“Chef” Serves Up a Complex, Memorable Performance at Upstream

October 13, 2018 by Michelle Kenyon ("Snoop")

Chef
by Sabrina Mahfouz
Directed by Marianne de Pury
Upstream Theater
October 5, 2018

Linda Kennedy
Photo: Upstream Theater

Chef at Upstream Theater isn’t exactly what it may first seem to be.  Yes, it’s about a chef, but it’s about a lot more than cooking. It’s an intense, emotionally harrowing one-woman show that explores many facets of its title character. It also features a remarkable performance by one of St. Louis’s most accomplished local performers.

Linda Kennedy plays the title role, who is given no other name throughout the story. She’s only ever called “Chef”, and it soon becomes clear after we meet her that she’s not just any chef. She’s a chef at a prison, as well as being an inmate there. What then transpires is a series of monologues telling her story, punctuated by a provocative soundtrack of sounds that contribute to the atmosphere of the production. It’s a highly personal tale, as Chef reads out menus, reflects on her ideas about food and her occupation, as well as her personal relationships with her family and violent men. It’s not a story as much as an examination of one character and what brought her to where she is. The tone is stark, chilling, and increasingly mysterious as we find out more and more about particular events in Chef’s life both before and after she arrived in prison.

This is a show that depends a lot on its central performance, as is expected for one-person shows. The story isn’t linear, and it can be challenging to follow at times, but Linda Kennedy makes every moment worth watching, and thinking about. We see the world Chef inhabits entirely through her eyes, and Kennedy brings the story to life with a rich, multi-faceted performance that makes her experiences all the more intense and compelling. From her present reality as an inmate to the circumstances of how she got there, as well as her treatment and that of her fellow inmates is reflected clearly in her bold, intelligent and highly emotional performance. The production values add a lot to the experience as well, with a simple but effective scenic design by Kristin Cassidy, costumes by Laura Hanson, and especially Tony Anselmo’s stark lighting and Jim Blanton’s atmospheric sound.

Chef isn’t exactly what I had expected. It’s an especially intense, insightful look at one woman’s life and how its been affected by those around her, and by her chosen profession. It’s not really a play about cooking, although cooking is an essential element of the plot, and the character. It’s not easy to describe without giving too much away. Still, what’s most important is the indelible performance of Linda Kennedy in the lead. It’s a tour-de-force for her, and another thought-provoking production from Upstream.

Linda Kennedy
Photo: Upstream Theater

Upstream Theater is presenting Chef at the Kranzberg Theatre until October 14, 2018

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New Jewish Theatre’s “Raging Skillet” Features Memorable Characters, and Food

October 8, 2018 by Michelle Kenyon ("Snoop")

Raging Skillet
by Jacques Lamarre
Directed by Lee Anne Matthews
New Jewish Theatre
October 4, 2018

Kathleen Sitzer, Sarajane Alverson, Erin Renée Roberts
Photo by Eric Woolsey
New Jewish Theatre

Raging Skillet is the first show I’ve attended where the ushers handed out napkins along with the programs. That’s fitting for a show like this that has the look and feel of a television cooking show. The first show of New Jewish Theatre’s 22nd season and the first season for new Artistic Director Edward Coffield, this is a show that blends story, biography, and immersive elements to create an entertaining and fascinating look at a real life celebrity chef with a penchant for the dramatic in cooking as well as in life.

The setting here genuinely makes the play look like one of those cable cooking shows, where a celebrity chef cooks, tells stories, and is cheered on by an enthusiastic audience. Here, center stage is taken by Chef Rossi (Sarajane Alverson), a caterer with an adventurous and rebellious attitude toward her profession. Rossi is a real person, and she was actually in attendance on opening night, sitting in my row a few seats over from me. Her presence added another “meta” element to this production for me, witnessing a chef watching someone else embodying her story before the audience. The premise is that we, the audience, are attending the launch of Rossi’s book, also called Raging Skillet, which is the name of her catering company. She’s supported by her DJ and sous chef Skillit (Erin Renée Roberts) as she leads a high-energy, interactive presentation supported by the “Rossi Posse” who hand out samples of her culinary creations to the audience as Rossi cooks. Things don’t go exactly to plan, however, as Rossi soon discovers when her mother (Kathleen Sitzer) shows up unannounced with stories of her own. This is especially vexing for Rossi, since her Mom died 25 years previously. So, the Mom figure is a ghost or a memory or projection of Rossi’s subconscious, or some combination of those elements, and as Rossi tells her life story, Mom interrupts a lot, to Rossi’s increased annoyance. The show uses this device to explore various issues in Rossi’s life and what made her who she is today, including her relationship with her mother, her Jewish heritage, her identity as a lesbian, and her unconventional approach to life and her job. It’s not a long show–just over an hour with no intermission, and it’s fast-paced with a lot of humor and some poignant moments as well, especially involving Rossi’s coming to terms with her memories of her mother.

