Contraband’s “Professor House” is a Fascinating Unfolding Mystery

October 16, 2025 by Michelle Kenyon ("Snoop")

Professor House
by Jacob Juntunen
Directed by Sam Hayes
Contraband Theatre
October 11, 2025

Cast of Professor House
Photo by Jennifer A. Lin
Contraband Theatre

Contraband Theatre and playwright Jacob Juntunen revisit some themes in their latest production, Professor House that had previously been addressed in their excellent show, See You In a Minute, although the tone and general purpose seem to be quite different. This is also a play set in the future, addressing climate change and a future pandemic, but the tone is generally darker. It’s a story that’s hard to describe without giving too much away, but I will say that it’s at once intense, fascinating, and cleverly staged.

The show begins with Peter (Ben Ritchie) a Mizzou English professor, in the cluttered attic of his home, which has become something of a refuge for him. He’s speaking to Tommi (Maida Dippel), who may or may not be a ghost. Soon, we also meet his wife Lillian (Claire Coffey), who is also a professor, but of math; and his adult daughter, Rosamund and Rosamund’s enterprising spouse, Louie (Ron Baker), who are trying to convince Peter to move to a new house that has been built for them, but Peter is reluctant, and we’re not exactly sure why, at least at first. The rest of the story unfolds in a series of confrontations, reflections, flashbacks, parallel scenes, and wanderings that eventually coalesce into a heartfelt tale of relationships, regret, loyalties and betrayals, and the struggle to move on from tragedy. There’s also a recurring theme of climate change and corporate greed vs. community responsibility. 

For the most part, this is a remarkable show. There are a few details I wish were better shown (like why Peter is so attached to Tommi, for instance), but it’s still a fascinating, thoughtfully staged and constructed work of theatre. The acting is fantastic, especially by Ritchie as the melancholy Peter and Dippel as in the especially difficult role of Tommi, whose character evolves somewhat throughout the play as we get to know more about them. Coffey is also memorable as the supportive Lillian, and Harvey and Baker are also convincing and sympathetic as Rosamond and Louie. There’s also a fine performance by Tiajha Silas in a smaller but significant role as Willa, who plays an important role in Tommi’s story.

This is a play that’s alternately dramatic, humorous, mysterious, and moody, and the production values work especially well along with the performances in conveying those shifting and evolving tones. The show also uses the performance space in the Chapel to its maximum potential, creating a world that’s thoroughly believable and partially immersive. Erik Kuhn’s set is meticulously crafted, aided by excellent work from Katie Orr on set dressing and props. The lighting by Theresa Comstock and sound by Ellie Schwetye also contribute much to the atmosphere here, and the costumes by Jen Blum-Tatara suit the characters well.

The overall mood here is striking, with strong pacing and staging by director Sam Hayes and fully realized characters who aren’t always what they first appear to be. There’s an air of discovery about this show that’s well-realized in the overall production, and intriguing and intensely personal themes. Professor House may be a difficult show to describe, but the wonder of discovering it as it happens is well worth the effort. It’s another profoundly impressive theatrical work from Contraband Theatre.

 

Ben Ritchie
Photo: Contraband Theatre

Contraband Theatre is presenting Professor House at The Chapel until October 25, 2025

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“Woman in Black” Frightens with Precise Direction, Clever Staging at the Rep

October 16, 2025 by Michelle Kenyon ("Snoop")

The Woman in Black
Adapted by Stephen Mallatratt
Directed by Robin Herford
Repertory Theatre of St. Louis
October 10, 2025

Ben Porter, James Byng
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

The Rep is continuing the seasonal trend of hauntings, thrills, chills, and mystery in theatrical productions with their hosting of the Original London Production of The Woman in Black. While I do find myself wishing for a more “home grown” production, I do have to say that the production is a chilling, precisely staged horror classic. With a great cast and truly dazzling production values, it’s a clever production that fits in nicely with the Halloween season.

