After a series of pointed lessons on matters such as Heaven, Hell, and Purgatory, a group of former students appeared to enact a Christmas pageant apparently written by another former student, although it’s basically reiterating a lot of Sister Mary’s own lessons. Soon, we learn that the now-adult former pupils–Gary (Stephen Henley), Diane (Rachel Bailey), Philomena (Eileen Engel), and Aloysius (Sean Seifert) have their own agenda, and it’s not one that the rigid Sister Mary is going to like. From there, the story went into a series of directions, some fairly predictable and others downright shocking. There isn’t much else I can say without spoiling the story, but I’ll just say that Sister Mary certainly had some tricks up her sleeve (or in her sock), leading to an especially dark conclusion that will probably stick in the memory of audience members for quite a while.

The staging is well-paced and brisk, focusing on the towering performance of Clark as the determined, insistently staunch Sister Mary Ignatius. Regardless of whether or not you agree with her interpretations of Catholic doctrine, it’s clear that Sister Mary is not going to budge in her stance. Clark also maintained a cool, cheerful veneer most of the time that added a degree of menace to her characterization, which was in keeping with the icy, super dark tone of this piece. Young Pepper as Thomas was also memorable, cheerfully obeying Sister Mary no matter what she asked him to do. There were also convincing performances from Henley as Gary, who has a secret he knows Sister Mary won’t like; as well as Bailey as the assertive Diane; Engel as the conflicted Philomena; and Seifert as the increasingly nervous Aloysius. The confrontations are believable and increasingly volatile, with convincing performances by all the cast members.

Technically, the staging was fairly simple, but it worked well considering this is supposed to be a presentation on a stage at a church, which made the Tower Grove Abbey space especially ideal for this show. Justin Been’s set, Gary F. Bell’s costumes, and Tyler Duenow’s lighting contributed much in the way of atmosphere to the production.

Not being Catholic myself, I don’t really have as personal a connection with this story as I would imagine a lot of local audience members would, considering the large Catholic population in St. Louis. There are some points that seem to jab more at Christianity in general, but the Catholic Church is the primary target. There’s a lot to think about here, especially in terms of authoritarianism in religious organizations, and its effects on those who experience it. This kind of sharp, biting satire is in keeping with SDT’s “alternative” holiday tradition, and it’s certainly provided much about which to think and discuss.

Stephen Henley, Sarajane Clark, Rachel Bailey, Eileen Engel, Sean Seifert
Photo by John Lamb
Stray Dog Theatre

Posted in St Louis Theatre | Tagged , , , , , | Leave a Comment »

The Rep’s “Wonderful Life” is a Clever, Nostalgic Staging

December 19, 2023 by Michelle Kenyon ("Snoop")

It’s a Wonderful Life: A Live Radio Play
Adapted by Joe Landry
Directed by Kate Bergstrom
Repertory Theatre of St. Louis
December 12, 2023

Melissa Harlow, Michael James Reed
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

Most people know It’s a Wonderful Life as the classic Frank Capra film starring Jimmy Stewart and Donna Reed. A lot of people my age have probably seen that movie on TV dozens of times by now, as ubiquitous as it is. Now, courtesy of the Rep, audiences get to see this familiar story in a different way. Joe Landry’s adaptation It’s a Wonderful Life: A Live Radio Play isn’t new, but the way the Rep is presenting it, it’s a fresh, entertaining production set featuring some welcome local references and a strong energetic cast.

This isn’t a straightforward adaptation of the film story. It’s based in a local radio station sometime in what appears to be the late 1940s. The announcer, Freddie Fillmore (Eric Dean White) provides the introduction while the rest of the cast–including actors and technicians–assembles and star performer and World War II vet Jake Laurents (Michael James Reed) arrives a little bit late. Fillmore announces the cast of characters. Sally Applewhite (Melissa Harlow) plays Mary Bailey and others; Harry Heywood (Deanté Bryant) plays Clarence the angel, Harry Bailey; Rosa Ramos (Carmen García) plays George and Harry’s mother; Lana Sherwood (Aria Maholchic) plays Violet Bick; and Dr. Richard Ross (J. Samuel Davis) plays Joseph the angel supervisor and the villainous Henry Potter. These performers play a variety of roles in addition to their main ones, as well, except for Laurents, who plays George Bailey. Fillmore himself also plays a few roles, including Uncle Billy Bailey, and the stage manager (Jailyn Genyse) and sound engineers (Daisy Held, TJ Staten, Jr.) also contribute to the voice cast at times. Also, as was the case with actual “Old Time Radio” broadcasts, the cast and crew provide the live sound effects as necessary using a variety of devices. 

The story plays out as expected, with Clarence observing George’s life up until a point of crisis, in which the angel is enlisted to help George see the importance of his life and the effect he has had on his family, his neighbors, the town of Bedford Falls, and even the world outside the town. What’s different about this production, though, is that we’re not seeing a straightforward telling of the story–we’re seeing the radio actors performing the story in a meticulously re-created 1940s studio in St. Louis. So we get to see the different actors transition between different roles, doing the sound effects, and singing at various moments, including in some truly entertaining mid-Century styled commercials for real local businesses, like Schnucks and Crown Candy Kitchen. The original film of It’s a Wonderful Life already has a degree of nostalgia about it considering it’s almost 80 years old, but all the old-time radio trappings add another layer to that nostalgia. Also, while the radio studio setting is always there, there are many moments when the drama of the story being told takes over, effectively transporting the audience to the fictional town of Bedford Falls and into the midst of George Bailey’s plight.