All three members of the cast are excellent, led by Alverson’s brash, confrontational, snarky, and occasionally vulnerable Rossi. Roberts as Skillit plays various roles in the story as needed, including several co-workers of Rossi’s over the years, Rossi’s first girlfriend, and Rossi’s father, and she’s excellent in all of them, especially in her main role, serving as a support and occasional conscience for Rossi. It’s also great to see Sitzer, who retired earlier this year as Artistic Director of NJT, in what almost seems to be a tailor-made role as Rossi’s eccentric, overprotective Mom. Her scenes with Alverson are the highlight of the production, bringing a lot of laughs as well as some more serious moments.

The production design takes the audience into a studio kitchen where Rossi is at work. Dunsi Dai’s detailed set looks like it could be from one of those aforementioned TV cooking shows. There’s also excellent use of sound and projections by Michael Perkins that add a lot to the overall experience and emotion of the show. Michele Friedman Siler’s costumes are ideally suited to the characters, and Michael Sullivan’s lighting suits the “studio kitchen” setting well. This is a play that takes the audience into Rossi’s memories as well as literally into her kitchen, and the production values reflect that suggestion well.

There are moments of this show where it threatens to come across as an infomercial promoting Rossi’s book, which actually is on sale in the lobby after the show. There is an air of promotion about it, but the story and the characters remain the main focus. It’s a funny, whimsical, occasionally poignant and more than occasionally thought-provoking. It’s a great start to a new season and a new era for New Jewish theatre. And the food is good, too!

Sarajane Alverson
Photo by Eric Woolsey
New Jewish Theatre

New Jewish theatre is presenting Raging Skillet at the Marvin & Harlene Wool Studio Theatre at the JCC’s Staenberg Family Complex until October 21, 2018.

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Intense “Little Foxes” at STLAS Highlights Strong Acting

October 8, 2018 by Michelle Kenyon ("Snoop")

The Little Foxes
by Lillian Hellman
Directed by John Contini
St. Louis Actors’ Studio
September 30, 2018

Laurie McConnell, Bridgette Bassa, Kari Ely, Richard Lewis, Ryan Lawson-Maeske, Chuck Brinkley
Photo by Patrick Huber
St. Louis Actors’ Studio

St. Louis Actors’ Studio’s new season’s theme is “Blood Is Thicker Than Water”. It leads off with a 20th Century classic, Lillian Hellman’s The Little Foxes. It’s a play I’d heard a lot about but had never actually seen before. Now, I’m glad this is the first production I’ve seen. It’s an intense, emotionally fraught play characterized by some truly remarkable performances by a cast of superb local actors.

The story is apparently semi-autobiographical, inspired by members of playwright Hellman’s own family. Set in the American South at the turn of the 20th Century, it offers a glimpse into wealthy Southern society at the time, both as a portrayal and as a scathing critique, as the inner workings and relationships among members of a wealthy extended family serve as a reflection of societal expectations, traditions, and injustices of the era. The central figure is Regina Giddens (Kari Ely), an ambitious woman whose fortunes have been determined largely by her financial dependence on her scheming brothers Ben (Chuck Brinkley) and Oscar (Bob Gerchen), as well as her mild-mannered, ailing husband Horace (William Roth). When the brothers arrange a deal with wealthy Chicago businessman William Marshall (Richard Lewis) to build a cotton mill, they pressure Regina into investing along with them but she needs to get Horace to agree, which means she has to send her young daughter Alexandra (Bridgette Bassa) on a train to Maryland, where he has been receiving treatment for his heart condition, to bring him home. Meanwhile, Oscar schemes to arrange a marriage between his immature son Leo (Ryan Lawson-Maeske) and Alexandra as a way of securing Horace’s money. Alexandra, for her part, doesn’t like Leo very much and seems to be closer to her aunt, Oscar’s gentle but mistreated wife Birdie (Laurie McConnell), who was born into a wealthy landowning family and who the abusive Oscar married for this reason. Trapped in a loveless, frequently violent marriage and a highly restrictive society, Birdie clings to music and drink as forms of comfort. The haunted Birdie serves as a contrast to the steely, strong-willed and ruthless Regina, who will use any means necessary to get what she wants.

Hellman pulls no punches in this devastating play, depicting the schemes, machinations, greed, brutality, and racism of Regina and her brothers–and the society in which they grew up and aim to thrive–with sharp characterization and caustic dialogue. The liberal use of racial slurs by the characters is difficult to listen to at times, but it’s reflective of the times and the characters and society. It’s difficult to watch the casual racism of most of the characters clearly demonstrated in their attitudes toward the family’s household servants, Addie (Wendy Greenwood) and Cal (Dennis Jethro II), although this too is realistic. The household dynamics are on clear display, and the nature of the various relationships is made clear in the script as well as in John Contini’s thoughtful direction. It’s clear, for instance, before anything needs to be said, the brutality of the relationship between Oscar and Birdie, as well as Horace’s contempt for Regina, Alexandra’s closeness to Birdie and Addie (Wendy Greenwood), and Addie’s thoughts about the various family members, positive and negative. Regina’s scheming is also evident, both in the script and in Ely’s crafty, measured performance. The story is intricately plotted, structured in three acts and with the tension building and with a series of devastating moments.

