Midnight’s “St. Nicholas” is a Fascinating Acting Showcase and Exploration of Conscience and Humanity

October 3, 2025 by Michelle Kenyon ("Snoop")

St. Nicholas
by Conor McPherson
Directed by Bradley Rohlf
The Midnight Company
October 2, 2025

The Midnight Company’s latest show is a familiar one in a few ways for Artistic Director/star Joe Hanrahan. Not only is it the format the Midnight is most well-known for, it’s also Hanrahan’s forte–the one-man show. Also, the show in question, St. Nicholas by Conor McPherson, is one Hanrahan has performed before on a few separate occasions, although this is my first experience with it. I may have avoided it before because it’s essentially about vampires, which I mentioned before are not among my favorite subjects for stories. Still, seeing Hanahan–under the direction of Bradley Rohlf–acting out McPherson’s quirky but insightful story makes me almost forget I don’t usually love vampire stories. Because this one is more than a simple vampire story. It’s also about theatre critics, about conscience, and about the experience of humanity itself.

As with a lot of one-person shows, and especially the ones Hanrahan chooses to perform, the tone is essentially conversational. A man–here an unnamed Dublin-based theatre critic–is telling his story. He’s up front about the fact that this story involves vampires, but he’s also careful to say that these vampires aren’t like the ones in the movies. Still, although the critic starts out with that announcement, it takes him a while to get to the “vampire” part of the story, at least in the literal sense.  What becomes clear, though, as he gets into the first part of the story, is that this is a story about two kinds of “vampires”, it seems, as the critic himself tells about his job and his life, and his pursuit of notoriety at the expense of others, as well as his growing obsession with a young actress named Helen, who he first encounters while attending a show in which she stars. The way he talks about his life, and his regrets regarding his family, and his obsession with Helen and her company, to the point in which he lies about the nature of his review to impress them and eventually follows them to London, makes it clear that the critic himself is, in a way, a vampire, trying to satisfy his “hunger” at the expense of others. 

That’s just Act One, however, which ends with the critic finally meeting his first “real” vampire, whose name is William. After first encountering William in a London park, he finds himself drawn to follow him, and to be employed by William and his vampire roommates as a procurer of young people to invite to their house parties, in which the vampires will indulge their own appetites. Meanwhile, the critic gets to know William better, and finds what he defines as the key difference between vampires and humans. He also starts to grow tired of the vampires as he continues his nightly missions to round up party guests, which eventually presents him with a personal dilemma as it inevitably brings his story full-circle, forcing him to come to a reckoning not only with the vampires, but with himself. 

Hanrahan is an expert storyteller, and this show plays to his strengths, as it’s a somewhat talky show but never gets boring as Hanrahan keeps it compelling with his characterizations of the critic, and occasional other characters–especially William. Hanrahan’s energy and stage presence lends much drama and interest to this intriguing tale, even though his Irish accent is hit-or-miss, although that’s a minor quibble. 

The story itself is well-paced and fits well in the simple space at Greenfinch Theater & Dive. There’s no set to speak of–just a chair that Hanrahan pulls out of the audience at one point, and he’s dressed in a simple suit that fits his character. The mood and suspense are maintained by means of Hanrahan’s characterization coupled with effective sound and lighting design by director Rohlf.

The story is not as spooky as I had been expecting, but as far as I’m concerned, that’s a good thing. It’s something of a “grounded” vampire tale that never makes it clear if the story is real or a fantasy. What it does do, quite successfully, is present the vampires as an effective contrast to the initially amoral and guilt-ridden theatre critic. The idea of theatre criticism as a form of “power” is also brought up, and that presents a valid source of reflection for critics in the real world who seek to do their jobs with enthusiasm and integrity. 

It’s an entertaining show, if not very long, although it provides a lot to think about. With another fine performance from Hanrahan, St. Nicholas also works as a fitting “Halloween” show for the season, although not exactly in the conventional sense. It’s about humanity, and also about theatre, which is always an intriguing subject for critics and non-critics alike. It’s only playing this weekend, and it’s certainly worth checking out.

The Midnight Company is presenting St. Nicholas at the Greenfinch Theater & Dive until October 5, 2025

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“The Minutes” At SDT is Chilling, Timely, Darkly Comic Look at Politics, Authority, and the Meaning of History

October 3, 2025 by Michelle Kenyon ("Snoop")

The Minutes
by Tracy Letts
Directed by Justin Been
Stray Dog Theatre
October 1, 2025

Tawaine Noah, Nick Freed, John Reidy, Gerry Love
Photo: Stray Dog Theatre

Tracy Letts’s The Minutes is a dark comedy that gets darker minute by minute. The Pulitzer-nominated show is an incisive, even brutal critique of small-town American politics that has a lot to say for today’s audiences, especially concerning the concepts of history, tradition, and the pressure to tow the “official” line. At Stray Dog Theatre, this play has been brought to the stage under the direction of Justin Been, featuring a fantastic cast and pacing that works to tell the story in an unrelenting and riveting fashion.

The “world” of this play is fully realized onstage at SDT’s Tower Grove Abbey through means of Been’s painstakingly realistic set, bringing a small-town council chamber to life with meticulous detail. At first, I’m reminded a bit of the modern classic sitcom Parks and Recreation, which also lampoons the minutiae and particularity of small town politics, but Letts’s take in this play is a lot darker, and even–dare I say–meaner. It starts out as something familiar, and anyone who has been in a council or board meeting of any kind will find some issues with which to relate, but there’s more going on here at a City Council meeting for the town of Big Cherry. The people are familiar “types”, as well, and a degree of secrecy from the start, but the evasiveness of these seemingly harmless bureaucrats has a deeper, much more unsettling purpose that unfolds as the story plays out. I don’t want to spoil much, but I will say that it’s especially timely considering a lot of events and discussions going on in our country right now, especially considering the purpose of history, and who gets to decide what the “official story” is.