The performances are excellent across the board. Reed makes an ideal George Bailey, bringing a lot of depth to the character and making me (at least) even more sympathetic to his situation than Stewart’s in the movie. It’s refreshing that none of the actors here are doing impressions of the movie characters–their performances are their own, although there are a few occasional moments when Reed’s vocal delivery gives a subtle nod to Stewart. Reed’s chemistry with Harlow’s Mary is excellent, as well. Other standouts include Bryant, who is especially memorable in his role as the determinded, kind-hearted Clarence; and Davis as both the wise Joseph and the scheming Potter. White also makes a memorable, amiable host as Fillmore. It’s a strong cast all around, with much energy and enthusiasm in their roles as radio actors and as their characters in the drama. 

The fun of a show like this is getting to see the authentically re-created workings of a 1940s radio station, with An-Lin Dauber’s marvelous set and meticulously detailed costumes adding to the overall ambience, along with excellent lighting by Christina Watanabe and sound by Michael Costagliola. There’s also great atmospheric music, supervised by music director Ron McGowan. 

Overall, this is a truly delightful holiday presentation from the Rep. It’s a Wonderful Life is already a well-known story, but adding the extra layer of local nostalgia and old-time radio atmosphere adds even more appeal to the familiar drama. It’s a Wonderful Life, indeed, and a wonderful show, as well! 

Cast of It’s a Wonderful Life: A Live Radio Play
Photo by Jon Gitchoff
Repertory of St. Louis

The Repertory Theatre of St. Louis is presenting It’s a Wonderful Life: A Live Radio Play until December 23, 2023

Posted in St Louis Theatre | Tagged , , , , , , , | Leave a Comment »

ERA’s “Never Let Go” is a Well-Paced, Memorable Showcase

December 15, 2023 by Michelle Kenyon ("Snoop")

Never Let Go: A One Woman Titanic
by Lucy Cashion and Will Bonfiglio
Directed by Lucy Cashion
Equally Represented Arts (ERA)
December 8, 2023

Rachel Tibbetts
Photo by Jason Hackett
Equally Represented Arts (ERA)

No matter what you think of the movie itself, there’s no question that James Cameron’s 1997 movie Titanic has become a cultural icon. The subject of many discussions, debates, and memes, and spawning the Oscar winning earworm of a song “My Heart Will Go On”, the film has ingrained itself into America’s pop-culture psyche. Equally Represented Arts (ERA) and playwrights Lucy Cashion and Will Bonfiglio have capitalized on that ubiquity with the brisk and cleverly staged Never Let Go: A One Woman Titanic. Showcasing the talents of excellent local performer Rachel Tibbetts, supported by the equally talented Bonfiglio, this show packs a lot into it’s not quite one hour running time.

ERA staged this show in 2019, but I was unable to see it then. Now it’s back, and I’m glad I’ve been able to witness this hilarious, clever, and occasionally surprisingly poignant production. The premise follows Titanic protagonist Rose (Tibbetts) 24 years after surviving the sinking of the ill-fated ocean liner. Now, Rose is an actress, still pining after her long-lost love, Jack, and remembering her few days on the Titanic so vividly that she’s convinced it will make a great film, which she is now pitching to producers. As Rose acts out her vision and reflects on her experiences during and after the infamous disaster, she also makes some meta observations about the phenomenon of Cameron’s film, including some searing and on-point critiques of the script. It’s a fun, sometimes frantic staging, supported by Bonfiglio as the “Stage Manager” who decorates the stage, provides props as needed, and assists the insistent Rose in whatever ways she dictates.

The staging is fast-paced, and Tibbetts is a force as Rose, commanding the stage with attitude and energy, with Bonfiglio matching her energy in a mostly wordless performance moving props and set pieces around and sometimes even serving as a prop when needed, and also playing a few occasional roles–most notably a violin-playing iceberg. The tone is mostly comic, but the pair manage to bring out a degree of poignancy when re-enacting certain dramatic moments late in the film. Kudos to technical director Jimmy Bernatowicz, as well as lighting designer Denisse Chavez, and costume designer and props master Megan Fisher for their excellent contributions to the overall atmosphere of the production.

Never Let Go is a compelling experience, featuring great performances, and also a lively warm-up act by standup comic and local actor Paul Cereghino at most performances. It’s Titanic like you’ve never seen it before, and if you’ve seen the film, it will probably spark memories. It’s another inventive, thought-provoking production from ERA.

Will Bonfiglio, Rachel Tibbetts
Photo by Jason Hackett
Equally Represented Arts (ERA)

Equally Represented Arts (ERA) is presenting Never Let Go: A One Woman Titanic at the Kranzberg Arts Center until December 16, 2023

Posted in St Louis Theatre | Tagged , , , , , , , , | Leave a Comment »

« Newer Posts - Older Posts »