This is both a well-plotted story and a rich character study, and all the actors perform their roles with impressive ability. Ely, as mentioned, is a commanding presence as the scheming Regina, with Gerchen as the cold, brutal Oscar and Brinkley as the equally ambitious but more diplomatic Ben also convincing. There are also strong performances from Roth as the kind but sickly Horace, and Bassa as Alexandra, who shows a great deal of character growth as the story develops and she learns what her family is really like. Lawson-Maeske is appropriately eager and clueless as Leo, and Greenwood is especially strong as Addie, as well, particularly in her scenes with Bassa and Roth. The biggest standout, though, is McConnell, in a truly stunning, multi-layered and heartbreaking performance as Birdie. A gentle woman whose fond memories of her family are clear, as well as her increasingly obvious disillusionment and loss of hope, Birdie’s story is made especially convincing by McConnell, who is always excellent and is at her best here.

In addition to the excellent cast, this show displays impressive production values as well. STLAS’s Gaslight Theatre is a challenging space in terms of how small it is, but this company has continually made the most of that space, and they seem to have outdone themselves this time. Patrick Huber’s mult-level set is stunning, representing a well-appointed 1900-era Southern mansion with clarity. The costumes by Megan Harshaw also suit the characters well. There’s also excellent work from lighting designer Patrick Huber, sound designer Contini, and props designer Jess Stamper. All of these elements work together well to maintain the atmosphere, tension, and drama of the play.

The Little Foxes at St. Louis Actors’ Studio is not to be missed. Whether you are familiar with the works of Lillian Hellman or not, this is a must-see show. It’s a reflection of the excellence of this company as well as the outstanding cast of local actors who have brought these characters to life. Although many of the characters in this play are unlikable to say the least, they are vividly portrayed here. The running time is fairly long–it’s three acts with two intermissions, and it’s riveting from start to finish. There’s one more weekend to see it. Don’t miss it.

Laurie McConnell, Bridgette Bassa, Kari Ely, Wendy Greenwood, Richard Lewis, Chuck Brinkley, Ryan Lawson-Maeske, Bob Gerchen
Photo by Patrick Huber
St. Louis Actors’ Studio

St. Louis Actors’ Studio is presenting The Little Foxes at the Gaslight Theatre until October 14, 2018

 

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“Random World” is a Puzzle at West End Player’s Guild

October 8, 2018 by Michelle Kenyon ("Snoop")

This Random World
by Steven Dietz
Directed by Renee Sevier-Monsey
West End Players Guild
September 29, 2018

Kate Weber, Ted Drury
Photo: West End Players Guild

The subtitle of West End Players’ Guild’s latest production, This Random World, is “The Myth of Serendiptiy”. It’s an attempt to challenge concepts of fate and coincidence, with some intresting and at times frustrating answers. It’s an intriguing concept, certainly.

This is a difficult play to review, because going into too much detail will spoil the story. It’s essentially a puzzle, of sorts, with the various characters as the pieces, and the constantly looming question of how, and even if, the pieces will eventually come together. Those “pieces” include brother and sister Tim (Ted Drury) and Beth (Tinah Twardowski), who start off the play reflecting on life, death, and world travel. Through a series of seemingly random events, Tim and Beth, along with their mother Scottie (Lynn Rathbone), Scottie’s caretaker Bernadette (Jessa Knust), Bernadette’s sister Rhonda (Kate Weber), Tim’s former high school girlfriend Claire (Eleanor Humphrey), and Claire’s boyfriend Gary (Joel Zummak) find themselves in some hard to believe situations that bring some of them into contact with more than a few “near misses” along the way. Situations involving a funeral home, world travel, and various relationships serve to advance the story, with increasing degrees of implausibility, and a last-minute “twist” that somehow manages to be both surprising and not-so-surprising at the same time.

This is the kind of play that especially frustrates me, since so much of the plot depends on contrivances, as well as characters behaving in ways that make little sense. Although there are some thought-provoking ideas and memorable characters, the overall story comes across less as a serious exploration of concepts and more of an exercise in fooling the audience in ways that become more and more ridiculous as the story unfolds. For me, despite some strong performances, especially from Rathbone as the aging but adventurous Scottie, Drury as the bewildered Tim, and Weber as the somewhat flighty Rhonda, this play succeeds more as an exercise in frustration than anything else. It’s a well-done production, but the story is just too pretentious for its own good most of the time. The staging and technical aspects, including the minimal but effective set by Carrie Phinney, lighting by Phinney, Sound by director Renee Sevier-Monsey, and costumes by Mary Beth Winslow, are effective, adding interest and atmosphere to the production.

There’s a lot to think about conceptually in This Random World, as implausible as this whole story can be. Still, the idea is intriguing, and the strong cast makes it even more so. It’s a memorable start to a new season for West End Player’s Guild.