The story follows newest council member Mr. Peel (Nick Freed) as he arrives for his first meeting as a member, having missed the previous week’s meeting due to a death in the family. As Peel shows up on a stormy night in Big Cherry and the rest of the council members begin to assemble along with clerk Ms. Johnson (Rachel Hanks), Peel is made aware early on that things aren’t as he expected. Most notably, one council member that Peel seems to have been already acquainted with, Mr. Carp (Stephen Peirick), is missing, and Peel is soon told that Carp is no longer a member of the council. It’s also made relatively clear that there was a disagreement of some sort at the prior meeting, although Mayor Superba (Gerry Love) and the rest of the board are insistently evasive about what happened, even going so far as to seemingly suppress the minutes from that meeting, saying they’re not “ready” to be reviewed yet. The meeting then progresses with various topics and arguments over issues of an accessible fountain in a prominent park championed by Mr. Hanratty (Patrick Canute), Mr. Blake’s (Tawaine Noah) insistence on promoting his unconventional crowd-drawing idea for the upcoming (and revered) Big Cherry Heritage Festival. There’s also an ongoing issue of what do with some confiscated bicycles–an issue that was apparently important to Mr. Carp, as well as the evasive and increasingly aggressive Mr. Assalone (Jonathan Hey), who had apparently clashed with Carp. 

Gradually, the issue of the previous meeting keeps being brought up, as does the town’s devotion to its celebrated Heritage Festival and the folkloric story behind it, involving a locally famous 18th Century “battle”, a seemingly heroic Army sergeant, and a clash with a local Native American tribe. As the meeting goes on, the issues get more and more personal and the truth of the previous meeting is finally revealed, uncovering issues that challenge the very soul of the town and the council members, and their vision of the past and how that shapes their goals for the town and hopes for the future. It also presents a dilemma for Peel, who is essentially the stand-in for the audience. 

The script is at turns humorous, witty, sharp, challenging, and has occasional forays into sheer horror, especially at the end, in a change of tone that, while effective, strikes me as a bit “too much”, to the point of potentially distracting from the point the show is trying to make. Still, it’s all acted and staged remarkably well, with riveting performances from all involved, especially standouts Freed as initially idealistic newbie Peel, Peirick as  the passionate, insistent Carp, Hey as the increasingly shady Assalone, Love as the initially affable but somewhat cryptic Mayor, and Hanks as Ms. Johnson, whose sing-song voice and insistently upbeat tone seems to battle with an also obvious sense of resignation. There are also strong performances from the rest of the ensemble, including the aforementioned Reidy, Canute, and Noah, along with Jan Niehoff as the forgetful Ms. Matz, Will Shaw as the board’s senior Member, Mr. Oldfield, and Lavonne Byers as the second most-senior member, Ms. Innes. The interplay and energy between the performers lends a lot to the sense of tension, along with with the humor, drama, and unfolding suspense. 

The excellent set also works as something of a character in the show, aided by fantastically tuned lighting and sound effects by Tyler Duenow and Been, respectively. There’s also a chillingly effective use of music to underscore the action. Colleen Michelson’s costumes are also memorable, crafted with detail to fit the personalities and quirks of the individual characters while also fitting in with the overall “small town” vibe. 

The message of The Minutes is profound and important while also being surprisingly of-the-moment. Small-town politics as well as overall attitudes toward authority and the meaning of history and controlling narratives, are all effectively brought up here in an increasingly brutal satirical manner. There’s a lot to think and talk about here, and SDT has brought this story to the stage with energy, emotion, and theatrical expertise. 

Cast of The Minutes
Photo: Stray Dog Theatre

Stray Dog Theatre is presenting The Minutes at Tower Grove Abbey until October 18, 2025

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“Beautiful” Lives Up to Its Title at STAGES With Heartfelt Celebration of Music, Creativity, and Friendship

September 29, 2025 by Michelle Kenyon ("Snoop")

Beautiful: The Carole King Musical
Book by Douglas McGrath
Words & Music by Gerry Goffin & Carole King, Barry Mann & Cynthia Weil
Directed and Choreographed by Jennifer Werner
STAGES St. Louis
September 24, 2025

David Socolar, Kailey Boyle, Brianna Kothari Barnes, Jeff Cummings
Photo by Phillip Hamer
STAGES St. Louis

Seeing different productions of the same show can bring out different aspects of the show, also while highlighting the reasons why certain shows succeed so well at telling their stories on multiple levels. STAGES St. Louis’s latest offering, Beautiful: The Carole King Musical, is the third and “smallest” production I’ve seen of this show, after the touring show at the Fox a few years ago and the lavish Muny production in 2023. While all three productions have been excellent, each one seems to have its own “personality”, and this one at STAGES, under the direction of Jennifer Werner and featuring a fantastic cast, comes across as perhaps the most personal of all.