The original London production of this show is somewhat legendary, having run for over 30 years and spawning touring productions like this one. It casts three players who rotate in the roles. On Press Night, I saw James Byng as the Actor and Ben Porter as Arthur Kipps, an aging lawyer who has a spooky story to tell, but lacks the dramatic ability to tell it in the way he wishes. He has hired the Actor to help him, and after some false starts, they begin in earnest, with the Actor playing the younger Kipps and Kipps playing the other roles in the story. According to his tale, Kipps was a young attorney who was assigned by his employer to attend the funeral of a longtime client–a reclusive widow–and find and sort through the paperwork dealing with her estate. He then heads off to a remote small town where the residents all seem afraid whenever Kipps mentions his business. Nobody wants to go to the late Mrs. Drablow’s residence, Eel Marsh House, insinuating that bad things happen to those who do go there. After he eventually arrives at the house, he’s able to piece together a story of a mysterious Woman in Black, and endure some bone-chilling experiences involving the house, the legend, and a series of creepy visions that threaten doom for those who witness them, including Kipps himself.

The staging is clever and impeccably timed, with some truly fantastic special effects, and a set by Michael Holt that involves walls that become transparent when necessary, and a suitably theatrical atmosphere for the framing device. The lighting by Anshuman Bhatia and  sound by Sebastian Frost add much to the intensity and terror-building atmosphere of the show, which is paced with chilling determination. Special note should also go to Imogen Finlayson for excellent work with “Vision Productions”. 

The acting is first-rate, with Porter playing the older Kipps and a variety of other roles with remarkable versatility and presence. Byng, as the Actor who “becomes” the younger Kipps, is also excellent, with a relatable energy and credibility. The two work together especially well, lending much to the overall storytelling and intensity of the piece. 

The Woman in Black is at once a chilling horror tale and a love letter to theatre, in both its framing device and overall spectacular stagecraft. While I do hope hosting tours doesn’t become a regular thing for this company (it’s the Rep, not the Fox), it is nice to see a West End show brought to St. Louis with such style and precision.  It’s a well-crafted work of theatrical excellence that works well for this time of year. 

James Byng, Ben Porter
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

The Woman in Black is running at the Repertory of St. Louis until October 26, 2025

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Royal Intrigue Abounds in Chorus of Fools’ Impressively Revised “Elsinore”

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

Elsinore
by David Nonemaker and Eric Satterfield
Directed by Eric Satterfield
Chorus of Fools
October 9, 2025

Zach Pierson, Andrew Eslamian, Xander Huber
Photo by David Nonemaker
Chorus of Fools

Creating theatre is a fascinating process, and I feel blessed to have been able to witness the development of new plays over the years, including the latest production from Chorus of Fools. Elsinore, by David Nonemaker and Eric Satterfield, first premiered in a production by Prison Performing Arts Alumni Theatre Company in 2021, and I saw and reviewed that production, noting its promise and the work I thought still needed to be done. The new production, with some of the same creative team and one of the same actors, is still recognizable, but has been impressively revised and refined from that earlier iteration, emphasizing the strengths of the story and character and resulting in a more dramatically satisfying and emotionally affecting prequel to William Shakespeare’s most famous tragedy, Hamlet. 

The story is told in three acts, as opposed to two acts in the previous version. Many of the characters from Hamlet are featured, along with some notable new additions, although the familiar characters start out quite differently from what you may expect. In Act 1, it’s 15 years before the events of Shakespeare’s tragedy, and the elder King Hamlet (John Wolbers) is an imperious, somewhat possessive and nervous ruler, trying to rule Denmark with an iron hand, and is dealing with disappointment in his teenage son Hamlet (Andre Eslamian), whom the elder king regards as “soft” and who is mostly interested in getting up to mischief with his buddies Rosencrantz (Xander Huber) and Guildenstern (Zach Pierson). Young Hamlet often feels closer to his uncle, Claudius (Joseph Garner), and flees to his house to avoid his father’s wrath. Claudius is an advisor to the King and is happily married to Collette (Lexie Johnson), who is expecting the couple’s third child after having lost the first two.  As the king grows more jealous of his son’s bond with Claudius and deals with tension in his marriage to Gertrude (Jocelyn Padilla), Claudius comes up with an idea for how to help young Hamlet, which ultimately begins their gradual estrangement. Meanwhile, the king’s bumbling counselor Polonius (Chuck Brinkley) brings his studious daughter Ophelia (Hannah Geisz) to serve in Gertrude’s court after having returned from an unpleasant time in France. Of course, Ophelia and Hamlet develop a friendship that promises to grow into something more. 