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Witty “Zombies of Penzance” at New Line is a Clever Re-Imagining

October 5, 2018 by Michelle Kenyon ("Snoop")

The Zombies of Penzance
Book and Lyrics by W.S. Gilbert and Scott Miller, Music by Arthur Sullivan and John Gerdes
Directed by Scott Miller and Mike Dowdy-Windsor
New Line Theatre
September 28, 2018

Sean Michael, Dominc Dowdy-Windsor
Photo by Jill Ritter Lindberg
New Line Theatre

It’s Gilbert and Sullivan with Zombies! That’s the easy way to describe New Line’s latest production, opening the company’s new season at the Marcelle Theatre. The Zombies of Penzance is essentially that, but it’s also another example of the excellent casting and top-notch singing that’s come to be expected from New Line. It’s also a whole lot of fun to watch, but especially so if you you like zombie stories, Gilbert and Sullivan, or both.

Now, I have to start this out by saying that zombie stories are not something that generally appeal to me. I know they are immensely popular at present, but they (along with another popular genre, vampire stories) are not “my thing”, for the most part. Still, this is a fun concept, and although I’m not a Gilbert and Sullivan expert either, I am familiar with their music to a certain degree, although (now including this one) the only live versions I’ve seen based on this show’s source, The Pirates of Penzance, have been parodies or comic “re-imaginings”. As a re-imagining, The Zombies of Penzance is an especially clever one. Presented with the “backstory” of having been a long-lost “original” manuscript from Gilbert and Sullivan that predates Pirates, the show ends up being a prime example of what New Line does best. The story essentially takes the Pirates template and changes it around somewhat. Presented on an old-fashioned Victorian proscenium-style stage surmounted by framed photos of Queen Victoria and zombie movie icon George S. Romero, the story follows the idealistic, newly zombified Frederic (Sean Michael) who becomes torn in his loyalties between his fellow zombies led by the enthusiastic Zombie King (Dominic Dowdy-Windsor) and his old loyalties to society, along with a new attraction to Mabel (Melissa Felps) the eagerly enthusiastic young daughter of famous and somewhat reclusive zombie killer Major-General Stanley (Zachary Allen Farmer). Stanley, for his part, boasts of his illustrious career in the hilariously re-written “Modern Era Zombie KIller’, and expreses his desire to protect established society and the lives and repuations of Mabel and his other daughters.  (Christina Rios as Edith, Kimi Short as Isabel, and Lindsey Jones as Kate, along with Mara Bollini, Melanie Kozak, and Sarah Porter). The zombies continue to be zombies, and as the daughters’ fascination with them grows, so does Frederic’s conflict.

Various issues are dealt with here, especially in terms of challenging religiously defined social norms, essentially in a metaphorical sense that the script itself calls out several times, in a conceit that at times can come across as self-congratulatory. Still, the concept is interesting and the script is hilarious, with lots of witty references to the zombie genre and Romero’s works in particuar, and the lyrical re-writes to the well-known songs are excellently done, sung remarkably well by the New Line cast. Songs like “Poor Walking Dead” “Hail, Zombies!” and more generate a lot of well-earned laughs. The cast is truly wonderful, as well, led by a sincere, gloriously sung performance by Michael as the conflicted Frederic. Dowdy-Windsor displays strong stage presence and an equally strong voice as the Zombie King, also, and Felps displays impressive vocal ability and an energetic characterization as Mabel. There’s also a memorable, delightfully hammy performance by Farmer as Major-General Stanley, and much energy, enthusiasm, and excellent singing from the entire ensemble of Daughters and Zombies.

In terms of production values, this show is a stunner, with that inventively detailed period-styled set designed by Rob Lippert. Much credit goes as well to the team of set contructors, artists and painters including Richard Brown, Paul Troyke, Patrick Donnigan, Melanie Kozak, Kate Wilkerson, Nick Brunstein, Judy Brunstein, Grace Brunstein, Kathleen Dwyer, Tamar Crump, Karla Suazo, and Gary Karasek.  The whimsical, detailed costumes by Sarah Porter also add to the overall mood and atmosphere. There’s also excellent lighting work from Kenneth Zinkl and sound by Ryan Day, and a first-rate New Line Band led by musical director Nicolas Valdez.

It’s a a seriously fun show, no matter what you may think of Zombie stories, but if you love them, I think you’ll especially love The Zombies of Penzance. In terms of humor and sheer musicality, it’s remarkable. Ultimately, though, this show is a witty, hilarious show that has a lot of fun with its concept and features first-rate, enthusiastic cast. It’s not “traditional” Gilbert and Sullivan, but that’s really the point. It’s another excellent, thought-provoking show from New Line.

Zachary Alan Farmer (Center) and Daughters
Photo by Jill Ritter Lindberg
New Line Theatre

New Line Theatre is presenting The Zombies of Penzance at the Marcelle Theatre until October 20, 2018.