The smartly-scripted musical focuses on legendary singer-songwriter Carole King (Brianna Kothari Barnes), who started out as a Brooklyn teenager with a gift for composing music and a mother, Genie Klein (Amy Loui), who encourages her daughter to pursue a more “stable” career as a music teacher. But the talented and ambitious Carole is determined to make it as a songwriter, soon meeting publisher/producer Don Kirshner (Jeff Cummings), and selling her first song. She also meets Gerry Goffin (Sean McGee), who soon becomes her partner in both songwriting and life, as the two marry, have a baby, and eventually find success with a series of hit songs performed by popular artists like the Drifters (Ian Coulter-Buford, Trey McCoy, Devin Price, Justin Reynolds),the Shirelles (Tatiana Bahoque, Tiffany Francés, Sydney Quildon, Alexandrea Reynolds), and Little Eva (also Quildon). Carole and Gerry also become close friends and professional rivals with another couple, the songwriting team of Barry Mann (David Socolar) and Cynthia Weil (Kailey Boyle). The story follows Carole through the pop music scene of the 1960s as well as challenges in her marriage as Gerry begins to feel restless and deals with mental health and substance abuse issues, finally leading up to her emergence as a solo artist and the debut of her Grammy-winning album Tapestry and a celebrated concert at Carnegie Hall. 

It’s an insightful look at the American pop music scene from the late 1950s to the early 1970s, as well as a celebration of King’s talent, personality, and artistic development. It’s also a compelling look at friendships among creative artists, and the triumphs and temptations of show business. With the more intimate staging of this production and the smaller ensemble, the personal aspects of King’s life seem to stand out more, as do the personal interaction among artists and writers. The staging is well-paced, and the cast is well-chosen, led by a charismatic and relatable Barnes, who sings in King’s style with ease and displays strong stage presence and chemistry with her co-stars, especially McGee’s charming but erratic Gerry, and the memorable standouts Boyle as Cynthia and Socolar as Barry. Cummings is also a highlight as the commercially-focused but supportive Kirshner. There’s also a first-rate ensemble playing all those superstars of yesteryear also including the Righteous Brothers (Hugh Entrekin, RJ Woessner), Neil Sedaka (Woessner), and Janelle Woods (Bahoque). 

The look, sound, and vibe of the eras portrayed are marvelously well-realized, with a kinetic, eye-catching set by Peter Barbieri, dazzling lighting design by Sean M. Savoie, and excellent sound by Breanna Fais. The colorful, detailed period costumes by Cat Lovejoy also add to the overall mood and atmosphere, and there’s a great band led by music director David Nehls, bringing to life all those well-known hits including “Will You Love Me Tomorrow”, “You’ve Got a Friend”, “One Fine Day”, and many more. Werner’s choreography is also a highlight, and the staging on production numbers like the especially memorable “The Locomotion” is stellar.

Ultimately, what comes across here in an especially powerful way is the real sense of connection and friendship, with the “You’ve Got a Friend” sequence featuring Carole along with Weil, Mann, and Kirschner being a particularly  heartwarming moment. Beautiful is a show that celebrates the life and work of Carole King, but also the music and eras in which she got her start. At STAGES, the show lives up to its title, highlighting the beauty of music, friendship, and creativity. 

Brianna Kothari Barnes and Cast
Photo by Phillip Hamer
STAGES St. Louis

STAGES St. Louis is presenting Beautiful: The Carole King Musical at the Kirkwood Performing Arts Center until October 19, 2025

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SATE Takes the Audience on a Fun “Classic Aventure” With Much Energy and Nostalgic Style

September 17, 2025 by Michelle Kenyon ("Snoop")

Classic Adventure Movie: Or Never Say Die
Written by Keating
Based on a Concept by Rachel Tibbetts, Keating, and Cassidy Flynn
Directed by Rachel Tibbetts
SATE Ensemble Theatre
September 12, 2025

Keating, Ricki Franklin, Cassidy Flynn, Ashwini Arora
Photo by Joey Rumpell
SATE Ensemble Theatre

Remember The Goonies? Maybe you do, and maybe you don’t, but it’s clear that Richard Donner’s 1985 film–with a script by Chris Columbus based on a story by Steven Spielberg–has become a modern classic, especially for Gen X and the Millennial generation. With a cast made up of performers of various ages and experiences, SATE explores the story of the movie in its own madcap way, while also–in a style reminiscent of their earlier show First Impressions–allowing moments for the cast members to reflect on the “classic adventure movies” that shaped their own lives. The end result–Classic Adventure Movie: Or Never Say Die–is full of action, humor, reflection, enthusiasm, nostalgia, and ultimately a whole lot of fun.

What’s especially fun about this show is that, even if you haven’t seen the film or if, like me, you haven’t seen it since it first came out in theatres, you’ll probably still be able to follow this show fairly easily. The Goonies story is told, essentially, but with revisions and references to other films and stories, with occasional nostalgic breaks as the cast members tell of the films that shaped their lives, from more obvious selections like E.T. The Extra-Terrestrial to perhaps more surprising fare like Under the Tuscan Sun, and covering many decades of cinematic history, with a high concentration on movies from the 1990s and early 2000s. 

The adventure theme is present throughout, as the “Goonies”–an “outcast” group of kids and teens in their small Oregon town–find a treasure map apparently made by a long-lost pirate called One-Eyed Willy. The kids, led by Mikey (Ricki Franklin), Mouth (Cassidy Flynn), Chunk (Keating) and Data (Ashwini Arora) go on a quest to find the map with the hopes that the treasure will help them save their homes, which are slated to be demolished in order to build a Top Golf. Soon, the group finds themselves at odds with the criminal Fratelli family–brothers Jake (Anthony Kramer-Moser) and Francis (Victor Mendez) and their bossy Mama (LaWanda Jackson), who hope to find the treasure for themselves. They also are eventually joined by Mikey’s older brother Brand (Carl Overly, Jr.), Brand’s cheerleader crush Andy (Hailey Medrano), and Andy’s best friend Steph (Marcy Wiegert), along with appearances by fellow cheerleaders Barb (Katie Donnelly) and Lizzie (Courtney Bailey) and superstar pop singer Cyndi Lauper (Frankie Ferrari), who gets to play a much bigger part in this show than the cameo appearance she had in the film. 