That’s just the first act. The next act jumps ahead fourteen years, and we see how the characters and relationships have grown and changed. We also see the seeds of Claudius’s resentment and ambition, and dramatic events that lead to who he becomes in Hamlet. Clever scripting and intriguing character development make for a story that blends sympathy, humor, and tragedy into a credible “before it happened” tale that makes sense as a prequel for one of the world’s best-known plays. Although this backstory isn’t quite how I would have imagined it, the playwrights have done the work to make it make sense, including allusions and parallels to the “parent play” in ways that seem natural and even poetic. The language is also believably Shakespearean, for the most part, and the characters well-developed. As before, I especially love the interactions between Hamlet and Ophelia, but I find Claudius more intriguing this time as well, and the King is a more well-rounded character, and the developments in Claudius’s family life are more thoroughly explained here. 

The cast is excellent, with Garner a thoroughly convincing Claudius, who goes on a journey from sensitive younger brother/uncle and doting husband and father to ambitious wannabe monarch. Garner brings a degree of nuance to the role as well as a clear progression from sympathetic to scheming and beyond. Eslamian as Hamlet is also strong, portraying a believable sense of growth in the character and fantastic chemistry with Geisz, who is a supremely likable and intelligent Ophelia. There are also strong performances from Padilla as the increasingly conflicted Gertrude, Huber and Pierson as the mischievous Rosencrantz and Guildenstern, and Johnson as Claudius’s gentle wife Collette. Pierson also has a strong turn as Young Claudius, son of Hamlet’s uncle, and Brinkley is a scene-stealer as the bumbling but subtly scheming Polonius. Rose Reiker as Osric and Joe Kercher in several roles round out the cast, with all contributing energy and presence to this intriguing, emotionally involving story. I do somewhat wonder at the play’s somewhat smarmy characterization of Laertes (Kercher), since it doesn’t seem fitting with how the character turns out in Hamlet, but that’s a playwriting/directing issue rather than an acting issue.

The look and atmosphere of the show is notably consistent, with a setting that seems like mid-to-late 19th century in terms of costumes and sets. Celeste Gardner’s costumes are particularly outstanding, with excellent attention to detail and period, and suiting the characters well. The set by Vicki Delmas and Satterfield is also excellent, with a prominent red-and-grey color scheme and a suitably “royal” tone. There’s also good work from lighting designer Bradley Rohlf and sound designer Satterfield, and clever use of memorable music during the intermissions that goes along well with the themes of the play.

Overall, while I enjoyed Elsinore the first time I saw it, the play seems like a much more well-realized vision at this point. Featuring familiar characters and themes, and using them in intriguing and occasionally gripping ways, this is a thoroughly credible story that makes sense as a lead-up to Hamlet. It also fits well into the space at Greenfinch Theater & Dive, and includes a few “spooky” elements in keeping with Halloween season. It’s well worth seeing, and an impressive accomplishment from Chorus of Fools. 