 

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“Mama’s Boy” at Tesseract Theatre is an Intriguing Character Study

September 29, 2018 by Michelle Kenyon ("Snoop")

Mama’s Boy
by Rob Urbanati
Directed by Brad Schwartz
The Tesseract Theatre Company
September 22, 2018

Tesseract Theatre Company is one theatre company I’ve seen that has seemed to figure out how to make the best use of the performance space at the .Zack Theatre. The space is known for difficult sight lines and a high stage, but in both productions I’ve seen from Tesseract at this venue, the space has been used to excellent effect and minimized its more challenging issues in terms of staging. Their latest production is a well-cast production that presents a few challenges of its own, mostly from a storytelling standpoint, althought it’s definitely a compelling story. The show is Mama’s Boy, a by Rob Urbanati, and the focus is on an infamous figure in American history and his family.

The central figures in Mama’s Boy are Lee Harvey Oswald (Brandon Atkins) and his mother, Marguerite (Donna Parrone). It’s largely told from Marguerite’s perpective, and told in flashback as she tries to challenge public perceptions of her son in the wake of the assassination of President John F. Kennedy and the subsequent killing of Oswald by Jack Ruby. It’s an exploration of the relationship between Oswald and his mother, as well as with his Russian-born wife Marina (Carly Uding) and his older brother Robert (Jeremy Goldmeier), recounting events between the time Oswald returned to the United States after defecting to the Soviet Union, and the JFK assassination and its aftermath. Now, there are a lot of theories about what exactly happened and what Oswald’s role was in those events, but this play focuses Marguerite’s view, and her complex and sometimes controlling relationship with her sons, and particularly Lee. It’s an intriguing, thought-provoking story for the most part, especially in terms of relationship dynamics, but there are also some elements that don’t seem necessary and only serve to add confusion to what wants to be–and is, for the most part–a tense, character-focused drama. Those elements involve characters that are referred to in the program as “Shadows” (Lydia Aiken, Kathryn Kent, Alexa Moore, Melody Quinn), who wear masks and hover around at various times throughout the play, sometimes serving a functional role by playing various minor characters as needed, and sometimes adding a mysterious air to the proceedings, but at other times they just seem to be wandering around for no specific reason. Sometimes, they can be confusing, especially in one key Act 2 scene in which Lee goes through a series of unexplained motions with one of the “Shadows” in the foreground while the rest of the characters are having a tense conversation. Although there are moments when the “Shadows” did add to the drama, most of the time they just seemed superflous and distracting.

The set, designed by Brittanie Gunn, makes excellent use of the .Zack performance space. It’s a simple stage setup with furniture that can be moved around as needed. The costumes by Amanda Brasher help to set the time and place well, and the lighting, designed by Kevin Bowman, is effective for the most part, although there are a few moments when it’s difficult to see what’s going on. Staging-wise, the show is well-paced, especially in the interactions between the main cast members.

The casting is excellent, and the relationships are well-defined. Parrone’s Marguerite is a looming, controlling presence, effectively dominating the action as fits the character. Her scenes with Atkins as the enigmatic Lee and Goldmeier as the neglected (by her) but responsible Robert are excellent. Uding, as Marina, also gives a strong, affecting performance as a woman who is increasingly confused and bewildered by her husband’s actions, and increasingly wearying of her mother-in-law. The relationships here are the heart of the play, lending emotional drama to the events as they unfold.

I didn’t know a whole lot about Oswald beyond the basic facts before seeing this play, and it works well in an educational capacity to one degree. Front and center, though, are the relationships. Apart from a few confusing moments (mostly involving the “Shadows”), this is a gripping, well-portrayed story that provides a different, closer and more intimate look at lesser known figures involved in a major moment in history.

Tesseract Theatre Company is presenting Mama’s Boy at the .Zack Theatre until September 30, 2018

 

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“FAUSTival” Continues With Compelling, Bizarre Entry From the Midnight Company

September 29, 2018 by Michelle Kenyon ("Snoop")

AN APOLOGY For the Course And Outcome of Certain Events Delivered By DOCTOR JOHN FAUSTUS On This HIs Final Evening
and The Hunchback Variations
By Mickle Maher
The Midnight Company
September 21, 2018

It’s FAUSTival part 2! As the latest entry in the extended “festival” featuring works from various local theatre companies, Joe Hanrahan’s Midnight Company is presenting something that’s appropriately Faustian and also reflective of the Midnight Company’s offbeat style. And, also as is usual for this company, the result is well-cast, thoughtful, and fascinating.