There’s a lot going on here, with fun moments of humor and pop-culture references, and especially strong ensemble chemistry with no weak links in the cast. The four main Goonies are standouts, with some excellent moments from everyone else as well, and Ferrari seemingly having a blast playing Lauper and getting to lead the cast in an energetic rendition of one of Lauper’s hit songs. The nostalgia moments are fun, as well, exploring the very real way film has come to shape the lives of so many throughout the generations, and how “adventure” can mean different things to different people. 

The performance space at The Chapel has been used to maximum benefit by means of Erik Kuhn’s imaginative and detailed set, decorated with movie posters and nostalgic artifacts. Also noteworthy are Katie Leemon’s memorable props, the marvelous lighting by by Denisse Chavez and excellent sound by Ellie Schwetye that helps keep up the overall nostalgic and adventurous tone of the show. Liz Henning’s costumes are also excellent, adding a lot of nostalgic fun to the story and suiting the characters and overall tone especially well.

This is another hit from SATE. This company is great at what it does, with a quirkier take on theatre that also highlights creativity, imagination, intelligence, and heart. With a clever script by Keating, fast-paced direction by Rachel Tibbetts, and a first-rate cast who all seem to be having a fantastic time, this is a show that entertains with a lot of energy and charm. It’s a real adventure of a comedy, with loads of nostalgic charm and style. 

Cast of Classic Adventure Movie: Or Never Say Die
Photo by Joey Rumpell
SATE Ensemble Theatre

SATE Ensemble Theatre is presenting Classic Adventure Movie: Or Never Say Die at The Chapel until September 27, 2025

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NJT’s “Wanderers” is a Highly Emotional Exploration of Relationships and Expectations

September 17, 2025 by Michelle Kenyon ("Snoop")

The Wanderers
by Anna Ziegler
Directed by Robert Quinlan
The New Jewish Theatre
September 11, 2025

Bryce A. Miller, Jade Cash
Photo by Jon Gitchoff
The New Jewish Theatre

One of the marks of great theatre is the ability to explore and inspire deep emotions, for the actors and the characters they play, and also for the audience. A good example of this is my experience of watching the New Jewish Theatre’s latest production, Anna Ziegler’s The Wanderers,  directed by Robert Quinlan. This play, following two parallel stories of married couples, runs the gamut of emotions, as I did watching it, following the twists, turns, and various attributes and decisions of the characters, not being entirely sure what to think until I saw it come together as a remarkably thoughtful and challenging, with some truly excellent performances.

This is a play with a few twists, but the set-up is fairly simple–we see alternating scenes of two married couples, one in the 1970s and 80s, and another starting in 2015. The earlier couple, Esther (Jade Cash) and Schmuli (Bryce A. Miller) are members of a strict Jewish sect called Satmar Hasidism, and their first scene shows their wedding night, when they are alone together for what is apparently the first time. The later couple, Abe (Joel Moses) and Sophie (Wendy Renée Greenwood), are a pair of writers who grew up together, and we first see Sophie reflecting on their relationship and a major decision she has made regarding it. Their timeline then goes back a bit to explore how their relationship got to that moment of decision, and in alternating scenes we see both couples struggle with community expectations, parenting, the ups and downs of their personal relationships, and differences in beliefs and opinions, and fairly soon learn what the connection is between the two couples, which is fairly obvious from early on. We also see Julia (Maggie Wininger), a famous movie star who has attended one of Abe’s book readings, and an email conversation between the two, which is portrayed in something of an otherworldly way, with lights and sound effects that lend an air of mystery as Abe increasingly bears his soul to the woman on the other end of the computer, whom he seems to hold as something of an ideal, as opposed to reality of his own marriage and family commitments, and while growing more and more distant from Sophie. Meanwhile, Schmuli and Esther navigate their own struggles, as he deals with pressures from the stricter members of his family and community as she becomes increasingly curious about the outside world. 

This is an especially well-structured story, with a few twists and revelations, and developments that go the way you may be expecting, and others that don’t. I found myself getting angry at the characters (especially Abe) quite a bit, and wondering if Sophie was going to be given much to say because a lot of time she seemed to be hovering in the background, but in the last third or so of the play, Sophie is given her moments. Everyone is excellent, with Moses perfectly cast as the alternately charming and self-absorbed Abe, and Greenwood a strong foil as the persistent Sophie, and Cash and Miller at their best as the the conflicted but obviously caring Esther and Schmuli. Some of the play’s most profound moments are between these two, as the tension that grows between them is palpable and saddening. Wininger is also a standout as Julia, who hovers in something of an ethereal space in the personification of her emails with Abe, as something of a cross between a real person and an idealistic fantasy. The chemistry is strong all around, giving energy to intelligence and gradually building momentum of the script.

The stage layout is intriguing, with the performance area set up as a long strip in the middle, with Esther and Schmuli’s area on one side and Abe and Sophie’s on the other, with characters occasionally venturing out into the undefined space in the middle. Reiko Huffman’s set is detailed and well-defined, and well-lit by Jayson Lawshee, whose lighting design lends alternate airs of mystery and realism, as the plot demands. There’s also excellent work from sound designer Amanda Werre, and meticulously detailed costumes by Michele Friedman Siler that add to the storytelling as well as helping define the characters.