Joseph Garner, Jocelyn Padilla
Photo by David Nonemaker
Chorus of Fools

Chorus of Fools is presenting Elsinore at Greenfinch Theater & Dive until October 19, 2025

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Fantastically Staged “Life of Pi” is a Remarkable Journey at the Fox

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

Life of Pi
Based on the Novel by Yann Martel
Adapted by Lolita Chakrabarti
Directed by Max Webster
Tour Director Ashley Brooke Monroe
The Fox Theatre
October 8, 2025

Taha Mandviwala, puppeteers Anna Leigh Gortner, Shiloh Goodin, Toussaint Jeanlouis
Photo by Evan Zimmerman for MurphyMade
Life of Pi National Tour

Get ready to be dazzled! The Fox Theatre is currently hosting the national tour of Life of Pi, Lolita Chakrabarti’s adaptation of Yann Martel’s celebrated novel, which has also been adapted as a celebrated film in 2012. I had seen the movie, and heard excellent comments about the play, but even the great word-of-mouth and awards won by this show could not have adequately prepared me for what I saw onstage at the Fox. With a fantastic cast led by a truly dynamic lead and truly stunning production values, along with a riveting, poignant story, this Life of Pi is a theatrical marvel.

The story is told in flashback, as teenage Pi Patel (Taha Mandiwala), the only survivor of a shipwreck, is being interviewed in Mexico about his experience by Lulu Chen (Mi Kang) and Mr. Okamoto (Alan Ariano), who are trying to get the true story about what happened to the ship and how Pi survived. As Pi is finally convinced to tell his story, the set shifts and we see where Pi’s story began, in Pondicherry, India in the late 1970s, where Pi and his older sister Rani (Maya Rangulua) have grown up at a zoo run by their parents (Sorab Wadia, Jessica Angleskhan). We learn about the various animals, including a menacing Bengal tiger named Richard Parker (voice by Toussaint Jeanlouis) and an Orangutan named Orange Juice (Angleskhan). We also learn about Pi’s unsual religious beliefs, observing Hinduism, Islam, and Christianity, which help shape his views of what will soon happen to him. As growing unrest in their country leads the family to head to Canada, they pack up their animals and head out on a ship, soon becoming acquainted with the vessel’s crass French cook (Jeanlouis), among others. When the ship inevitably sinks,  Pi finds himself stranded on a lifeboat with Richard Parker, among others, beginning an epic struggle for survival that tests Pi’s faith as well as his physical and emotional limits. 

The sheer physical production of this show is astounding, with a stunningly fluid set by Tim Hatley that creates a colorful, fully realized world that shifts as needed from a sparsely furnished room in Mexico to populous Indian town, to a ship at sea, and to the open ocean surrounded by rolling waves and debris. Andrzej Goulding’s video and animation design complements the set brilliantly, and aided by the dazzling lighting by Tim Lutkin and Tim Deiling and sound design by Carolyn Downing, the audience is brought along on Pi’s eventful journey. There are also excellent costumes by Hatley and a stirring score by composer Andrew T. Mackey. Seated as I was (along with the other critics) in the mezzanine, I was able to witness the full effect of these remarkable production values, and as great as orchestra seats are at the Fox, I recommend sitting higher up for a more immersive experience.

Also worth noting is the truly fantastic puppetry, with marvelous designs by Nick Barnes and Finn Caldwell, and puppeteering by Ben Durocher, Shiloh Goodin, Anna Leigh Gortner, Austin Wong Harper, Aaron Haskell, Jeanlouis, Betsy Rosen, Anna Vomáčka, and Andrew Wilson. The puppeteers blend in with the cast well, bringing these detailed creations to life, including Richard Parker, Orange Juice, Buckingham the goat, Black and White the Zebra, a sea turtle, and more. The cast of human characters work well with the puppets, led by a tour-de-force performace from the magnetic Mandviwala as Pi. It’s a starring role in every sense of the term, and Mandviwala has the presence, wit, intelligence, grit, and energy, along with a dynamic physicality, that is essential in adequately telling this tale. Madiviwala is supported by a strong ensemble with no weak links, as well, with standouts being Jeanlouis as the cook, Wadia as Pi’s stern-but-caring father, and Angleskhan as his devoted mother. The strong ensemble energy adds much to the poignancy and credibility of the story, which blends elements of realism and fantasy in a riveting storytelling journey.