A revival of a production staged a few years ago, this is a set of two separate one-act pieces, one of which is a “Faust” tale. Both, however, are somewhat metaphysical explorations of concepts and characters. AN APOLOGY… is, essential, just what the title says. Here, Hanrahan plays Dr. John Faustus on the last day of his life on earth, having agreed to sell his soul 20 years earlier to Mephistopheles (David Wassilak), who spends most of the play looming in the background, clad in black velvet and wearing sunglasses and appearing somewhat bored of Faustus’s whole spiel. For Faustus’s part, he’s in regret mode, as well as desperate to hold on to a semblance of privacy as he recounts his efforts to keep some privacy from Mephistopheles, who as part of the agreement has lived as Faustus’s servant for the past 20 years, a constant, annoying presence and reminder of Faustus’s pride and rashness. The casting here is strong, with Wassilak’s presence being suitably menacing by just sitting there most of the time, and Hanrahan’s Faustus being increasingly desperate and grasping for some sort of meaning in his life that’s about to end in moments. Since it’s essentially a long speech with a few brief interruptions by Mephistopheles, it does tend to get rambling and a little hard to follow at times, although Hanrahan’s presence keeps it interesting, as do some clever immersive elements involving Faustus handing out beer and chips to the audience.  It’s a particularly philosphical and condensed take on the “Faust” story, with more of an introspective focus as Faust tries to gain the audience’s sympathy.

While An Apology… certainly has its moments, especially in terms of its exploration of language and the concept of time and the overall brevity of life, the more entertaining piece of the evening is the more fast-moving, comic seminar-styled The Hunchback Variations. Here, there’s much more of a focus on humor, and the situation is even more bizarre than it is in the first play.  Here, the audience is given an imaginary scenario in which composer Ludwig Van Beethoven (Hanrahan) and Victor Hugo’s Hunchback of Notre Dame character, Quasimodo (Wassilak) are seated at a table littered with various offbeat musical instruments (kazoo, tin whistle, etc.) and are giving a lecture recounting their efforts to identify an elusive sound described in a stage direction in Anton Chekhov’s play The Cherry Orchard. The show is essentially a series of vignettes, with similar staging and introduction, as the two, usually led by the more outwardly confident Beethoven, recount their efforts to meet and discover this mysterious sound, as the more sullen, earnest Quasimodo plays various sounds and expresses more of an initially pessimistic outlook about their meetings. This is a fascinating play on many levels–first, it’s hilarious, and the comic timing is impeccable. Second, it’s also kind of sad, as we see the futility and failure of the endeavor as they recount attempt after attempt with the big unasked question lingering in the air–what’s the point? The interplay between these two characters presents their relationship as sometimes companions in futility, sometimes frenemies. It’s an intriguing dynamic to watch, and both players play their parts extremely well, from Hanrahan’s bossy, overconfident Beethoven to Wassilak’s gruff-voiced, weary but still hopeful Quasimodo.

Both of these plays are presented in a small backroom at the Monocle bar in the Grove neighborhood, and the intimate setting adds to the mood in both plays. This is a thoughtful, sometimes funny, somtimes profound, always unusual production, showcasing two excellent local actors. It’s a worthwhile theatrical experience.

The Midnight Company is presenting AN APOLOGY and The Hunchback Variations at the Monocle until September 29, 2018

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“Crowns” at the Black Rep Showcases Strong Voices, Stories

September 22, 2018 by Michelle Kenyon ("Snoop")

Crowns
by Regina Taylor
Adadpted from the Book by Michael Cunningham and Craig Mayberry
Directed by Linda Kennedy
The Black Rep
September 15, 2018

Cast of Crowns
Photo by Dunsi Dai
The Black Rep

The first thing that catches my notice in the Black Rep’s production of Crowns by Regina Taylor is a giant hat on the stage. That’s fitting, because hats are front and center in this musical collection of stories, a celebration of hats in African American culture, and particularly among black women. It’s a fascinating subject, showcasing some exceptional talent and the superb voices of its cast while highlighting some compelling stories of several generations of women and men in the American South.

There is a connecting story here, but it’s more of a loose framework that provides a means of exploring the show’s theme. The framing device involves Yolanda, a Brooklyn teenager whose brother is killed in a shooting. Taking his red baseball cap with her to remember him, Yolanda is sent down South to live with her grandmother, Mother Shaw (Anita Jackson). Yolanda’s story is revisited several times throughout the show, serving as the introduction to various themes focusing on church services, including regular Sunday service, as well as weddings, funerals, and baptisms. The rest of the characters use these segments to tell their own stories, centering on hats and what they mean in various contexts, from African traditions to church culture, to family relationships, the Civil Rights Movement, and more. All of these stories are punctuated by songs, mostly gospel songs and hymns, showcasing the superb voices of the always excellent Jackson and the rest of the cast. It’s an occasion for thought, reflection, remembrance for those familiar with the cultural traditions portrayed here, and learning for those who aren’t.

The setting is established well, with that giant hat as the centerpiece of Dunsi Dai’s memorable scenic design, framed by stained glass windows. There’s also excellent use of lighting, designed by Joe Clapper, to set the mood throughout the production. The costume design is also particularly strong, with a variety of detailed outfits of various periods, and of course a succession of hats of many shapes and sizes, from simple to more ornate. The staging is dynamic and full of movement, as well, with Kirven Douthit-Bird’s choreography utilizing the stage setup well, as the ensemble sings and dances around the giant hat that serves as both a centerpiece and a pedestal.