This isn’t a long play, running at approximately an hour and 45 minutes without intermission, but there’s a lot going on in that time span, which in the world of the play is years and decades of emotion, connection, distance, and drama. It’s a thoughtful exploration of relationships, richly portrayed by a superb cast of excellent local performers. It’s sure to provoke a lot of thought, and even some emotional investment in these well-drawn characters and their story.

Wendy Renée Greenwood, Joel Moses
Photo by Jon Gitchoff
The New Jewish Theatre

The New Jewish Theatre is presenting The Wanderers at the J’s Wool Studio Theatre until September 28, 2025

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Musical “Raisin” Highlights Important Themes, Strong Cast at the Black Rep

September 11, 2025 by Michelle Kenyon ("Snoop")

Raisin
Book by Robert Nemiroff and Charlotte Zaltzberg
Music by Judd Woldin, Lyrics by Robert Brittain
Adapted from Lorraine Hansberry’s A Raisin in the Sun
Directed by Ron Himes
Choreographed by Kirven Douthit-Boyd
The Black Rep
September 6, 2025

Duane Martin Foster, Adrianna Jones, Andrea Mouton
Photo by Keshon Campbell
The Black Rep

The first time I saw Lorraine Hansberry’s classic play A Raisin in the Sun was in a fantastic production at the Black Rep in 2014. Now, the celebrated company is revisiting the material in a different form with their new production of the 1973 Tony-winning musical version, Raisin. As is usual for this company, the resulting production is a thoughtful, well-cast show, and a promising start for a new season for the Black Rep.

If you’ve seen or read A Raisin in the Sun, you know the plot of Raisin, although there are a few changes, such as streamlining the story a bit, the removal of one character and the addition of one who is only mentioned in the earlier play. There’s also the expected singing and dancing ensemble, since it’s a musical. To a score that reflects the musical styles of the show’s early 1970s origins, the story plays out in what the program describes as early 1950’s Chicago, where the Younger family is dealing with various hopes, dreams, changes, and challenges. Matriarch Lena (Anita Michelle Jackson), a recent widow, is awaiting an insurance check from her late husband’s policy, which she hopes to use it to move the family from their too-small rented apartment into a bigger house in a nicer neighborhood. Her son, Walter Lee (Duane Martin Foster)–who is currently working as a chauffeur–is hoping he can convince his mother to let him use the money to invest in a new liquor store business with two of his buddies.  Meanwhile, his wife Ruth (Adrianna Jones) also wants more room and a promising future for their young son, Travis (Jaron Bentley). Meanwhile, Walter Lee’s younger sister, aspiring medical student Beneatha (Andrea Mouton) deals with differences in beliefs with her mother, as well as being encouraged to explore her African heritage by Nigerian student Joseph Asagai (Robert McNichols), who is also romantically interested in Beneatha. The main conflict, though, focuses on Walter’s dreams vs. Lena’s, as well as the challenges for the family amid racial prejudice in 1950’s Chicago, generational differences, and the changing values of the times.

This is an intriguing well-told story, and the songs fit well into the show, opening with an energetic ensemble dance number featuring the energetic, fluid choreography of Kirven Douthit-Boyd, and featuring some memorable musical moments throughout. The cast is excellent, as well, led by a tour-de-force performance by Jackson as the hopeful, caring Lena, who gets some excellent opportunities to show off her powerful singing voice. Foster is also strong as the insistent dreamer Walter Lee, displaying strong chemistry with Jones’s equally excellent Ruth. Mouton and McNichols make a sweet connection as Beneatha and Asagai, and there’s also a standout turn from young Bentley as Travis, who gets a few moments to shine musically as well. De-Rance Blaylock is also a standout in a smaller but memorable role as the Youngers’ neighbor Mrs. Johnson, and Will Bonfiglio also makes a memorable impression in a smaller role as a nervous representative of the currently all-white neighborhood the Youngers are planning to move to, offering them a deal that presents a dramatic dilemma. There’s a strong ensemble, as well, showing off strong singing and dancing ability as accompanied by the excellent band led by musical director/keyboardist Jermaine Manor. 

Visually, I did find myself not always able to tell what time the show was supposed to be set in, with the costumes by Gregory Horton being memorable but not always evocative of the early 1950’s. The set by Tim Jones is simple but effective, and Tony Anselmo’s lighting lends a dreamy tone to some moments while emphasizing realism in others as needed. The sound design by Kareem Deanes is good. but the acoustics in the Edison Theatre present the usual challenge and it’s not always easy to hear the singers over the music, and the pacing is excellent but there are occasional awkward transitions between scenes. 

Despite a few minor issues, though, Raisin is a fascinating, well-told story told by a truly fantastic cast. It’s an ideal showcase for the performers, both familiar and new, and an intriguing adaptation of a classic play with a memorable score. It’s an excellent season opener for the Black Rep, and it makes me even more eager to see what else they have in store.

Adrianna Jones, Jaron Bentley
Photo by Keshon Campbell
The Black Rep

The Black Rep is presenting Raisin at Washington University’s Edison Theatre until September 21, 2025

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Fast-Moving, Hilarious “Cottage” at the Rep is a Wild, Memorable Season Opener

September 11, 2025 by Michelle Kenyon ("Snoop")

The Cottage
by Sandy Rustin
Directed by Risa Brainin
Repertory Theatre of St. Louis
September 5, 2025

Jordan Coughtry, Andrea San Miguel, Isa Venere, Jack Dryden, Jihan Haddad
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

The Rep is launching their new season with a wild, physically demanding and precisely timed relationship comedy in the vein of Noël Coward, but as if Coward had a bit too much caffeine. Sandy Rustin’s The Cottage is frantic, it’s raunchy, it’s witty, and it’s a whole lot of fun. It also boasts a great cast and a set like the best of the Rep’s “house” sets–one that may make you want to move in.