I was somewhat surprised at how many empty seats I saw on press night, considering how fantastic this show is. This is a show that needs to be seen to be believed. It’s a truly astonishing achievement of modern theatre, blending the best in technical theatre advancements and special effects with timeless storytelling and excellent acting. It’s running until October 19th, and I highly recommend checking it out.

Taha Mandivwala (center) and Cast
Photo by Evan Ziimmerman for MurphyMade
Life of Pi National Tour

The National Tour of Life of Pi is running at the Fox Theatre until October 19, 2025

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St. Louis Shakespeare Bids Farewell on an Upbeat Note with “Twelfth Night”

October 8, 2025 by Michelle Kenyon ("Snoop")

Twelfth Night
by William Shakespeare
Directed by C. E. Gallagher
St. Louis Shakespeare
October 4, 2025

Twelfth Night was St. Louis Shakespeare’s first show when the company was founded in 1984, and, this past weekend, it also became their last. It’s something of a bittersweet  feeling to see this fairly solid rendition of one of the Bard’s most well-known comedies while also knowing it’s a goodbye to this longtime staple of the St. Louis theatre scene. While it does have its uneven moments, for the most part, the tone was upbeat and the cast is was energetic in a reasonably straightforward rendition of this classic play.

The classic story of mixed up romance, mistaken identity, and mischievous pranks started off a bit slow, but gained in energy as the show carried on, with the strongest moments being the broadly comic ones, especially in the scenes involving Sir Toby Belch (Wil Spaeth), who is a relative of the melancholy Lady Olivia (Danielle Long), and his band of cohorts including Sir Andrew Aguecheek (Anthony Kramer)–a foppish would-be suitor to Olivia)–Olivia’s gentlewoman Maria (Rachel Grossman), servant Fabian (Theorri London), and Feste the fool (Kelli Rao), who scheme to embarrass arrogant, priggish steward Malvolio (Anthony Pounders). These scenes were especially entertaining, with a good deal of energy and physical comedy, and with standout moments from Kramer, Grossman, and Rao especially, with the latter displaying a strong singing voice and ukulele skills. Pounders was also ideally cast as Malvolio despite occasionally struggling with volume.

The main plot, featuring the shipwrecked Viola (Kalani Cing) who disguises herself as a boy and serves the Duke Orsino (Devin Moses)–was also well-done if a bit unevenly cast, since, although Cing is excellent, I saw no real chemistry between Viola and Orsino; and Long, as Olivia, was much stronger in her more comic moments than in the more “serious” opening scenes. John Rogan was fine as Viola’s twin Sebastian, although the idea that these two could be mistaken for one another was harder to believe than usual. There was also a good turn from Imene Tabet as sailor Antonia. 

There aren’t any gimmicks or unusual settings in this production. The fairly basic platform set surrounded by pillars was painted by Sammi Reise in appropriate whimsical colors, but there’s no designer listed in the program. The costumes by Barb Dwyer and Rachel Grossman are a lot of fun and period appropriate, with one memorable additional costume for Malvolio created by Tracey Newcomb. The lighting by Zak Metalksy was adequate, as was the sound by Aiden Byrnes, for the most part, although some of the actors had issues with projection that sometimes made the show more difficult to follow. The overall setting was traditionally Elizabethan, and for the most part, that tone was well-maintained.

It’s sad to see St. Louis Shakespeare closing up shop. I’ve seen some great shows from them over the years, and this last one is a solid if not spectacular send-off. It’s an entertaining Twelfth Night overall, and I wish it had been able to run for more than one weekend.