The music is also a star here, with excellent songs and singing from the whole cast, and particularly Jackson, whose stage presence and vocal power are obvious, as also Amber Rose as Velma, whose solo on ‘HIs Eye is On the Sparrow” is a highlight of the production. White as Yolanda is also excellent, both vocally and in terms of acting, conveying her character’s journey well. The whole ensemble is strong, as well. In addition to Jackson, Rose, and White, Maureen L. (Hughes) Williams as Wanda, Eleanor Humphrey as Jeanette, and Myke Andrews in various male roles (including the pastor of the church) give excellent perfornances, relating their stories and singing their songs with energy and feeling.

This is a celebration of hats and culture, but also of music. It’s an outstanding showcase for great voices and fascinating stories, with humor, drama, and a strong sense of community, tradition, and shared experience. Crowns is a great start to a new season from the Black Rep.

Cast of Crowns
Photo: The Black Rep

The Black Rep is presenting Crowns at Washington University’s Edison Theatre until September 23, 2018

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STAGES’ Vibrant “Oklahoma!” Is a Lot More Than Just OK

September 15, 2018 by Michelle Kenyon ("Snoop")

Oklahoma!
Music by Richard Rodgers, Book and Lyrics by Oscar Hammerstein II
Directed by Michael Hamilton
Choreographed by Dana Lewis
STAGES St. Louis
September 12, 2018

Blake Price, Sarah Ellis, Zoe Vonder Haar
Photo by Peter Wochniak, ProPhotoSTL
STAGES St. Louis

Oklahoma! is a classic musical. In fact, it’s often thought of as the one that really made “musical theatre” a thing, at least in its modern sense. It’s 75 years old this year, and to celebrate its anniversary, many theatre companies across the country are producing the show. Here in St. Louis, it’s on at STAGES to close out their 2018 season, and the production is all that could be hoped for in a staging of this show. It’s a tradititional staging, for the most part, but being on a smaller scale than most productions of this show I’ve seen, it brings an immediacy and clarity to the relationships that is refreshing, and the casting is about as ideal as I could imagine, especially in the two lead roles.

The story is well-known to essentially anyone who knows the history of musical theatre. Set in the Oklahoma territory at the turn of the 20th Century, it follows a collection of characters and their lives and loves as the world is in the midst of an era of change, both technological and social. The cowboy Curly (Blake Price) is sweet on Laurey (Sarah Ellis), and she’s sweet on him, but they’re both awkward about admitting that. Laurey, who lives on a farm with her Aunt Eller (Zoe Vonder Haar), also has another admirer–mysterious, somewhat menacing farmhand Jud Fry (David Sajewich), but Laurey accepts Jud’s invitation to a town social event to spite Curly, even though she soon regrets her decision. Meanwhile, Laurey’s romantically adventurous friend Ado Annie (Lucy Moon) has her own dilemma–having to choose between her cowboy sweetheart Will Parker (Con O’Shea Creal), who wants to marry Annie, and traveling peddler Ali Hakim (Matthew Curiano), who is being pressured by Annie’s father (John Flack) to marry her. Some of the situations are awkwardly stereotypical by today’s standards, but for the most part it’s an entertaining representation of a bygone era both in terms of history and musical theatre, although the casting especially for Curly and Laurey has brought out a sense of timeless immediacy to the story that I haven’t seen as much before.

I’ve seen this show several times before, and I’ve never seen a Curly and Laurey with better chemistry than Price and and Ellis in this production. Every time they are one stage together, it’s electric, and every scene they have together is believable, crackling with emotional energy and attraction, bringing real magic to moments like “The Surrey With the Fringe On Top” and “People Will Say We’re In Love”. Price is an affable, charming Curly and Ellis is a somewhat more deadpan sarcastic Laurey than I’ve seen before, and her more reflective moments are credible as well. In fact, the dream ballet, with Ellis dancing herself opposite a “Dream Curly” (Nicolas De La Vega) puts the focus on Laurey even more so than other dream ballets I’ve seen. It’s an especially memorable, expertly danced moment. The always excellent Vonder Haar is impressive here as the devoted, spunky Aunt Ellerl, and Moon, O’Shea, and Curiano give strong comic performances in their roles as well. Sajewich is an appropriately broody and menacing Jud, and there’s also an excellent, energetic singing and dancing ensemble to back up the leads, with some impressive choreography by Dana Lewis on big, memorable production numbers like “Kansas City”, “The Farmer and the Cowman” and the title song.

Visually, this production is simply stunning, with a set by James Wolk that brings the Oklahoma prairies to vibrant life on stage, with some truly impressive dimensional scene painting and striking, stylish lighting by Sean M. Savoie. There are also colorful period costumes by Brad Musgrove that serve to celebrate both the era in which the show takes place and the 1940s costume design of the orginal Broadway production. It’s a great looking show, in keeping with classic and timeless style.