It’s fitting that the set, designed with marvelous detail by Robert Mark Morgan, is so memorable, since the titular Cottage is essentially one of the play’s stars. In fact, this play has a lot in common with another of Rustin’s works that has been performed in St. Louis in the last few years–Clue–in that both plays feature quirky, well-defined characters, feature a lot of fast-moving and highly physical comedy, and include a house set that serves as something of a character in itself. Here, though, there’s an original story, inspired by the works of Coward and set in 1923, which is apparently soon after divorce law in the UK was revised so that women had the same rights for filing as men. That’s relevant because this is a play about marriage, divorce, infidelity, secrets and lies, with a particular focus on women’s agency. 

The show opens as Sylvia (Andrea San Miguel) and Beau (Jordan Coughtry) are indulging in an amorous encounter at his family’s cottage, which is a well-appointed upscale English country dwelling that features a prominent portrait of Beau’s mother, who is frequently mentioned but never actually appears. Soon we learn that these two are having an illicit tryst, as they do once a year, hiding their encounters from their respective spouses, as Beau is married to the more fastidious Marjorie (Jihan Haddad) and Sylvia is married to Beau’s somewhat stuffy brother, Clarke (Jack Dryden). Of course, the spouses will eventually show up, but they also usher a series of surprises that I won’t spoil, which eventually include more characters–the scatterbrained Deirdre (Isa Venere) and her apparently murderous husband, Richard (Andrés Enriquez), who bring secrets of their own. The fast-paced interactions, along with a series of revelations, drives the plot, and the expertly choreographed physical comedy adds layers of hilarity as played out by the spectacular cast.

The cast is simply marvelous, led by delightfully physical performances from San Miguel as the somewhat bossy, frequently surprised Sylvia, whose comic timing is simply impeccable. There are also terrific turns from Coughtry as the pompous Beau, Dryden and Haddad showing excellent rapport as Clarke and Marjorie, as well as delightfully goofy showings from Venere as the hilariously forgetful Deirdre and Enriquez as the mysterious and eager Richard. There’s also a fine performance from Sam Matthews in a small role as the gardener. The entire ensemble works together well, with excellent timing, tremendous energy, and razor-sharp wit.  The script is madcap and clever, as well, with fun little touches that send up English manners and rote politeness (such as the constant offers of tea), despite the very real conflict that occurs and ramps up as the story plays out.

The production is simply dazzling, as well, with that marvelous set with all its nooks, crannies and hiding places, along with detailed period costumes by Renee Garcia. Lighting designer Michael Klaers and sound designer Amanda Werre add to the overall intensity and period flair of the show, and there’s also excellent work from fight director Paul Steger and intimacy director Jamie McKittrick. Dialect coach Lauren Roth is also to be commended, since the English accents are well-done and consistent.

The Cottage is, simply speaking, a hilarious, frantically paced must-see. It’s a laugh riot and comedy of manners for mature audiences, moving with breakneck speed and serving as a delightful showcase for a truly superb cast of performers. It’s a fantastic start for a new season at the Rep.

Andrea San Miguel, Jordan Coughtry, Jihan Haddad, Jack Dryden, Andrés Enriquez
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis is presenting The Cottage until September 28, 2025

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The Muny Takes a Thoughtful, Vibrant New Look at Modern Classic “Jersey Boys”

August 20, 2025 by Michelle Kenyon ("Snoop")

Jersey Boys
Book by Marshall Brickman and Rick Elice
Music by Bob Gaudio, Lyrics by Bob Crewe
Directed by Maggie Burrows
Choreography by William Carlos Angulo
The Muny
August 19, 2025

Cast of Jersey Boys
Photo by Phillip Hamer
The Muny

The Muny is closing out its 2025 summer season with a show that’s become a modern classic, and is to my mind, the “gold standard” of one of the two main subsets of what are often called “jukebox” musicals–the bio-musical focusing on the story of a particular artist or band. With memorable songs by legendary pop-rock group The Four Seasons and an especially strong book, this show takes a close look at the group’s four original members and their relationships with each other and with the passage of time. It’s a great show, but the Muny is taking a slightly new approach with this production that lends a thoughtful new focus to the proceedings, all the while still delivering those show-stopping Four Season hits with top-notch vocals and energy.

In his on-stage intro before the show and in his note in the program, artistic director and executive producer Mike Isaacson talks about the concept of time, and how that element is such an important part of the Jersey Boys narrative. I’ve noticed that as well over the years, in that time just keeps moving, as does the action, and that much of the drama and intrigue of the show comes from watching the characters age, grow, and adjust to the changing times and situations. While following the four original Four Seasons, each gets to tell part of the story in turn, starting with guitarist and self-styled “leader” Tommy DeVito (Ryan Vasquez), and then by keyboardist/songwriter Bob Gaudio (Andrew Poston), eccentric bassist Nick Massi (Cory Jeacoma), and finally by lead vocalist Frankie Valli (Pablo David Laucerica). The story follows these four from their beginnings as struggling young musicians in their tight-knit New Jersey neighborhood, to world-famous celebrities with a trove of memorable hits that topped the pop charts–including “Sherry”, “Walk Like a Man”, “December, 1963 (Oh, What a Night)”, and many more. It also deals with their personal triumphs and tragedies, including marriage and family issues, interpersonal conflicts, trouble with the law, and the overall effects of fame on these four boys from Jersey. 