 

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Well-Cast “Bat Boy” Makes a Strong Impression at New Line

October 8, 2025 by Michelle Kenyon ("Snoop")

Bat Boy
Story and Book by Keythe Farley & Brian Flemming
Music & Lyrics by Laurence O’Keefe
Directed by Scott Miller and Chris Moore
New Line Theatre
October 3, 2025

Brittany Kohl, Rafael DaCosta, Marlee Wenski
Photo by Chris Moore
New Line Theatre

It’s the time of year again, when many theatre companies turn toward weirder and/or spookier subject matter in the lead-up to Halloween. In that vein, New Line has chosen to revisit a show they’ve done before, the tabloid-inspired sci-fi/horror dark comedy Bat Boy, which provides a good opportunity for its cast and crew to ham up a storm while also conveying a warning message about jumping to judgment and blame of “outsiders” for the world’s problems. Under the direction of Scott Miller and Chris Moore, New Line has put a lot of energy into this production, which features striking production elements and a strong, enthusiastic cast of local performers.

I didn’t see the last New Line production of this show, but I’ve seen a production by another local company, so I was familiar with the plot and tone of the piece. The story, inspired by a fictional tabloid story featured in the infamous Weekly World News, focuses on a mysterious “Bat Boy” (Rafael DaCosta), who is encountered by three young siblings–Rick (Zachary Thompson), Ruthie (Chelsie Johnston), and Ron (Bee Mecey)– who are exploring a cave. When the Bat Boy bites Ruthie, the kids are frightened and call in the police, who seek to consult local veterinarian Dr. Thomas Parker (Ian McCreary) about what to do. The Bat Boy is then taken to Thomas’s house, where his wife Meredith (Brittany Kohl) and daughter Shelley (Marlee Wenski) meet the boy first, and while Shelley is creeped out at first, Meredith is more sympathetic, naming him “Edgar” and promising to take care of him and teach him manners. As the townspeople remain suspicious of Edgar, whom they regard as a “monster”, he soon reveals himself to be a quick learner and a sensitive soul under the tutelage of Shelley and Meredith It soon becomes clear, however that Thomas isn’t happy with the attentions Meredith is paying to the boy, and while Edgar seeks to win the town over with his personality, and he and Shelley grow ever closer, long-held secrets are about to be revealed, threatening the hopes, assumptions, and even the lives of the town, the family, and Edgar himself.

The whole tone is heightened and exaggerated, as is fitting for a story based on an over-the-top tabloid. It also calls to mind some of those old “B” grade sci-fi and horror films from the 50s and 60s, and the physical production at New Line helps that vibe along by means of Becca Rose Bessette’s well-crafted costumes, and the alternately humorous and haunting score ably played by a small but excellent band led by music director Jason Eschofen. There’s also a fairly minimalist but practical framework set by Rob Lippert that provides an ideal base for the action, aided by strong work from lighting designer Bradley Rohlf, and sound designer Ryan Day. 

Casting is key in this show, with the role of Edgar the Bat Boy being especially demanding physically, emotionally, and vocally. DaCosta is excellent in the role, with energy and stage presence at the forefront, creating a character who is at once sympathetic and awkwardly charming. His scenes with Kohl’s also strong Meredith and Wenski’s plucky Shelley are especially compelling. There’s also a fine turn from McCreary as Thomas, and a strong ensemble who mostly play various characters–Stephen Thompson, Mecey, Zack Huels, Ronmal Mottley, Zachary Thompson, and Johnston, with Huels a particular standout vocally in the “Children, Children” number in the second act. The overall darkly comic energy is handled with entertaining enthusiasm.

This is a show that has a lot of laughs and a few cringey horror moments, but also a palpable message warning against the dangers of judging people based on appearance and preconceived notions. It’s alternately creepy, haunting, offbeat, and deliberately sensationalist, with some crass humor and suggestive themes. Bat Boy strikes just the right tone for this time of year, and it’s a good start to a new season for New Line.

Cast of Bat Boy
Photo by Chris Moore
New Line Theatre

New Line Theatre is presenting Bat Boy at the Marcelle Theatre until October 25, 2025keth

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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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