This is, simply stated, a fantastic Oklahoma! I especially like the particular focus on Curly and Laurey here, since other productions I’ve seen seem to have them overshadowed by the comic subplot. Even though the comic plots are well-done, the real stars here are Price and Ellis, and their love story makes more sense with these two than it ever has before, at least in productions I’ve seen. It’s a remarkable, vibrant production, appropriate for a 75th anniversary of an important classic musical. Go see it. It’s a whole lot more than just “OK”.

Con O’Shea-Creal, Lucy Moon
Photo by Peter Wochniak, ProfPhotoSTL.com
STAGES St. Louis

STAGES St. Louis is presenting Oklahoma! at the Robert G. Reim Theatre in Kirkwood until October 7, 2018.

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Impressive “Evita” is a Strong Season Opener at the Rep

September 11, 2018 by Michelle Kenyon ("Snoop")

Evita
Lyrics by Tim Rice, Music by Andrew Lloyd Webber
Directed by Rob Ruggiero
Choreographed by Gustavo Zajac
Repertory Theatre of St. Louis
September 7, 2018

Sean MacLaughlin, Michelle Aravena
Photo by Eric Woolsey
Repertory Theatre of St. Louis

The Rep has opened its newest season with a classic Andrew Lloyd Webber/Tim Rice musical, Evita. This is a show that I had heard much of the music to, but had never actually seen. I’m glad the Rep’s production is the first one I’ve been able to see, since it’s stunning, with an especially strong cast and fabulous production values.

Evita is a well-known collaboraton from the celebrated team of Andrew Lloyd-Webber and Tim Rice, and after seeing this production, I think it’s Lloyd Webber’s strongest score. With memorable songs like “Don’t Cry For Me, Argentina”, “Buenos Aires” and “Another Suitcase In Another Hall”, this is a vibrant score with elements of tango, rock, and operatic styles, sung through and structured like an opera. It tells the story of the celebrated First Lady of Argentina in the late 1940s and early 50s, Eva Perón (Michelle Aravena), who starts out as Eva Duarte, rising from obscurity in rural Argentina, moving to the big city of Buenos Aires to become an actress, later meeting and marrying influential Colonel Juan Perón (Sean McLaughlin), and using her influence and popularity with the people to help him win the Presidency. The show, is narrated in a critical manner by Ché (Pepe Nufrio), who represents the common people of Argentina as Eva grows in power, influence and affluence and gains many admirers, who adore her as “Evita”. It’s a well-structured show with many strong musical moments, and a prime opportunity for a tour-de-force performance from its lead. Told essentially as flashback starting and ending with Eva’s funeral–accompanied in this production by actual footage projected on a screen above the stage–the story unfolds at a steady pace, examining Eva’s character and influence on her husband’s rise to power, as well as her influence on the general population of Argentina and her eventual iconic status.

I don’t know enough about the real Eva Perón to know exactly how historically accurate it is, but it’s a convincingly told story and a fascinating show, given an impressive staging at the Rep, with those glorious production values that the Rep is known for, including a fabulous unit set and projections by Luke Cantarella, dazzling period costumes by Alejo Vietti, and stunning lighting by John Lasiter. The staging is dynamic, using the turntable to excellent effect, whether it’s comic as in “Goodnight and Thank You” as Eva meets and moves on from a succession of lovers in Buenos Aires, or dramatic as in “Another Suitcase in Another Hall”, poignantly sung by Perón’s rejected young Mistress (Shea Gomez) after Eva moves in. There’s also energetic choreography with a strong tango influence by Gustavo Zajac, and a first-rate band led by music director Charlie Alterman.

In terms of the cast, since this is Evita, it’s essential to cast that central character well, and the Rep has done that with the outstanding Aravena, who delivers a strong, powerful, and vulnerable performance as Eva. Vocally she is impressive despite a little bit of straining on the higher notes, and her dancing is particularly strong, as is her portrayal of Eva’s emotional journey from ambitious teenager to complicated national icon. She is well-matched by Nufrio, who displays excellent stage presence and a great voice as the challenging, confrontational Che. Her chemistry with MacLaughlin’s equally strong Perón is convincing, as well. There are also memorable performances from Gomez as Perón’s Mistress, and by the smooth-voiced Nicolas Dávila as singer Augustin Magaldi, who first brings Eva to Buenos Aires. There’s also a versatile and energetic ensemble ably supporting the leads in various roles, bringing spark and power to the production numbers such as the Act 1 closer, “A New Argentina”.

Evita is one of the more famous shows that I hadn’t actually seen before, and when I heard the Rep would be producing it I was looking forward to it. I’m happy to say the production has lived up to its promise. It’s a big, visually and vocally impressive show with a stellar cast that does justice to its celebrated score. It’s a great way to start a new season at the Rep.

Cast of Evita
Photo by Eric Woolsey
Repertory Theatre of St. Louis

 

The Repertory Theatre of St. Louis is presenting Evita until September 30, 2018

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