It’s already a well-told story, and I’ve enjoyed every production of this show I’ve seen (this one is my fourth), but this one takes a new angle that adds even more to the reflective nature of the show and the emphasis on the passage of time. For this version. older versions of the four leads (Michael James Reed as Tommy, John Leone as Bob, Drew Battles as Nick, and Jerry Vogel as Frankie) to start off the narration and appear again at the end for the final segment after a time jump in the story. This convention works well, and all of the actors do an excellent job of portraying the characters as recognizable older versions of the younger “main” actors. It also adds an element of emotion to the already stunning conclusion of the show, as we see the older Four Seasons look back on how they used to be, while hearing the strong, soaring voices of the band in their prime. 

The casting is fantastic, with the main roles ideally cast. Vasquez as the tough-talking DeVito, Jeacomo as the quieter and somewhat peculiar Massi, Poston as the ambitious, business-minded and more “clean cut” Gaudio, and Laucerica as the vocally impressive, magnetic Valli are all excellent in vocals and stage presence. Their older counterparts are also memorable, also playing various other roles in the story as needed, with Leone standing out as gangster Gyp DeCarlo. There’s also a strong turn by Tristen Buettel as Frankie’s first wife, Mary Delgado. The whole ensemble is strong, full of energy and enthusiasm, performing the dazzling vocals and vibrant choreography by William Carlos Angulo with vigor and style.

This Jersey Boys is also a great looking show, continuing the trend this summer of finding the ideal staging for the Muny rather than simply following what’s been done elsewhere, or even previously at the Muny. The production makes the most of all the technological improvements that the company has added over the past few years, with a stylish, versatile set by Krit Robinson that makes the most of the giant Muny stage and its turntable, screens, and movable platforms. The dynamic, always-moving tone of the show is augmented by means impressive video design by Kylee Loera and Greg Emetaz that also highlights the eras and changing times. Rob Denton’s dazzling lighting adds to the glitz and glamour and occasional grit of the rock ‘n roll lifestyle, as well, along with the superb sound design by by John Stivers and David Patridge. There’s also excellent musicianship by all involved, especially the excellent Muny Orchestra conducted by music director Paul Byssainthe Jr. 

If you love Jersey Boys and/or the Four Seasons, you will probably love this show. Even if you aren’t as familiar with the show or its subject, there’s a lot to love here, from the music to the energy to the well-crafted book and dynamic story. It’s a new approach to this show that also adds an extra element while keeping the vibe and spirit of the show intact. It’s a strong tribute, and a memorable show in its own right. It’s also a fitting closer to a truly fantastic 2025 season at the Muny.

Andrew Poston, Cory Jeacoma, Ryan Vasquez, Pablo David Laucerica
Photo by Phillip Hamer
The Muny

The Muny is presenting Jersey Boys in Forest Park until August 24, 2025

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SDT’s Evocative “Second Hurricane” Highlights Young Talent, Memorable Score

August 20, 2025 by Michelle Kenyon ("Snoop")

The Second Hurricane
Composed by Aaron Copland
Libretto by Edwin Denby
Directed by Gary F. Bell
Stray Dog Theatre
August 15, 2025

Cast of The Second Hurricane
Photo: Stray Dog Theatre

Stray Dog Theatre is venturing into a new artistic area with their latest production, Aaron Copland’s 1937 youth opera The Second Hurricane. Featuring simple but striking staging, excellent vocals, and a promising cast of talented young performers, it’s an intriguing and musically impressive production that highlights its cast and Copland’s score. It’s also something of a trip back in time, considering how its tone and sense of theming effectively evoke the era in which the work is set.

This was well-known composer Copland’s first venture into opera, and it was intended as a youth show, that I could easily imagine being done by high school choir groups. The show features a youth chorus and an adult chorus, with some spoken parts but mostly focusing on the music. The story follows a Midwest community in the 1930s after a devastating tornado. When a pilot arrives at a local high school trying to recruit volunteers to help distribute supplies to those affected by the catastrophe, an assertive girl named Gwen (Bryn Sentnor) steps up and volunteers, and soon five more are recruited to join her–Butch (Soren Carroll), brothers Fat (Wesley Balsamo) and Gyp (Ben Hammock), radio enthusiast Lowrie (Jabari Boykin), and Queenie (Nadja Kapetanovich). The six are dropped off at an area of high ground near the affected area, and then find themselves stranded when another hurricane strikes. They group of six also has grown to seven, since they are joined by Jeff (Cece Mohr), a younger boy who lives nearby. The rest of the show follows the group’s “adventure” as they struggle to survive and form a bond as a result of their shared struggle.

The choruses serve the purpose of narrating the action as well as carrying the soaring notes of the melodic score. There are also strong vocal turns from all of the featured young performers, and everyone is excellent. It’s an ideal showcase for this group of talented and highly promising young singers. The acting is good, but there isn’t much in the way of dialogue, and I also found myself occasionally wishing for supertitles–as local opera companies are known to use–because it’s not always easy to understand the lyrics. Still, it’s a compelling story and a strong, memorable score, lushly played by a superb orchestra led by music director John Gerdes.

Another especially notable aspect of this production is its lighting and costumes. The set by director Gary F. Bell is simple but all that is necessary, as much of the atmosphere is achieved by means of music and by Tyler Duenow’s stunning lighting. There are also excellent period-accurate costumes by Colleen Michelson that add to the overall ambience and 1930’s vibe. 

This is a very 1930’s show, but its message is also a timeless one, of community and working together in a crisis, as well as the focus on young people as hope for the future. It’s a stirring theme for Depression-era audiences as well as today. It’s a fine new venture for Stray Dog Theatre. 

Jabari Boykin, Soren Carroll, Bryn Sentnor, Wesley Balsamo, Ben Hammock
Photo: Stray Dog Theater

Stray Dog Theatre is presenting The Second Hurricane until August 30, 2025

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Glittery, Campy “La Cage” Entertains in Style at the Muny

August 10, 2025 by Michelle Kenyon ("Snoop")

La Cage aux Folles
Book by Harvey Fierstein, Music and Lyrics by Jerry Herman
Based on the Play by Jean Poiret
Directed by Marcia Milgrom Dodge
Choreographed by Richard J. Hinds
The Muny
August 9, 2025

Michael James Scott, Norm Lewis
Photo by MaryKatherine Patteson
The Muny

The Muny is currently revisiting a show it hasn’t staged in almost 40 years. La Cage aux Folles has been staged and revived many times around the world since its Broadway debut in 1983, and its catchy Jerry Herman score features well-known songs such as “I Am What I Am” and “The Best of Times”. It’s so catchy, in fact, that the songs have been playing in my head on repeat since I saw the Muny’s sparkling, dazzling production in Forest Park last night. Featuring a top-notch cast of Broadway and Muny veterans, this is a show that entertains in flashy, campy style, while also communicating heartfelt themes of family, individuality, and belonging.

The show, based on a popular French play that has been the inspiration for several films (including 1996’s The Birdcage), is set in St. Tropez, France, in a nightclub known for its popular drag shows. The shows are emceed by Georges (Norm Lewis), who lives in an apartment above the club with his longtime partner Albin (Michael James Scott), also known as “Zaza”, the club’s headlining star, who is backed by a memorable chorus of dancers and performers known as “Les Cagelles” (Julia Feeley, Cory Hammond, Kodiak Thompson, Michael Milkanin, Aaron Graham, Gordon Semeatu, Cooper Stanton, Michael Di Leo, Duncan B. Smith, Owen Kent Ing, Kaylee Olson, Kyle White). The two have also raised Georges’s son Jean-Michel (Mason Reeves), who has recently arrived after a time away with surprising news. He’s getting married, and not only that, but his fiancée, Anne (Cameron Anika Hill) is the daughter of an ultra-conservative politician. Also, her parents, the Dindons (Terence Archie, Allison Blackwell) are coming to visit so they can meet Jean-Michel’s parents, but there’s a catch that throws the whole family dynamic out of balance and hurts Albin deeply, although this is a comedy, so I don’t think it’s a spoiler to say that things get better, and there’s also a lot of glitter, colorful costumes, and fantastically campy nightclub routines to the tune of those super-catchy Jerry Herman melodies. 

This production looks a little different than I had been expecting, since I usually associate this show with lots of pink and gold and glitter. Here, the glitter is there, but the palate is much more colorful. There is a fair amount of pink, especially in the restaurant run by Georges and Albin’s bubbly friend Jacqueline (Meghan Murphy), but there’s also a lot of blues, greens, purples, and more. The costumes, designed by Bobby Pearce are simply spectacular, outfitting Zaza and La Cagelles in a series of eye-catching outfits, and with the rest of the characters outfitted in suitable style. There’s also memorable work from wig designer Tommy Kurzman. The set by Matthew Buttrey is also colorful, dazzling, and versatile, adding to the atmosphere in the nightclub scenes and the outdoor scenes in the sunny French Riviera. There’s also marvelous lighting by Jason Lyons, and excellent video design by Kylee Loera and Greg Emetaz. The Muny Orchestra, led by music director Darryl Archibald, brings lush energy to the classic score, as well. 

As for the cast, they shine as bright as the set, if not more. Lewis is charming as Georges, and in great voice on numbers like “Song On the Sand” and “Look Over There”. His chemistry with Scott’s equally marvelous Albin is excellent, as well. Scott makes the most of every moment as Albin/Zaza, from the campier moments to the more emotional scenes like the stellar, show-stopping “I Am What I Am”. These two are the heart of the show, but they are surrounded by a memorable cast of characters, led by Reeves as the earnest, if misguided (at first) Jean-Michel, who has strong chemistry with Hill’s likable (but underwritten) Anne. Archie and Blackwell are suitably stuffy as the Dindons, with Blackwell showing an underlying desire to break free of her husband’s restrictions, and displaying a marvelous operatic soprano in moments when she gets to sing. There’s also a scene-stealing turn from Troy Iwata as Georges and Albin’s butler/maid Jacob, who desperately wants to be in the show at the club. There are also memorable turns from Murphy as the vivacious Jacqueline, Michael Hartung as the club’s stage manager, Francis, and Milkanin as the forceful Hanna, one of the more prominent Cagelles who is in a relationship with Francis. The rest of the cast, including Les Cagelles and an energetic Teen Ensemble, add to the energy and spark of this fun production.

Ultimately, La Cage aux Folles is a lot of fun. It’s been a long time since it’s appeared on the vast Muny stage, and it fits well. With style, heart, energy, and that timeless classic score, this is another memorable hit for the Muny’s 2025 season. 

Norm Lewis (Center) and Cast
Photo by BreAnna Kay Creative
The Muny

The Muny is presenting La Cage aux Folles in Forest Park until August 14, 2025

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